‘Again a sound range of ideas for ‘Chance Housing Association’. In many respects you over-complicated the solution by adding door illustration therefore your logo design has two illustrative features; the word ‘association’ doesn’t merit emphasis.’
Never has a truer word been spoken in jest. The more I looked at what I initially thought was a great idea the more I realised I’d strayed into illustration territory, perhaps goaded by some of the images I’d collected on Pinterest. Some of which may have looked nice, twee. Kitsch. I think its very easy to be taken in by snazzy logos, bright colours and wonderful motifs, yet they rarely add anything to the overall design.
The desire to overcomplicate or not let the text speak is strange and indeed when I searched for simple estate agent logo’s there were surprisingly few that relied on lettering and simple decorative devices. That puts the designer up against it as straight the way you’re having to be innovative. So to that end I revisited the work I’d done previously for this exercise and drop the door opening motif, ensuring the simplicity of the design returned (though I kept the roof motif as it didn’t interfere with the lettering), and any manipulation of the lettering was reflective of the theme.
I’ve done a couple of mock up’s with two different designs and hopefully these are closer to the intent of the original brief.
Of the two designs the one on the left is my favoured as it’s simpler, cleaner and visually more balanced and the one I’d submit for assessment.
The first time I visited Vernacular Typography I was limited in my outlook, this was rightly pointed out by my tutor. This had me vexed, what had I missed? Had I been too technical in my outlook, or merely restricted? This has been in the back of my mind for a while now as to what I’d missed out. The key element was the art of Sign writing, something which is unforgivable to ignore. It’s prevalence in our lives up until the advent of vinyl printing and large scale decals was so common it merged into the background.
The issue with this sort of typography, for me at least, is that I have my prejudices, insofar as when we talk about type I automatically think print or paint. I forget the flourishes that exist, the art of the sign writer but most importantly of all the craft of the Mason. From Sumerian clay impressions, to ancient Greek markings, to contemporary grave markers, this form of Typography, like the traditional sign writer, is overlooked. Here the form takes on commonality restricted by type, leaving a 2000 year old record of commonality.
For me all of this leads to sign writing, which is the ultimate expression in vernacular typography. It was soon copied by Victorian print makers and in this age of DTP is enjoying a renaissance at the hands of modern typographers such as Letterhead Fonts. The decorative curls and broad expanses lend themselves to both contemporary businesses to help deisgn logos, promote the business as well as become established as part of a new 21st Century sub-culture, Hipsters.
The flows and strokes of the range of types and font available are definitely of interest to any Graphic Designer, if not historically, most definitely as a basis for future work and adaption. After all DTP can do anything nowadays.
This exercise is an interesting one which starts off with some interesting research opportunities, looking at both Estate Agency and Housing Association (I live in a Housing Association property and their branding is not exactly inspiring) logos and branding the key theme is; home. The shape is used throughout and even before I started with my mind map I couldn’t help but feel influenced. Interesting examples of the use of the company name as part of the logo were thin on the ground.
The first task was to generate a mind map pulling in all the pertinent elements that focused on the terms First Time Buyer. These ideas would normally be shown and developed in conjunction with the Marketing teams, ensuring the logos were on message, not ambiguous or contentious. Any visit would also introduce me to the actually company ethos; are they really different? Are they simply rebranding? Are they working with customers? How do they define modern? Where are they selling properties? Admittedly these are fill in the gaps type questions so I will endeavour to do my best.
The predominant theme for me was that stability and comfort were important to both CHA and their customers. Hopefully this translates in my designs and colour palette.
Regarding colour I’m going for two, three colour selections which reflects warmth and welcoming. No contemporary grey here.
I tried making a logo with over laid lettering of the acronym of CHA and had a quick play, but it really didn’t look right. So onto put the three designs I sketched out earlier through DTP using Affinity Designer.
The first design used the colours I had previously identified as Urban and Rural working with the lettering (Javanese Script) to form a stair way, with the letters forming the steps. I made a couple variants and tidied up the lettering arrangement to arrive at the options that would be offered. Though without the horizontal blocks the design looks flat.
