Comfort Process Book

CAPS TON E CLIFF LAWSON

PROPOSAL

Definition of terms.

Terms often used within the study include the abbreviation of LGBT+ which broken down means, Lesbian, Gay, Bisexual, Transexual, in addition to Asexual, Pansexual, Omnisexual, and so on. There are many sexualities to be listened under the umbrella abbreviation of LGBT+.

Assumptions.

PROPOSAL: POETRY BOOK AND COLLATORAL FOR LGBT+ VISIBILITY Describe the proposed investigation and list problems objectively.

My purpose for this project is to illustrate the connection between literature and art and understanding the deep developmental thoughts and processes of an LGBT+ individual and how the public understands them easiest through written and visual methods, namely a visual poetry book with kinetic type, connecting collatorals, and an LGBT+ publishing company centered on the importance of visibility. Furthermore, my area of the field of design will be multi-media art, through publication design, motion ads, product design, and advertisements for the poetry book itself, backed by the publishing company. My planned impact for this project on the design field and other disciplines is to show that poetry books can be highly visual as well as conceptual in way of type and illustration interaction. It will also show key words and moments of LGBT+ life in an impactful way that can be translated to ad campaigns and even posters to market the book and collatorals.

This investigation will further help my growth by way of an interpersonal connection to design as a medium of my primal instincts as an artist and emotional connectivitiy to the viewer and world; it will also help me make those connections for clients in the future, through their branding and way of approaching the audience with their business. Certain methodologies that I will utilize is focusing in LGBT+ and poetry publications and ones that have also actively lifted up the community as a whole, in hopes of lifting an awareness level to the struggles of these individuals through the product’s developement. I have also looked into studies that have honed in on popular publications through pro-LGBT+ publication companies and noticing their success rates. Print media and digital media have been waning, even LGBT+ media in recent; however the amalgamation of profitable literature work in ways of active writers and artists could ignite a new wave of understanding and plight for the cause. These aforementioned obstables are to be conquered through the need for visibility is ever-present as the community is fighting to stay relevant in the standard media-sphere. I hope to answer some of those problems by also creating ad campaigns for social media which is constantly thriving. An example of recent success in the poetry world is Rupi Kaur’s series of poetry books making a connection to younger audiences and igniting a new love for the old form of literature. I plan to tap into that source, and pro-LGBT media is aligned with the current policies of the Y and Z generations.

Sub problems.

Some technical aspects that can arise with creating a publication is that print media is often only profitable these days when there is a novelty item to be gained from purchasing said print material, as I will have hyper visual art pieces and posters and zines accompanying, with merch and collectible extensions to solve said problems. There are certain social media campaigns that can help publicize and bring the product to viral status as well. The possibility of certain problems remain in keeping relevancy in a time where mainstream media is slipping its grasp on LGBT+ issues, but if that company can grasp that audience through art and literature, the basis is grounded in interaction with the viewer, not preaching at them.

Delimitations.

Keeping a young adult audience through social media outreach and upkeep of current trends. Funding would funnel in through purchases of the artists’ work and public outreach for LGBT+ publications and possibly the idea of keeping studies alive for its importance to keep visibility.

In this realm of LGBT+ media and literature and art, I have assumed that poetry as a form of literature, as well as print and digital media are on an untouchable plain or on the downturn. However, poetry is profilerating on social media through new writers and the author Rupi Kaur has proven it to thrive with nuance in print publication. LGBT+ media has taken a more artistic, stylistic approach to fit into newer trends, keeping sensitivities in mind and art in the forefront. Another assumption I had going into this is that LGBT+ media is at its most popular today, however I failed to realize through research that all print and digital media are trying to reinvent themselves to stay afloat. I’m hoping to answer that problem with a nuanced approach in combining arts and literature as well as promotion materials and ad campaigns.

Methodology.

