What was the original brief and did it change at all?
The original brief was very thorough, listing almost everything that is to be found in the finished book – from a designer’s point of view, it’s nice not to have too many surprises along the way. Part of that brief was to find a structure that allowed each piece of content to hold equal weight. Another was to fathom a way to handle such a variety of different images, all of which had to be drawn from the original print publications.
The book as it exists now is pretty close to the first draft for the pitch, though the dimensions did change during the course of the editing process when the actual word-counts and images of all the different texts were clarified.
One vital design direction that didn’t change from my initial pitch was the aim to separate the covers from the content by applying a doubled Swiss binding. As far as the written content was concerned, my idea was to try and weave the texts into each other, without separators, to make the reader browse the book like a magazine. I was keen to establish a means of distinguishing between the original and contemporary article, hence why the latter are set in François Rappo’s Theinhardt with its entertaining numerary and the former in Henrik Kubel’s Antwerp with it’s nice expressive italic.