The next design was straight forward in construction, using the letters to help shape the house.
The final of the three designs developed as a theme using the full name of the association to form the house, and then dropping the ‘A’ from association and introducing a welcoming open door. I then experimented with a range of effects including 3D, fade and contrasting colours as well as a black and white version.
These ideas would normally be shown and developed in conjunction with the Marketing teams, ensuring the logos were on message, not ambiguous or contentious. Any visit would also introduce me to the actually company ethos; are they really different? Are they simply rebranding? Are they working with customers? How do they define modern? Where are they selling properties? Admittedly these are fill- in-the-gaps type questions so I will endeavour to do my best.
The next step is to choose a design I wish to use, which is a little bit of a challenge as I like the first and third examples. The second one didn’t translate well to DTP which is a surprise. So biting the bullet on this one I think I’ll go for the Rural palette House with open door motif.
To test the proof of the design I thought I’d try the mock generator that I’ve seen used (www.mockups-design.com ) so as to get a real world feel for the design and to measure how the White Space complements or swamps the overall design. The great thing is using this mock up, a first for me; give life to a finished project. A link to this really needs to be in the course info (probably is and I’ve missed it). For the print on the paper I generated script with the Ipsum generator using Helvetica as I feel it reflects the modern feel CHA is aiming for. I added a small catch phrase to sit underneath the log in Dali script as this is something that many such organisations use on their stationary. For the Business Cards I went for one colour and one embossed to check that the pattern would be legible should the client require an embossed card.
The newspaper advert was designed to be as simple as possible using an inviting background still from a commercial job I did a few years ago and seemed to match the modern and homely vide I was after. General lettering was Helvetica and the motto Dali. The more I use the ‘rural’colour scheme the more it feels right for the brand.
The nice surprise was how clear the lines of the logo’s roof were, I was concerned they’d be somehow lost. The true test will be photocopying so hopefully post Christmas I’ll get the photocopying done, Tier 4 withstanding and see how the letter head in particular comes out.
I showed my handiwork to my family and its amazing how the Mock-Ups make my work pop out and give it life. The daughter was filled with the usual teenage enthusiasm whilst my wife was impressed with the presentation of the logo, especially the newspaper advert.
I showed my handiwork to my family and its amazing how the Mock-Ups make my work pop out and give it life. The daughter was filled with the usual teenage enthusiasm whilst my wife was impressed with the presentation of the logo, especially the newspaper advert. Hopefully I’ve hit the right note with this exercise.
The purpose of this exercise is to design a poster and flyer for singing course, so the first step after designing the mind-map was to review examples on Pinterest for inspiration, which can be seen in the link below.
The image element of the exercise is straightforward enough and I’ll touch on that shortly, the real issue was the information to accompany it. On the face of it, it seems complete enough, but breaking it down into Who, What, When Where, Why and How makes it easier to see what information I have and what information I need.
Who? – Is their a named Point of Contact? Is the course for everyone or a select group due to age? Who are SingOut?
What? – What qualifications do you get? Is the course certified? What qualifications has the tutor got? Large choir, small group, individual lessons available?
When? Year – helps folk to plan, or be disappointed.
Where? Postcode for SATNAV’s
Why? Unique Selling point – learn a new skill; reading music perhaps?
How? How long it the course? Can I book online?
At this point I would be chatting to the client and getting this information from them as the gaps, whilst not big, are important. Remember we’re asking folk to invest their time and money in the lessons, so the more information the better.
However for the sake of brevity I’ve filled in the gaps as best I can:
Join [SingOut (remember the brand)] for an exciting opportunity during the day with [one of our qualified] professional [and experienced] vocal coaches. (reassure the potential customer)
[Join our friendly group and] Learn to sing different types of music, vocal techniques, meet new people and have fun!