I will continue my research into publications that have successfully breached social media, specifically with LGBT+ approaches, as well as finding focus studies on print and digital media. Certain methods can also include research on poetry books, LGBT+ rights campaigns, civil rights campaigns, and the overall modern expression of LGBT+ artists.

Importance of the study.

Keeping LGBT+ media in circulation in the mainstream media and creating an outreach through publication and collatoral design that is visually and thoughtfully provoking on the development processes of an LGBT+ individual. The visibility of LGBT+ media is the centerpiece of this entire project.

Timeline.

1/29/2020- I plan to have branding ironed out and a full color palette available for utilization, as well as a few spreads of the poetry book and zines, possibly even posters. My proposal will also be handed in at this time.

2/5/2020- Have more progress on layouts and content for main poetry book and collatorals.

2/12/2020- An strong enough amount of most pieces to give the group and professor enough to see a final destination in sight for my project.

2/19/2020- Have the poetry book in finishing details. Delving full force into branching collatorals: zine books that illustrate certain poems, posters that are impactful with certain poems of empowerment to grip audience and possible motion efforts to be used in social media campaigns.

2/26/2020- Continuum of progress while on Mardi Gras break.

3/4/2020- Show substantial progress on all aforementioned pieces.

3/11/2020- Have poetry book done, zines done, posters done, merch underway. Delving into motion and ad campaigns. Second presentation where I discuss what is needed. Begin to order paper and budget production materials.

3/18/2020- Continuum of progress while on Spring break.

3/25/2020- Turn in research paper and have most if not all print items done.

4/1/2020- Wrapping any loose ends up and prepare for DSVC. 4/8/2020- Final Presentation of all pieces available.

4/15/2020- Get all items together for set-up.

4/16-21/2020- Set-up.

QUESTIONS ANSWERED FROM PROMPT

Ten Criteria for senior project proposals: 1. Is the concept original?

Absolutely. I did not find a full media expression on the research of LGBT+ visibility, especially not a poetry book.

2. Is there a need and/or niche for this concept?

Yes, in and of itself, the LGBT+ community is niche in the mainstream media and they are a very loving and devoted community. My main goal is to reach them and allies and literature lovers beyond.

3. Does the concept have marketability (Will it sell?)

I believe it absolutely will with the correct ad campaign and marketing to a young-adult, literature-loving audience as well as having a punchy illustration style that people might want to collect.

4. Have you fully documented the concept’s originality, need and viability?

Yes, I have researched print and digital media and where my project would fit in the overall sphere of design and see this as a unique approach to answering the need for LGBT+ visibility.

5. Have you determined your audience?

Young adult and literature lovers.

6. Can you assert that this concept will have value to this audience?

Absolutely. The audience is known to collect memorbilia on their favorite trends and fandoms as well as LGBT+ media.

7. Will your concept benefit society in a meaningful way?

It will increase visibility for the LGBT+ community within mainstream media, or make an attempt for it. Helps to show the deep developmental roots of an LGBT+ individual and get outreach to the public.

8. How truly practical is your concept (is it within your ability to realize it?)

It is mostly paper, print material, so the ability to realize and produce it is very, very doable.

9. Are you willing to devote an entire semester to realizing this concept?

Absolutely, it aligns with all of my own convictions and represents my favorite kind of visual media.

10. Is this concept really important to you?

Truly, LGBT+ issues are always at the forefront of social issues and remain the most important to my day-to-day operations.

