A5: A Fairytale Rework

My final rework has come about in response to feedback from my tutor about how some of my final pieces lose the energy of my original sketches as I move them into the digital packages. It is also a fun but reflective piece on my own journey through Graphic Design One and how sometimes I may have let Wendelin Witch get the better of me about the rules I should follow.

I decided for this last piece to throw caution to the wind and just let loose, I also wanted to work backward and forward between digital and analogue to see what difference that might make. I wasn’t too sure how to approach it but I was so taken with the Serif Fairy book that I thought about a much younger readership and a fairytale type approach. My tutor also suggested a ‘zine format could be a useful way of revisiting A5.

So I sketched a quick story board and Wendelin the TypeWitch was born!

8 cell storyboard skethces for a fairytale

Storyboard sketches A5 rework

I hadn’t decided if I should work in InDesign or Illustrator but in the end created a range of assets in Illustrator which I then printed and used to create analogue collages. It is designed to be an A5 stapled pamphlet and I have left it deliberately rough and ready, avoiding the temptation to tidy things up!

This process was great and I wish I had felt confident enough to do it earlier on. I know my tutor was encouraging it but I wasn’t sure how to go about it. I guess I needed to feel I had a bigger toolkit before I could get there.

Family feedback seemed to think it was fun, but felt I was mean to melt Wendelin at the end!

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Assignment Five: reflections on tutor feedback

My final feedback came in the form of a very useful video conversation and notes. This allowed for reflection on assignment five and the course as a whole. It also supported the sharing of resources and other references my tutor felt would be helpful.

Section Five was obviously about drawing the course together but in some ways aspects of it felt repetitive. There were elements like the infographics which we hadn’t covered before that I would have liked to have spent more time on and been given more exercises to help develop.

Project Feedback

The French Hen exercise I enjoyed, and found developing the different iterations intriguing. I wasn’t sure I had quite achieved what I was looking for and my tutor confirmed this, as he noted ‘ the transparent wine glass was a nice idea but got a bit lost in the final versions.’

Chase Housing Association felt to me a bit like the earlier Light Bulb exercise. It seemed that lots of ideas just kept coming. I was pleased with the outcome and my tutor felt the final version worked well. Initially, I thought it was a bit of a dull exercise, in part because I had a sense that logo design was not going to be a strength, it needed an attention to detail I’m not always good at. When we discussed this my tutor highlighted the value of this learning in terms of how I approach a brief that I feel to be dull. In this case I think my solution was to keep doing as many iterations as I could until something caught my interest. It was when I started thinking about the architectural nature of housing that I found a way in that interested me and I felt I could produce something distinctive.

I recognised a theme in the SingOut and infographic feedback that my earlier sketchbook versions had more energy and this got lost in the process of conversion to digital. I must apologise to my tutor who must be fed-up with highlighting this without seeing a result. I completely agree with the comments but as yet have not quite found the best way to address it. I think this partly comes from the fact that my confidence hasn’t quite reached the point where I feel I can completely let go. Learning the digital skills has been an important part of my GD1 journey and I recognise that my designs do tighten up as I use the different packages but having put so much effort into this area of learning it is hard to step back from it!

This has been a useful learning point as developing my work is as much about letting go sometimes as it is about feeling I have to demonstrate all my new skills and show progression. I wonder what my work might have been like if I had ignored InDesign and Illustrator all together.

We had a useful conversation about my desire to feel I knew the rules before I could be presumptuous enough to break them. I think this may have placed an unnecessary constraint on my work and I have also noted and tried to address an underlying assumption about what I think ‘good’ graphic design looks like. I recognise I have imposed some self-limiting beliefs on myself on occasion.

The TypeWitch story is a first tentative step in being out and proud playful!

Birthday List was an exercise I loathed (verging on hated) doing, I didn’t get the point of it at all, and I didn’t understand why anyone would want one of these. All the examples I looked at were gendered and clichéd, which is probably why my final result looks as it does, it became an exercise in exasperated completion rather than creativity. I accept my tutor’s view that this got too clipart in form. I should have been braver in finding a different form and perhaps thinking about designing an app rather than a poster. I have now played with this idea following my tutor’s feedback.

Assignment Feedback

I enjoyed this assignment and was reminded of one of my introductory postcards for assignment one, my love of books. I think I have gravitated to the book design exercises throughout the course. That is not to say I see it as a comfort zone, I definitely still find it challenging. I was pleased to note my tutor found my designs had a:

…dynamic use of colour and composition.