10:30am to 12:00pm every Tuesday from 11 March 
The Community Centre, Charlotte Church Road, [New Town, NT1 2BA]
£60 for the [10 week] course
No experience needed/no requirement to read music [just a desire to sing (USP)]
For more information call [Nelly Melba] on 011779 8765432 [or visit] www.singout.com [to book your place online]
The next stage is the illustration, at this point and on looking at the brief and the samples of images I’ve collated I decided a photo would be the best way to sell the idea. Cue Mrs. Skipper and her patience.
These were then put through a filter to get the black and white feel I wanted for the poster. Think late 70’s early 80’s Pelican social history vibe. Still needs a bit of fettling though. The next job is to choose which is best to use.
The first task was to design the A6 Flyer, as it’s the most straight forward of the two tasks, and this time I’ve decided to have a bash at it with InDesign using a setting up tutorial I’ve located on the Adobe community forum (link below).
As I’m setting up the page the one thing I’ve considered is a simple logo for SingOut to establish the brand and make the flyer a little more eye-catching. Time to do some thinking on this matter and make some sketches.
The next stage is to realise the logo using Affinity Designer and Publisher, ensuring the form is simple, as well as making a simple beamed note to replace the ‘N’. This was then balanced and saved as a PNG.
I now created the front of the flyer and imaged it printed onto Yellow, I did notice that the silhouette I’d originally chosen not only looked odd, but was still on a white not transparent background. The image I now chose to use for both flyer and poster was converted with Photoshop to give the transparent background I needed. I also noted that in InDesign my PNG logo was blocky, even though originally done as a raster image in Affinity Designer. So I decided to carry on with the design in Affinity Publisher.
I then experimented with the logo a little, smoothing out the blocks with a 3D effect and gradient tool worked nicely.
I chose to use Helvetica for the back panel information, which included my information adjustments and then selected backgrounds of Yellow, Pink and Orange to see how they worked with the overall idea as well as a plain copy. Next task the poster.
Logo; I’m really not happy with it. So reviewing at the brief I’ve decided to have a play and try to refine it. So I set to redesigning it in Affinity setting the key letters of S and O at 200pts and the remainder at 125pts. I got rid of the note motif as its seemed somewhat clichéd and kept the form simple.
A quick change of the logo has made the word of difference and elongating it helped balance the White Space of the image.
The next step is to change the direction of the SingOut and we’re in business.
The final step is to make the A3 poster. This was arranged using a simple Grid pattern and a hopefully sympathetic layout. A little easier with a definitive logo and the information correctly squared away.
*At this point I feel it appropriate to put in a disclaimer; as I’m in COVID lockdown the chances of being able to furnish my ever suffering tutor with copies of the work are non-existent. But I will sort once a small bit of normality has returned.
So in review, another interesting exercise, the black and white palette combined with the limited information made for an interesting opportunity along with my first and second logos I have to be honest I far prefer the second. This type of poster/flyer would definitely look good produced on coloured paper, especially the pseudo 70’s manipulated photo.
A great exercise with more to it than meets the eye. Oh and if you’ve made it this far and are interested, I’m still struggling with InDesign. I’ll get there in the end though.
Exercise update 01012020 – Alternative logo
The final design and logo has been on mind. The more I thought about it the more I reasoned that any logo would need to be as stock as possible, not only to keep costs low, but also to help with legibility. I chose the Art Deco inspirted decorative font Wallington by Sandi Dez to now represent the company name. It’s eyectahcing, dynamic and not too florid and so easy on the eye. A good alternative to the original logo.
The one thing this course does is open your mind to new ideas and concepts, and whilst the way in which visual information is relayed to us. Be it official announcement or marketing and promotion purposes, the poster remains that bridge between the informative elements of Graphic Design and illustration. The Victorians and Edwardians were great one for providing wonderfully illustrated posters that were almost artworks in themselves, often featuring fantastical motifs and themes. Alluding that the properties of products were somehow magical, patriotic in some cases, but always superior by virtue of the standard of artwork commissioned. By the start of the Great War these posters had morphed into celebrations of nationalistic pride, of women urging men to advance into the crucible of the Western Front.