LGBT+ Visibility Through Design Cliff Lawson Comfort John Mark Lawler ART 448

George Takei once said, “We should indeed keep calm in the face of difference and live our lives in a state of inclusion and wonder at the diversity of humanity.” That idea of inclusivity and namely, visibility, is the main goal of the LGBT+ community. This capstone project is centered upon the idea of showcasing the development of this community through a single individual’s artistic expression. Throughout society, one’s difference has often been a steep metaphorical hill to climb, but art and literature have often been that prevalent relic in history to define and allow understanding of cultures past for renewed knowledge. Art history has shown the lineage of overcoming such adversity, and the emotional impact it can have. Literature, in comparison, gives words to feelings and allows self-therapy. The newest form of communication, graphic design, has been a way to deliver a message to the general public through mass-production and branding, offering practical solutions to everyday problems as well as being a stake in the success of many grassroots movements. A way to combine the three, art and literature and graphic design, into a modern solution for the plight of understanding an LGBT+ individual would be to create a publishing company centered around young adult artists and writers, where the prime development years can be on display for others to acknowledge, the visibility aspect, and therefore understand through a poetry book, collection of zines, and poster campaign for print advertising purposes.

These pieces are accessible and friendly to all crowds and have affordable production rates so that distribution between citizens can be easily accomplished (Duncombe 20). Within this paper, the elements of the project and the design research behind the collaterals will be expanded on by explaining the deep histories of zines and the LGBT+ movement, the color psychology, type and type layout choices, and book spread design and pacing systems, mainly for the poetry book, in order to make this a viable design project and solution to increasing visibility of a marginalized group.

Zines, beginning as small-time efforts from artists to relay an important message, are

easily circulated and often free. The most notable example of them came in the seventies and eighties in the underground punk scene, where the aesthetic was free-form and tinged with grunge. They were later adopted in the nineties by the riot girl movement, which also included by association the LGBT+ movement of the time. The two often went hand-in-hand as women were railing against societal efforts to quiet their voices, using these small books to relay their messages of freedom, pro-LGBT+ agendas, and punk anti-establishment declarations. It is estimated that 40,000 zines were created during this, all by the riot girl movement. The zine was credited as being the origin point for the movement itself. It is also notable that most zine creators are young adults looking to get their voice heard much like the riot girl movement of the nineties (Duncombe 54). Within this project, those elements of hand-illustration, quick production rate, and barebones, grassroot ideology seem most appropriate in expanding on a specific style for the poetry book and accompanying zines. The choice of using hand-drawn illustrations with visible black ink textures leave that grunge aspect open, as well as combining it with other natural

coloring mediums and textures. The zines will be printed only in black ink on colored paper as that is the most traditional approach to the collateral, based on their history. The progression of the zine is to illustrate a story or develop on a topic through photocopying, type and illustration creation and design, as well as utilizing photography. For this project, illustration and type creation will be utilized in comic book stylings, as they will be expanded poems from the poetry book.

Illustration and design are ubiquitous in today’s age but have not always been as respected in the

past. Illustrators used to be fighting an uphill battle for relevancy within the design realm. In the barest of the definitions, Lawrence Zeegan, in his book Fundamentals of Illustration, says illustration is a combination of “personal expression with pictorial representation in order to convey ideas” within the realm of design, while also acknowledging it “sits somewhere between art and design… [not] wholly considered a solo design discipline.” He continues to state how the life of an illustrator incorporates their personal style as a tool to fuel their design voice, and, for this project, that is a clear signifier of the approach needed to be taken within designing a poetry book driven by illustration, layout, and type. Illustration is to be taken as a tool to uplift the passages of the poems and also inject the designer’s voice and personal expression into the overall design. LGBT+ youth have been found to try on different identities as the coming out process opens up to them, exploring it through artistic means, expanding through to fashion, literature, and namely illustration where self-therapy is cultivated. Art therapists working with LGBT+ individuals have found that the strongest form of self-expression is to be out and visible (107 Sweet, Sherry). This project’s main goal is visibility and to showcase self-expression that will help other individuals outside of the LGBT+ umbrella to understand their plight and relate. Furthermore, the color system being decided to fill these pages of intrapersonal development will need to be expanded on as well as the psychology of said colors within the scope of this LGBT+ discussion and the deeply rooted history of the community’s advertising efforts and the creators behind its viability in today’s society.