I recognise in his feedback that I have fallen into a common newbie trap of ‘designing as if the front and back covers will be seen at the same time.’

His advice to ‘think about them as interconnected but visually discreet’ is helpful. This was a bit frustrating as initially I was going to design them completely separately but was then worried they wouldn’t be consistent enough! Another indicator that I should probably trust my instincts more.

I have now reworked them to make them more distinct but connected.

I appreciate that my tutor has noted:

There is energy in your drawing that could be utilised more within your graphic design.

Having not drawn for years I have been surprised to find how much this has become part of my work and I am very keen to keep it going as I move back into photography.

I can’t express how pleased I am I took this course, it felt like a step into the unknown at the beginning but it has had a big impact. Had this been my second course I might have considered changing to creative arts but I hope to integrate all I have learnt into my photographic work. I am definitely seeing myself as an aspiring artist-photographer now. I want to finish by thanking my Tutor for such wonderful support, I felt he has understood me throughout and while I haven’t quite got to the point of fully expressing my playfulness in the final designs I am on the way and expect this to grow as I move to Level 2. During our conversation he gave me some good advice:

Show how you think and not how you finish, and keep it simple.

I have now collected a range of graphic design resources with different types of activity to help me keep this work going and to ensure that my range of influences are as broad as possible.

Thank you.

 

Assignment Five: Your Choice – Part Three

Brief 1: Book Design

Penguin Books have asked you to design anew house style for a collection of books on design for children and young people. They are starting with three titles: Colour, Typography and Photographs. Produce three covers – front, back and spine. The designs need to be recognisable as a series and at the same time be appreciated for their individual merits. The book dimensions are 190mm wide by 225mm high.

In addition they have asked you to produce the one on Typography, called A is for…Create an introductory chapter of at least four pages.


Thubmail sketches for a book design

Sketch 4

I started by developing the book covers based on the initial sketches (sketch 4).

As there was additional pages design involved in the Typography book I researched the main Pop Art characteristics:

  • Repetition
  • Recognizable imagery
  • Bright colours
  • Flat imagery
  • Celebrity/advertising images
  • Hard edges
  • Mundane reality and irony
  • Influence by comic books, newspapers and photographs
  • Consumerism and mass consumption
  • Blocks of colour

From this I developed a range of symbols in Illustrator as well as sketching a basic layout.  The biggest challenge seemed to be the wording and content, more so than the layout itself! It took me a while to decide what I would include in the first few pages. In the end I went for some background to typography and what I hoped would be some attractive exercises. I was a bit concerned that I had used a pop art approach in a previous assignment but I felt like my skills had moved on since then and I could be much bolder than I had been, I hoped that it would show my development.

I was still a little concerned that the book title is ‘A is for…’, which suggests a younger age group and an alphabet type book. I decided to overcome it by not making an obvious link and using A as the starting point for a voyage into typography, rather than a direct link to the words. I still wonder if young adults might be put off but hopefully the pop/graphic novel style would be attractive enough.

The design of the pages went through four main iterations as it developed:

I was looking for the beginnings of a book that was dynamic and interesting. I have used typography, colour, and layout (in other words pulling together all the elements of GD1) to try and achieve it. It took a little while for my ideas to surface but once they had I could see the direction I wanted to take. I printed each version as I went as I found it helped me identify issues I had missed on screen, like the stroke around the text box on page two, version two.

Pop art cover for a book on typography

Final cover design

I think the final version has a good degree of consistency even though I have tried to mix the format up throughout the pages. I am pleased with the result, not so much from the design point of view but because I can really see how my worked has evolved throughout the course and how my confidence has built.

Rework

Following feedback from tutor, which suggested in the politest possible way I had fallen into a common novice trap I did some rework on the covers. He highlighted that my chosen design appeared to have been designed as if the front and back covers would be seen at the same time and that they needed to be more distinct yet still being connected. I have therefore taken elements of front and back and worked them up further.

 

 

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Assignment Five: Your Choice – Part Two

Brief 1: Book Design

Penguin Books have asked you to design a new house style for a collection of books on design for children and young people. They are starting with three titles: Colour, Typography and Photographs. Produce three covers – front, back and spine. The designs need to be recognisable as a series and at the same time be appreciated for their individual merits. The book dimensions are 190mm wide by 225mm high.

In addition they have asked you to produce the one on Typography, called A is for…Create an introductory chapter of at least four pages.