The post-war world had changed beyond all recognition and by the 1920’s the artistic freedom that many designers were experiencing in the new world of post imperial Russia and Germany were influencing the work of artists in Great Britain and USA. Palette colours were simplified and styles from the Bauhaus and Art Deco Schools were making themselves felt in popular advertising. This was now torn between connecting the consumers personal preferences to a product and new ways of radical thinking and governance, such as communism and fascism, rather than chasing the nationalistic ideals of Exceptionalism and turning goods into a celebration of Empire.
As the period progressed there was a drive to place the consumer at the heart of the image; famers, families, men, and women. There was also a return to selling the ideal, but not as an extension of the body politic (outside of Central and Eastern Europe aside), but as a means to introduce the consumer to the world. The age of the holiday was upon the masses, given rise by cheaper transportation, and an ever increasing globalisation of information. The use of photography, which first appeared mainly in post war political posters, was becoming more popular with advertisers and manufacturers, especially the automotive industry. Though illustrations were still being used, it was more simplistic and suited to cheaper mass and rapid turn over printing rather than the more expensive and complex painterly styles.
The onset of war and mass propaganda introduced once again more complex and dynamic use of colour, composition and theme. Posters followed the same formulas of personal engagement with the viewer seen with contemporary advertising, promoting personal responsibility and collective aims.
Post war adverting and poster production was miles away from the still rigid forms of the inter war years. Many of the designers returned from fighting eager to experiment and use their post war education credits to gain the necessary qualifications in design and illustration. New theories from Switzerland, especially those penned by Müller – Brockmann and Tschichold, introduced a new form and visual direction to the poster, which was easier to fulfil with the development of print technolgy. There was also the chance to completely tear-up the rule book and introduce more informal form in their work. The seriousness of wartime messaging was now replaced with a looser, freer form of expression where comedy and whimsicality was welcomed, especially in film and travel posters.
For me this was the golden era of the poster, from holidays to military recruitment, clothing to cars this period not only helped to sell ideas, good and experiences, but also, for a fleeting moment, showed that all was still good with the world. Colours and artistic flare worked together to give the viewer an experience and insight in what was out there, a welcoming splash of colour and life for all to enjoy.
All the while Type and Font has developed with posters, becoming more sophisticated and less decorative whilst improving accessibility. Though it has to be noted that as the decades progressed the decorative fonts were used, but often sparingly, as part of logos for example, and often in Black or Bold styles.
This is an interesting little task involving the design of a simple Birthday Reminder Calendar for family and friends. As opposed to a spider chart style mind map I looked at the key themes of the exercise and used these as a starting point for what the exercise was attempting to do. I then considered the brief from my perspective as a disabled person who struggles with communication. What did I want/need? Clarity above all else.
The actual list is based on a simple sheet of A3 separated into 12 square grid, which was going to originally be orientated as landscape, but I decided to move it to a portrait orientation. Each square would represent a month, with no individual dates, instead there would two simple types of symbol, circles for family and squares for friends. I was inspired by Eastern European birthday calendars that are wall hung which use similar approached for different birthdays.
For the actual methods of communication I did think about symbols, however some are easily confused visually so opted for colour coding which makes the task that bit easier.
For the main List background I chose a pale yellow with a pale blue banner with the words Birthday List in a simple Black San Serif Type, Candal. This was then given a light shadow effect. For the Background I initially intended to use a coloured background to help contrast with the colour coded disks, so came up with this:
I’ll be honest, after literally sleeping on it these first drafts look hideous. So a review of White Space is in order with resign adding a faint background image being more in keeping. The arrangement of the grid is also off so I’ll address that too as well as sorting out the type, its size (30Pts) and colour (60% grey). I used a generic back image as I wanted the poster to have a family appeal too, especially for the younger members.
I made all my changes and realised I hadn’t left room for the key which used Arial for the lettering as this is easy to use and read at a distance. This was then added to the bottom of the calendar. The final task was to populate the calendar using family and friends details.