The interaction, emotion, and history of a color remains to be one of the most important signi-

fiers of any brand or design campaign. People can easily identify a brand solely on its colors when it is out in the wild in more subtle respects, without its logo. One of the most iconic and memorable usages comes full circle in this project, as it utilizes the rainbow system present within the LGBT+ flag. Splitting the poetry book into three parts and utilizing two colors from the system for each, the meaning behind the colors becomes invocative of the past, present, and future. It dissects said system into the more primal definitions of each color from the LGBT+ flag’s creation point, childhood using green and yellow meaning nature and sunlight, teenage years using turquoise and violet meaning art and spirit, and adult years using pink and orange meaning romance and healing. Delving into the history of the flag itself, Gilbert Baker designed and created it in 1978 after becoming friends with Harvey Milk, a Californian politician famous for touting gay rights. The need for visual mobilization and unification thus created a

symbol, system of colors, that internationally is now regarded as popular and recognizable as the recycle symbol (Campbell 30). Pride has proliferated on the back of this design, when you hear any signifiers under the umbrella of LGBT+, you immediately think of this iconic rainbow design. Incorporating this system into this capstone, the LGBT+ publishing house created also homes in on the basic principles of symbols, simplicity, and color palette. As the system is as easily recognized, it was an obvious solution to use it throughout the poetry book as spot colors as well as the zines paper options, thusly having a cohesive interaction between the elements.

The choice to correspond each section with two colors came from the meanings of each color within the design realm and also from the system discussed earlier. The childhood section, green and yellow, is broken down to simplistic meanings, coloring techniques wilder and outside the lines to indicate that past of freedom and carelessness, spent under the sunlight and within nature. The idea of nature is also expanded on through the argument of nature versus nurture, and the long-standing argument that LGBT+ individuals were born that way, nature being the victor. Yellow accompanies the meaning of green as well, when in nature, you need sunlight to grow, thus the development of youth. Onto the color meanings of the teenage section, turquoise, meaning art in the LGBT+ system, is characterized as modern, trendy, and creative in modern design terms. Violet, meaning spirit in the aforementioned system, is characterized as royal, rich, vivacious, and withstanding in modern design terms. It is well known LGBT+ teenagers often cope with trauma and also development into young adulthood with art and creativity, artistic expression being tantamount. Having spirit is also associated with the punk underground, where the illustration stylings are edgy, brooding, and punchy. Lastly for the adult years portion of the poetry book, orange, meaning healing in the aforementioned system, is characterized as urgency, energy, and vitality within modern design terms. Pink, romance in the aforementioned system, is characterized as delicate, inviting, and passionate within modern design terms (Chapman). When the two colors combine, it is implied that adult LGBT+ individuals heal through self-love and finding love in a world where it is sometimes hard to find likewise humans, especially within a fully accepting atmosphere. When placed within the project’s created system, each section has an offset cooler color, even if subtle, to add a since of ambivalence and wonderment to the accompanying personal poetry and illustrations as there is an undertone of sadness when understanding the development of an LGBT+ individual. Furthermore, in topic of the poetry, there is choices needed to be discussed in regard to content type, display type, and even the movement and meaning of said type across the spreads.

By hand and by heart, type driven by self-expression and free form interaction with the other el-

ements on the layout, where the geometry can give it a structure but not hinder its personal nature, can be a beautiful way to mesh design with the designer’s voice. This is where the line between design and illustration is drawn and then crossed, as the hand-type movement is ever-charging into the forefront

