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Major Project 2


ISTD: Tales to change the word


THE BRIEF

ISTD’ s brief “Tales to Change the Word” asked young designers to use the text of The Waitress, a tale by Jack Zipes, to invest the bo ok with the invention and experimentation of the magazine. What it meant by this was to consider aspects such as current format, nature, pacing of a bo ok... How might this change and develop intosomething new and whether or not the novel would remain as a single narrative or if it will include other stories. Magazines discovered the pregnant white space of the page, the double page spread and a signature typographic style. It introduced illustrations, photographs and texts that became images. It discovered how to be unpredictable - which is why my version of The Waitress doesn’t appear to be the standard, stereotypical magazine. Instead it is an adapted version and merge between a bo ok and a magazine, literally taking into consideration the double page spread, the signature typographic style through a hand-rendered approach and inverting the concept of ‘pregnant white space’ into black, negative space, lightened by the white of the text.


I initiated my research by lo oking at bo oks and magazines and comparing the two. Bo oks are the foundation of information and are a reliable source. It is a precious object, divided in chapters, that can have various editions. The main body of work is text and it is almost entirely mono-colour.


Magazine, instead,, are more fun, fresh, visually appealing and attract your attention and keep you curious through their appealing layout. They are filled with images, illustrations, photographs, text and big headings. A magazine is coloured, and contains the newest ideas and gossips. It is for the curious. You can fold it, bend it and then trash it, once you feel like you have made the most out of it - and you can wait for the next issue. The reader’s approach towards a magazine is significantly different when comparing it to the experience you gain out of a bo ok.


A mo odboard of ideas and research selection of graphic work, magazines, projects on bo oks and pop-up bo oks.


This is a selection of well known magazine logos. We can say that the magazine “brands” it’s issues by using their logo and adapting it on every issue’s front cover. I found it very helpful to lo ok at these logos as the front cover of my project would’ve had to blend in with the rest of the bo ok, as well as attract the viewers’ attention. These logos are bold, clear and have mostly short names. There is a range of serif, and sans- serif typefaces, and some are combined.


Some graphic posters and magazine covers. In this particular part of my research I was lo oking at how very simple, minimal shapes can simbolize and represent effectively and instantly a message.


This series by Lauren Diciccio layers real magazine pages with frosted mylar and has a colour coded system for each piece, using certain colours to represent each letter of the alphabet and greyscale colours for numbers. She paints little dots, according to her code, over each character on the page, creating these pieces. Diciccio explains that her work is about... “anticipatory nostalgia for obsolescing paper media objects. The softness of a read newspaper page and the glossy slickness of a fresh magazine page are sensations embedded in our physical memory... when these objects disappear from our culture and assume the homogeneous texture of a back-lit screen, I fear that some of our intimacy with the process of reading will fade.�


Some children bo oks. These specific kind of bo oks merge between the idea and concept behind a magazine and a bo ok. They are simple, clear, eye-catching, with images and are more interesting in terms of layout and story.


After having done some research I read Jack Zipes’ children’s tale “The Waitress” and I began my analysis by starting to lo ok at the story as a whole. Summing it up it is a science-fiction tale about a girl that works in a café, that has a chair stuck to her back. I thought of basing the theme of my bo ok/magazine according to the location where most of the story is set: the café.


I tried to find ways of linking the theme of The Waitress and the location to the concept of the bo ok. I thought of basing the story as if it were written inside a menu. My research furtherly developed into pub menu’s and notices on blackboards. I liked the idea of the white text on a black background, contrasting the usual appearance of black ink on white paper. Linked to this concept I consequently thought of approaching my bo ok as a whiped out blackboard.


Following the idea of treating the magazine/ bo ok spreads as a whipped out blackboard I began to lo ok into handrendered text to consider for the bo ok title.


theWaitre the The Waitress

the Waitress e waitress

Waitress

the Waitr the Waitress

the Wa


ss

ess

itress

I began experimenting with the title, using fonts that had a handwritten feel to them.


My first attempt at hand-rendering the bo ok’ s title. I tried playing with the background colour of a famous ice-cream shop in Milan. The warm colour reminded me of a warm cafÊ, brasserie style atmosphere.


Whilst experimenting more I figured it would be more coherent to use a black or dark grey background also for the front and back cover,as it reflects the lo ok of blackboard concept used throughtout the bo ok.


After an initial flow of ideas I began flicking through bo oks with hand-rendered typefaces and came across Keri Smith’ s and Marion Deuchars’ handrendered bo oks and works. I liked the way their handwritten fonts brought originality, energy, freshness and fun to the page.


Sara Fanelli’s handrendered type on walls, at Tate Modern. This brought me back to the concept of using the blackboard as a canvasse to my bo ok/magazine spreads. With Fanelli’s white type I thought of considering the possibility of using white chalk to “re-write” the story of Jack Zipes.


I thought the typographic choice for the title should reflect more the personality and appearance of the character of the waitress. This is why I decided to use a coursive font. After having finalised the typeface for the front cover I tried adding the blackboard background and some chair illustrations. The chairs show different characters due to the way they are made, reflecting how one could imagine the chair stuck on the back of the waitress to be like.


The front and back cover of my bo ok/ magazine.


I began handwriting the story with a pencil, scanning the text and inverting the colours...


I started associating each character to a specific typeface, and arranging the spreads in a such a way that you could tell they were having a conversation amongst one another.

Bordeaux

L


Parisine Regular Andalo Mon x Roman Bold LET Plain

Bickham Script ProCentury Gothic Bold La Tania Baskerville

PencilPete

Unit Thin Lucida Blackletter Prestige Elite Std

Edwardian Script I T C

Pea Wee Lucida Handwriting Perpetua Titlin

Rockwell Unit Thin

Times Regular

Yelly

Abadi MT Condense


These were the first group of fonts I attributed to every character. Once I had transcripted the hand-rendered version for every example I picked the final font for every person in the story.


r o t a r r a N

r o t a r r a N r o t a r r a N

s s e r t i a W s s e r t wai R I A H C r i a chairch Chair chair R I A H C r i a h c r i a ch

el c r a M l Marce l e c r a M l e Marc

l e c r a M l Marce

e i l a t a N Natalie

e r r e i P t a F e r r e i P t Fa e r r e i P Fat

a i l i L e n Lilia


These were the first group of fonts I These are some cut-out examples showing a conversation between the chair and the waitress. The chair being the caplock, hollow bold century gothic and the waitress being the slender, slim and femmine Edwardian handwriting.


These are all the typefaces I used throughout the bo ok.


As part of the concept that lied behind my interpretation of Jack Zipes’ tale, and seeing as the set brief was a typography one, I came up with the idea of visualising what was going on in the story by illustrating it through the text.


Flat copy photographs of the finished and printed bo ok.


At the end of our second term of our academic year my class decided to exhibit our projects as a Work In Progress Show and I decided to expose this project.


on icati ovation n i l u broso of Comm uct Inn m A d a Chiar on College hic & Pro Lond ) Grap s on (H B.A. 11 - 2012 20 ct 2 e j ro P Major


TWO  

Research & Process of my second final major project of my B.A. in Graphic & Product Innovation at London College of Communication

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