One the things I tried was to curve the name of a family member inside the circle, whilst easy enough to do in the Affinity package in terms of legibility and accessibility it’s a no-go. So back to my original idea of simple flat line text.
As I populated the details list and colours I realised that my colour choice wasn’t the best and most suitable. The shades were simply too similar, so a quick change was in order.
The next and final task to populate the calendar with the list, unfortunately I had an issue with the lasso selection tool so had to move a few of the markers, however a quick shift around gave me a great representation of the finished Birthday List.
Overall the hardest element of this task was not the design but drawing the practical elements together. That said I learned a lot including maintaining design flexibility.
As this bit of research runs with the next exercise I won’t bamboozle you dear reader, but it was an opportunity for me to make some notes on what I thought constitutes a table or form and how these are presented and in what manner.
I then set to doing an image search on Pinterest use keys words form my mind map. I had a bit of a field day and the results can be found here:
The first part of this exercise is some research, which is always fun, the first task was to look at Bus Timetables. Here the first thing that struck me was that they were all arranged to a grid pattern. Not obvious when it’s an everyday item, but when the pattern is looked at with a designer’s eye it’s obvious. The samples below were sources from a simple Google search.
Not only doe the use of grid mean that there’s universality about the timetables, but that they can be understood by anyone anywhere.
City maps on the other hand can be quite different, with a range of styles used, from the standard grid based map system to the decorative style, with pictorial representation of key land marks and only key routes marked. Pictorial maps aren’t new and are perhaps some of the easiest to use. Whilst they are correct to a point, they lack the accuracy of the grid based map, which in turn lack the fun of the pictorial map.
Statistical data can be represented in many ways from the established and straight forward to read charts.
However with the advent of more sophisticated DTP software, a steady switch to paperless offices and a desires to use space and present information in ever more creative ways the information presented by Statistical Data graphics can seen alien at times, yet in some respect they still mimic the traditional methodologies.
Maps are combined with regional medical data to supply important health information, something that has been used extensively during the Corona virus outbreak of 2019/2020 and beyond. Known as Geovisualisations these charts used in a myriad to convey geographic data in a meaningful and instantly understandable way.
Other methodologies used to share data incorporate all manner of the above as a single piece of information. These items are arranges on a grid to help retain familiarity with chart layout and help with ease of reading.
The more adventurous statistical data representations involve not only complex Vector graphics, where the subject is pictorially represented thought the clever use of arrangement and design, but on occasions they have become the data.
The next stage was to mind map the concept and what it meant to me, followed by what I was going to create.
I decided to make a map of my wardrobe, though to spare embarrassment we shall pretend it’s perfectly arranged and in good order. I used an Ordnance Survey (OS) map to refresh my memory on how a map is laid and to give me inspiration in the overall construction of a map. A quick internet search helped me find the font style used in Maps, Arial, as well as providing a handy link to OS raster styles.
The next stage was to sketch out my idea before committing myself to the finally design. I tried to replicate a maps finish as best as possible.
The next stage was to sketch out my idea before committing myself to the finally design. I tried to replicate a maps finish as best as possible. Northing’s and Easting’s were added, this were double checked with the OS map to make sure they were in the correct place. Labels were added to the clothes using standard sized 10pts Arial, whilst key details were labelled with 20pts and in 30% gray to echo the Civil Parish markings. Labelling of the clothing was arranged to be as precise as possible and carry a sense of uniformity. I had to add a little accuracy to the map and include a Stuff that been chucked in pile.
I used the OS approach and make my map as self explanatory as possible. Hopefully I’ve succeeded. A great little exercise and fun, made me wish though I was a good illustrator, but that will come.
a visual representation of information or data, e.g. as a chart or diagram.