of trends, where the ephemeral aspects of starting with paper and drawing utensil and leaving traces of that process behind resonate more with the viewer (Bosler). Within modern layout and spreads, hand-type is often treated as an illustration piece lifted up by its clean, geometric counterparts, the content type, a juxtaposition, like chaos being contained. The central aspect of this project is personal growth and the ability to exhibit that development through design; zines, being a catalyst of many social movements, are often driven by photo-copied propaganda, as well as artists crafting their own type and illustrations. Poetry books often also exhibit hand-drawn illustrations with intermingling diary-like hand-written passages, a mainstream, successful example being Rupi Kaur’s many publications. The visceral, tactile act of writing something down is universal in all cultures, so the eyes when viewing other’s handwriting can correlate that sensory feeling to their own experience of the simplistic nature of cataloguing their own circadian rhythm. One of the main pieces of hand-type used in this project is bold, hand-written type with a strike through it, usually implying an omission in editing terms; this form is to evoke someone to ask why it is being omitted and investigate a reason to include it, similar to that of the LGBT+ community in society. The title of the poetry book being See Through This asks one to do just that, give visibility to the work inside. Hand-type can be content and display type just as well as the cleaner, digital counterpart can be as versatile. In continuum, the history behind typefaces, their usage in propaganda pieces and movements, can also define their purpose beyond simple application; furthermore, kinetic type impacts the visual field and creates a body language between the letterforms that deepens the usage as well as enlivening the standard presentations of type seen throughout modernity.

When people think about the history of a typeface, they may first associate the designer or com-

pany whom created it, time of, and possibly what campaigns it may be involved in, or even its perceived legitimacy as a “good typeface.” The chosen one for this project is Gill Sans, for many reasons, it is inviting, geometrically sound, and perfect for content purposes. A campaign it was a part of that many may not know of is the Silence = Death political project founded by Avram Finkelstein and a group of graphic designers and art directors in 1987 to combat the very roots of public perception on the issue of the rampant Aids crisis of that time, namely within the LGBT+ community. Created as a marketing campaign to be more than signs with text on them, but to create a composition, a work of art. The poster itself is a pink triangle, with a void of negative space around it with a bold, condensed version of Gill Sans at the bottom saying, “Silence = Death.” From After Silence: A History of Aids Through Its Images, Finkelstein stated that he knew the project would, “[need] to be advertising… provocative and alarming… a Trojan Horse.” Expanding on this, LGBT+ designers often face the fact that their livelihoods are caught between struggle and celebration; agitation and compromise. “Terms of liberation [and civil rights] must be demanded… as they are not freely given by those in power,” the correlation being

made by Andy Campbell in his book Queer X Design. It is implied that these choices made by Avram and his team, were undeniably calculated to speak to the public how it is most accustomed, through propaganda design. Choosing this typeface for this project as an underlying factor of depth, due to its association with this history, seemed appropriate, even if easily overlooked by a regular viewer; it would still connect to that immediacy of needing the public to see the development of an LGBT+ individual as important as any other individual. With this type choice given meaning, this capstone project, centered around visibility also needs a discussion around placement of type and its movement.

Kinetic type, as seen now mostly in motion graphics, also relates to the inherent show of move-

ment of type within flat design, or even the act of following a line of type with the eye across a plain.

It engages the viewer if that type starts at the top right, a golden starting area for type, and follows an illustration line to the end of the poem, on the left side of the spread. Overlapping lines and creating textures with the text is also another adventurous avenue to peak curiosity, as well as lengthen the time spent on a spread. A designer to note who does this often is Neville Brody, who creates type, dismantles it, dissects it, and arranges it in a variety of ways that experiment with space and create a discussion around legibility and layout; in addition, also stating that the punk rock scene of London of the nineties inspired his freeform nature, in relation to zine culture mentioned earlier (Murphy). The playful attitude of most of the poem titles within this project, handwritten and arranged overlapping and off the baseline, indicates activity and an implementation of matching the energy of the illustration and arrangement of the poem itself. On the topic of arrangement, the grids and symbols chosen for this project need to be discussed to give deeper meaning and layout to the zines and poetry book, as well as the posters.