As I started sketching I was thinking a lot about what might encourage people to pick the book up. I thought it needed to be able to attract adults and young people as adults may be buying it for their children. I’m not quite sure where it came from but I remembered something from a workshop I did a while ago which highlighted how we are hard wired to be able to identify faces and that the eyes are an important element of that. I also came across Joel Meyerwitz’s book ‘Seeing Things’ on talking to kids about photography and the eye became a theme for me. I thought it might work because I could replace the pupil with symbols for each of the books in the series. I played with several versions and mocked up the cover for the colour book.

 

 

I was not as excited about them by the time I had finished as I hoped so I went back to my other sketches. I had decided that the books would be produced as the ‘Penguin Young Designers’ series and thought it might work to have the covers themed under a different era in graphic design (sketch 4). I then chose to look at Pop Art, minimalism, chaotic design, Dadaism, Surrealism and Grunge. I went back through my Pinterest boards and did some more research, and decided I would work up grunge (colour), Dadaism (Photographs) and Pop Art (Typography).

Thubmail sketches for a book design

Sketch 4

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Assignment Five: Your Choice, Part One

Assignment Five: Your Choice, Part One – Idea Development

Brief 1: Book Design

Penguin Books have asked you to design anew house style for a collection of books on design for children and young people. They are starting with three titles: Colour, Typography and Photographs. Produce three covers – front, back and spine. The designs need to be recognisable as a series and at the same time be appreciated for their individual merits. The book dimensions are 190mm wide by 225mm high.

In addition they have asked you to produce the one on Typography, called A is for…Create an introductory chapter of at least four pages.


I started by defining the brief a little further. Children and Young People is a very broad market and it is unlikely a design for five years olds will work for fifteen year olds. I decided the market would be primarily Young Adult (defined as 12 – 18yrs; Young Adult Library Services).

I had already done some background research on Penguin Books, and having read ‘Penguin by Design,’(Baines & Pearson, 2005) I felt like I had plenty of scope for developing the designs. While they needed a degree of consistency, the cover designs could draw on a range of influences. Although Penguin is mostly associated with orange spines, it has used patterns and other colours so this didn’t feel too restrictive.

I then did my usual in terms of sketching ideas and thinking about the themes I might use to develop the designs.

I was a bit put off by the fact that the Typography book seemed to have a double title – both ‘Typography’ and ‘A is for…’ so in my sketches I played with some examples where they all had a title. But this also seemed inconsistent, why would you have a book on colour called ‘C is for…’ when the one on typography is ‘A is for…’? I was also a bit worried that the title might locate it in a much younger age group and could therefore be in tension with the age group I had chosen to work with. It seemed to me that this meant the cover needed to be eye catching enough to be taken off the shelf and explored.

During Section Four I found three books on typography that were both helpful and enjoyable:

  • Typography Workbook (Samara, 2004)
  • Playing with Type (McCormick, 2013)
  • How to Draw Type and Influence People (Hyndman, 2017)

The two activity books were particularly good for engaging me and were a bit more playful than some of the other resources I had found, which seemed to get very technical very quickly and I found a bit daunting as a non-specialist. I decided I would take a similar approach to encourage young readers to play with typography. I did a bit more research and found that Penguin do produce activity books so it would be in keeping with the brief.

I did more research around typography books for young people and found very little, apart from the truly delightful ‘Serif Fairy’ (Siegfried & Mann, 2007) I broadened the research to graphic design and found a few more titles, but not many – definitely a gap in the market!

Layout examples:

  • Typography Workbook – 230mm x 230mm, 3 column grid
  • Penguin by Design – 185mm x 220mm, 3-column grid
  • Playing with Type – 235mm x 235 mm, mainly 2 column grid
  • How to Draw Type… – 270mm x 230mm, layout is varied – single column to three
  • Graphic Design for Kids – 210mm x 230mm, two column grid

This seemed to imply that the dimensions I was working with were narrower than the other activity books I had seen. A challenge, but hopefully not insurmountable!

References:

Baines, P., & Pearson, D. (2005). Penguin by design: a cover story 1935-2005: Penguin Press.

Hyndman, S. (2017). How to Draw Type and Influence People: an activity book. London: Laurence King Publishing Ltd.

McCormick, L. (2013). Playing with Type: 50 graphic experiments for exploring typographic design principles. Beverley, MA: Rockport Publishers.

Samara, T. (2004). Typography workbook: a real-world guide to using type in graphic design: Rockport Publishers.

Siegfried, R., & Mann, J. (2007). The Serif Fairy. New York: Mark Batty Publisher.