“a good infographic is worth a thousand words”
We’re surrounded by Information Graphics (Infographic’s hereafter), and in the digital age they are becoming more widespread. The earliest Infographics were found on the walls of caves, showing how to hunt wild animals. These were then followed by shamanic and religious glyphs including stain glass, and fresco’s of the Stations of the Cross to inform a largely illiterate or disinterested population. Some of the most breathtaking of these were the Nazca Lines in Peru and Michelangelo’s Sistine chapel paintings.
As humanity grew and expanded its horizons some of the earliest secular Infographics were maps and charts; from the Dunhuang Star Chart AD650 to the Templers map of Jerusalem circa 1535-1590. In more contemporary times the underground maps of Harry Beck are some of the finest infograph’s about, bringing order to chaos as it were.
By the end of the twentieth century and the beginning of the twenty-first the info graphic had come of age. The proliferation of mobile devices, more sophisticated DTP and faster soft and hardware means the Infogrpahics is currently enjoying a golden age.
The next stage is to experiment; I’ve been using Affinity Designer a great deal as it’s relatively straightforward to get my head around. However no one got experience by driving in a straight line so a quick play with the pen tool in making a simple box network followed a quick scan of Chelius and Schwartz’ book Learn Adobe Illustrator CC.
This was a great moment to have a play with the various aspects of the program including shape tools. At this stage my work looks more like an experimental art piece than serious investigation. However that’s how you learn.
Typography in information graphics
As the research point here is to look at how Type is physically arranged, I found some interesting example of type in use and the idea is Keep it Simple Stupid. Each approach was subtly different, and one very interesting approach was to use the shapes used in the infographic to also spell out the location the information was about, Cape Town.
Chelius C and Schwartz R, (2019, Learn Adobe Illustrator CC, 2nd Edn, Adobe Press.
For this exercise I’m using Guy Sajer’s war time autobiography The Forgotten Soldier. The book is set on the Eastern Front during World War Two and charts Sajer progress from driver to infantryman in the Großdeutschland Division. The book itself is a sobering read for anyone and when initially released was considered in 1965 during the wave of popular books written by Dane Sven Hassle. The two authors were poles apart in terms of style and subject. Where Sajer was considerate, almost contrite, Hassle was brash and obscene. The Forgotten Soldier brought the reader closer to the effects and experience of war than any of Hassle’s Pulp Books and with that came an opportunity for the graphic design to create an iconic cover.
Understandably nearly all but one of the covers I’ve found featured a lone soldier, the single non illustrated cover uses the White Space exceptionally well. Of the illustrated covers, only one actually features an illustration, drawn by Sci-Fi artist Richard Clifton-Dey, whose work for the New English Library publishing house was varied, imaginative and very much of its time. The illustration is raw, showing the physical and emotional effects of battle exceptionally well, and it’s fair to say it would be exceptionally hard to replicate such an illustration as well as Clifton-Dey.
The other titles used established and sometimes clichéd portraits of individual German soldiers, sometimes to great effect, to show the loneliness that one can experience as a soldier. It’s interesting that only one cover features a portrait of a young Sajer as a soldier prior to being an infantier.
The cover that intrigues and appeals to me the most is the illustrated one by French publishing house Robert Lafontt, with shades of work by Joe Colquhoun, a British comic illustrator famous for his World War One work. This add an air of intimacy, is a more personal connection to the story and a line of design I’m keen to follow.
The use of a plain type cover is something rarely seen on popular war books, and while the illustrated books use a range of different types and fonts, the use of a utilised White Space is rarely seen on the cover of military histories, so to see it was intriguing as well as food for thought.
The first stage of my design process was to create a mind map centring on the books title.
The main theme was the title of Sajer’s story, what it meant for him as individual, a soldier and the child of a French/German marriage. The themes were further developed and then a commonality identified; the military. Here the symbology was sought to be unique to show he was a German solider, and there’s nothing more unique than the German wartime helmet. A draft of three possible arrangements was designed, along with how the text only cover would appear.