Thinking about a format or container for this project, windows came to mind, a collection of

squares or rectangles, all containing elements partial to what the sections were about. Seeing as though the goal is to attain visibility through art and design, a proverbial “window to the soul� seems appropriate. Grids have been important within design, through web, print, and every aspect of it. It includes margin measurements, type hierarchy, pictorial and illustration mapping, as well as the culmination of all those elements (Samara 35). Using black ink for the outline of most of the illustrations, I thought creating posters using big expanses of black, like dark windowpanes, could push the collection of colors, the system created, to the forefront and isolate them similar to that of the Silence = Death poster. The windowpanes are most notably implemented on the front of the book, where each square shows a small representation of each section of the book: childhood, teenage years, and adult, as well as one to represent a full spectrum: a fully formed human. Within the zines, it is used to encapsulate all illustrations within the spreads to create a sense of comic book paneling and layout stylings. The use of negative space and containers is also brought to the publishing company’s branding as well, highlighting the

rainbow arches for the spine marker as well as holding the “seen” logotype for the primary mark of the identity system. Utilizing the different styles of grids, the zines use the manuscript grid to be a playful nod to the fact that a standard book layout would use, however the actual poetry book does not utilize this grid, as it uses illustrations that bleed off the spreads. The more freeform grid that works for the interiors of the poetry book would be hierarchal grid, that loosely contain the different elements (Samara 12). This project uses patchwork illustrations where a few illustrations are coupled on a page and arranged to balance each other out, utilizing an asymmetrical approach that highlights the heavy use of negative space within the spreads. Positive space, the illustration and accompanying poetry content text, is framed and given precedence by the negative space. The choice to leave out elements is also an act of design, as that negative space allows the eye a resting place on the format, a case especially potent in the argument of pacing throughout a book. As discussed earlier, kinetic type can lead the eye, but it is important to orchestrate that through the guiding lines of the illustration as well, often the positive space, or the focal point. The act of designing with negative space also is cost effective in the long run as it limits the color used on the page (Cass). With pacing, negative and positive space can function as content moderators and help the viewer digest the book better.

The poetry book’s pacing is consistent in a variety of ways; there are a collection of spreads

that are more simplistic and others that are more bombastic and full, then there are title pages dividing each section, as well as portraits of the subject during that age at the end of each section. The art of page-turning, and having a surprise on the next spread, is something utilized within zines, comic books, and graphic novels throughout history to create cinematic moments of pause when motion is limited (Duncombe 33). Marrying this idea with kinetic type and color psychology, the poetry book and zines are attempting a multi-conceptual use of 2D motion storytelling. The beginning of the book, including the title page, dedication page, and table of contents page are limited in their color usage, and then as the first poem is shown, an explosion of color is presented to first introduce the book’s pacing strategy. This approach is another way of creating an urgency to the process, having the colors surprise the viewer. With pacing and color choices, the psychology varies within each section, while the childhood portion is blinding and natural, the teenage years portion is somber and edgy, and the adult years portion is inviting and thoughtful. The journey through the book is evocative of life itself, and, without these pacing elements, it would not be as successful. Furthermore, the pacing is the culmination of all the elements working in harmony to guide the reader throughout the publication.

It is clear advertising and marketing flow through even sociopolitical movements and make

them stronger for it. Grassroots movements, created by smaller artists, politicians, and systems often operate off the theme of visibility. It is within the same vein that understanding the LGBT+ community comes with a similar approach, as it is a minority. Zines are the epitome of a small-time publication that

is easily circulated and mass-produced to relay a message or even a brand, likewise with the goals of design. The interpersonal needs and desires to be seen of an LGBT+ individual is best represented when their artistic voice is on display, and as society progresses, the means of this project may be more universal and accepted as normal opposed to be labeled as an archetype. Reestablishing the color psychology and having connected it to the rainbow flag, it opens up that discussion of why this media needs to be introduced through pro-LGBT+ means instead of being accepted into the natural discussion of publication, as it is not yet accepted as such and takes that power back into the hands of the community, where artists are appreciated proportionally opposed to be overshadowed by the mass media industry that seeks to quiet these stories. In conclusion, this project has an ultimate goal of creating a poetry book with dynamic pacing, color interaction, and type movement that acts of a multi-media art book, as well as zines to expands on certain poems that speaks to its demographic: young adults, millennials who are ever raising the national average of progressive politics and social acceptance to new heights (Campbell 56).