The first task is to create the basic design for the front page using Affinity Designer utilising the Großdeutschland’s divisional insignia as the centre piece. The helmets were then arranged as if on parade with space for text above and below. The second test cover featured the same image, but with a helmet removed, signifying Sajer, as the forgotten solder. I then coloured a helmet with the French tricolour, to symbolise Sajer’s nationality to see how that would fit. Another experiment features the Großdeutschland’s divisional insignia over the tricolour. However it seemed a little contrived, so won’t be pursued.
Yet as a motif the helmet certainly sticks out, and when placed with copies of the original insignia it makes for an interesting juxtaposition; indentifying Sajer as both a German soldier by the shape of the helmet and as a Frenchman by the Tricolour. This theme also recurs at the end of the book when Sajer takes part in the French Victory parade as a French soldier and his thoughts runaway to where his friend, Hals, is. This alluring to that his connection was stronger with the German army than the French. As one of the 130,000 Frenchmen Alsace and Moselle forced to fight for the Germans because of their births, and the post-war desire by the French authorities to not talk about it Sajer become one of the Malgrd-nous or Despite us/against our will. This theme again confirms the forgotten soldier status of Sajer, and indeed he told in a post capture de-brief to ‘Get yourself home, and try to forget all this as fast as you can’.
I was able to find a book cover tutorial for InDesign, but struggled with it a little so reverted to Affinity Publisher for the design process. For the Font I wanted to use a Black style, but nothing too contrived. For the spine I chose a dark green from a custom palette which I also used for the font colour. The background was coloured a pale yellow green. The Spine font is left justified Georgia 20Pts and rear text is Justified Georgia.
For the front cover I used the Sans-serif Haettenschweiler font (80pts) designed by Walter Haettenschweiler in 1954. This font was designed to be eye catching as given its Black font style suits the cover well. The authors name sits below this Georgia (25pts). The helmets had their opacity reduced to 80%. I then created three differing backgrounds to see how they compared.
Whilst I was happy with the back and spine the front lacked the visual impact I wanted, so I decided upon finding a suitable photograph of German solders marching, one that would allow me to split the page into third and experiment with font placement and type. I appreciate this was a complete departure from form, and I expect this is how themes are developed, but all of a sudden the cover, for me at least, snapped into place. The top of the photo was erased at 50% flow, hardness and opacity to help it merge with the white space, whilst the text was brought in from the edge to helped to define and deliver the final cover. I added the line underneath the title to see how physically and aesthetically the cover would look if separated the title from the author’s name. I found it didn’t sit quite right visually with the text right justified, but pulled away from the edge slightly gave it a more calming appearance.
The green spine details were kept as a tool for theme colour coding by the publishers, echoing the 1930’s classic Penguin covers with their range of colour’s, whilst the back cover information was left as it.
With the illustrated cover complete I was now ready to look at using just font work for the front. The back over and spine achieve the aim of clarity I was after. A quick search of various Text only covers showed how text was used effectively. I was aiming to use three vertical columns, with the central one clear, allowing the side one to be used for information.
The first draft looked ideal, and I chose to include the finally two paragraphs of the book to join the text as they were powerful. As they were mounted there lay along side the vertically set text of the title and the author I decided to highlight the authors name in red and enlarging it to 16pts against the 15pts of the main quote text, which has been skewed to 20°. The title was stretch by 43% which improved the impact of the Haettenschweiler type. Using the White Space wisely I set the vertical aspect of the font deliberately to replicate the erect nature of a soldier standing to attention. A final idea was to split the page into two columns, the title sparing the space with an edited quote, which is the final line in the book, with Sajer’s name highlighted in red.
So comparing the two book covers my favourite has to be the one featuring the photo graph. The text only cover has an appeal, but given the market would be predominantly male (though my daughter has read this book twice now), the photo style follows previously successful approaches, but uses the idea of even belonging to a group one can still be lonely. Of the two I’d say the photo-cover, which was used after my illustrated cover felt a little flat, is more eye-catching and in terms of fulfilling the design brief is more successful on this occasion.
Screen shots of exercise development:
Sajer, G, (1997, The Forgotten Soldier, Third Impression, Orion, London.