Works Cited Bosler, Denise. “The Explosive Hand-Lettering Rebellion.” Print Magazine, 21 February 2015.

Campbell, Andy. Queer X Design. Running Press Book Publishers, 2019.

Cass, Jacob. “Negative Space.” Layers Magazine, 24 February 2009.

Chapman, Cameron. “Color Theory for Designers, Part 1: The Meaning of Color.” Smashing

Magazine, 28 January 2010.

Duncombe, Stephen. Notes from Underground: Zines and the Politics of Alternative Culture.

Microcosm Publishing, 2014.

Finkelstein, Avram. After Silence: A History of Aids Through Its Images. University of

California Press, 2017.

Murphy, Ray. “An Interview with Neville Brody.” Dezeen Magazine, 21 November 2014.

Samara, Timothy. Making and Breaking the Grid. Rockport Publishers, 2017.

Sweet, Laura Pelton and Alissa Sherry. “Coming Out Through Art: A Review of Art Therapy

with LGBT Clients.” Art Therapy: Journal of the American Art Therapy Association, 25(4) pp.

170-176. AATA, Inc. 2008.

WORD LIST

BEGINNINGS (WORD LIST) SEEN SPECTRUM RIGHTS EXPRESSION LITERATURE PRIDE A L LY STONEWALL PRONOUNS SOLIDARITY CELEBRATION REMEMBRANCE SPIRIT

HARMONY VISIBILITY

LIFELINE PUBLICATION LGBT+ MEDIA IMAGINATION INTUITIVE OUTER-BODY HARVEY MILK HUMAN DREAMSCAPE HEALING AWARENESS OUTREACH

AUDIENCE E V O LV E

TOLERANCE GLOBAL MEDIA ACCEPTANCE GENDER STUDIES MAINSTREAM UNDERGROUND COMMUNITY BOLD MISUNDERSTOOD SPONTANEOUS POETRY

SOCIAL POLITCAL SOLACE

PROJECT ITEMS POETRY BOOK + COLLATORAL CAMPAIGN • Poetry book (30+ poems / 30+ spreads) • Zines (expanded art + mediums on certain poems) • Poster series (possibly fold out from book) • Fake tattoos and Stickers • Quick (15-30 sec) social media ads

INSPIRATION (LOGOS)

INSPIRATION (ILLUSTRATION)

INSPIRATION (BOOK COVER DESIGNS)

INSPIRATION (BOOK SPREAD LAYOUT)

INSPIRATION (BOOK SPREAD LAYOUT CONT.)

INSPIRATION (ZINES)

THUMBS (PUBLICATION LOGO)

DRAFTS (1ST MEETING) SPINE ICONS

WITHOUT CONTAINER

EXTRA IDENTITY MARKS

CONTAINER OPTIONS

DRAFTS (2ND MEETING) SPINE ICONS

WITHOUT CONTAINER

EXTRA IDENTITY MARKS

STYLE GUIDE (ZINES)

DRAFTS (2ND MEETING) WHOLE TITLE

SPINE APPREVIATED

DRAFTS (ART APPROACHES) TEXTURES (MEDIUMS)

BASE LINEWORK (BlACK PEN/ INK)

CHILDHOOD (COLORED PENCIL)

TEEN DREAM (MARKERS)

GROWN (WATERCOLORS)

DRAFTS (TYPE APPROACHES) 3D HEADER TYPES

T I T L E T R E AT R M E N T, P G . N U M B E R S + H A N D T Y P E

CHILDHOOD

TEEN DREAM

CONTENT TYPE GROWN

GILL SANS

FINALS

THANK YOU FOR VIEWING THIS PROCESS BOOK !