Final portfolio

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s t n e t n o C Table of

6 Helvetica Response Paper 8 Pecha Kucha Presentation 26 Type Quizzes

e tic

Exercises

Q

ui zz es .

39 Form and Counterform 42 Contrast 50 Matching Type 56 Kerning 68 Grid 80 Front Matter

Pr es en ta tio ns .

Projects

er s.

88 Shadow Type 94 Expressive Type 100 Placard Phrase 106 Book Cover 114 Event Mailers

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ac Pr

Type Practice

a c i t e Helv Hannah Bruneman 1-27-15 Helvetica: The Movie

To introduce us to typography, we watched a short film, Helvetica, in class. Not knowing much about typography, I was introduced to a world of type I never knew existed. I always thought of type as the choice Microsoft Word gave you to use as fonts. I have always associated fonts with different ages in my life. For example, classic Times New Roman reminds me of high school, whereas I am embarrassed to admit that I was a Comic Sans MS fan in elementary school. This film brought to my attention the timelessness of one font in particular: Helvetica. In the opening scenes, I was enthralled at how often we see this font. I was soon able to recognize it everywhere and wondered why I hadn’t noticed the repetition before. It taught me that a culture really could be shaped by the font of that decade.

Helvetica Response Paper

I found it interesting when Mike Parker was discussing how the Swiss see typography. Instead of seeing the black lines and marks on a page, they look at the white space. I loved the quote by Parker, “I mean you can’t imagine anything moving; it is so firm. It is not a letter bent to shape; it’s a letter that lives in a powerful matrix of surrounding space.” Each designer talked about the font with such passion. Together, they showed how one font could truly be universal. To go along with that, I found it interesting that they changed the name from Neue Haas Grotesk to Helvetica. I thought this was a wise choice on their part. It even makes me wonder if Helvetica would have been as popular if it remained the original name.

I was surprised to see that the font is used in so many large company logos. I always thought that well-known corporations would want a font unique to themselves– especially to stand out above their competitors. However, Helvetica continues to impress consumers. The film talked about how it is possible that the success of the font is due to the versatility of the font. Different companies can use it in different context. Everything from the color to the size of Helvetica can change the way you view it.

I would like to learn more about David Carson. He intrigued me because he admitted that he did not have formal training in the field, however he has been successful. Much of his success comes from his experience with Ray Gun Magazine. The radical fonts used in the publication, along with the layout really made it stand out. The ‘grunge’ look he went for was very interesting to me, and I would like to see how else it has been used.

I mostly did agree with what they said. Before I saw this film, I would not have said that a font could define a culture or that Helvetica was a monumental font. However, after seeing it used in so many different ways and in so many different places, I can see what the designers were so passionate about.

The thing I remember most about the film was the opening scene. Before they even said anything, the viewer slowly was able to see the similarities in the signs. I knew that each one used the same font, but yet they each were different in their own way. Being able to see how much we are surrounded by the font without even know it is surreal.

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Pecha Kucha Presentation Zuzana Licko By: Hannah Bruneman

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n o i t p i r c s e D

Type Quizes

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These are a collection of the weekly typography quizzes we had this semester. We studied a typeface related to a designer we learned about in class and then recreated the typeface by memory with nothing but pencil and paper. Everything from kerning to x-height was considered when completing these quizzes.

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e l l i v r e k s a B

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n a e L e c r e m m o C

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s n a S o i c Silen

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s r e v i Un

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Jensen

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f i r e S a n i c i f f ITC O

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s e v a E s Mr

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a r u t u F

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Goudy

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Pr ac tic e.

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Form and Counterform

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Final

For this practice, we experimented with letter size and placement.

We talked about how defining characteristics of a letterform can distinguish a letter even if the entire letter is not in the picture. I kept a continuous theme of moving the letterforms to the edge of the box and I also used reverse lettering with the ‘O’ and the ‘H’

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n o i t p i r c s e D

Contrast

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Given specific instructions for each slide, we had to create contrast with the letterforms in our names.

I learned that there are many different ways to create contrast including color, size, typeface, and more.

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Final

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Final

HannahBruneman

HannahBruneman

Typeface: Minion Pro regular, Minion Pro bold

Typeface: Baskerville regular

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Final

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Final

HannahBruneman

HannahBruneman

Typeface: American Typewriter regular, American Typewriter condensed light

Typeface: Didot regular, Didot italic

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Final

Final

HannahBruneman

Typeface: Calibri regular, Calibri subscript

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HannahBruneman Typeface: Apple Symbols regular, Lucida Blackletter regular

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n o i t p i r c s e D

Matching Type

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Here we learned about how to effectively match typefaces in a document. Each of the following examples uses a different technique such as using one typographers font collections or using contrasting serif and sans serif typefaces.

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Final

For this pairing, I choose contrasting typefaces that

Final

Matthew Carter is the common factor that makes

complement eachother. Impact is a san-serif type-

these two typefaces work well together. He created

ognized by its bold, thick strokes and compressed

(serif) and Verdana (san-serif) are structuraly very

ascenders and descenders. Minion pro is a serif

other is clean and to the point. However, it is clear

lower x-height contrast well with Impact.

vertical axis in both of the typefaces.

face designed by Geoffrey Lee in 1965. It is rec-

both of these in his sucessful career. Georgia

spacing. The high x-height contrasts with the short

different. One has a very decorative look while the

designed by Robert Slimbach. The thin strokes and

that Carter incorporated similar elements such as a

12 pt impact regular

BREAKING

12 pt georgia regular

BREAKING

36 pt impact regular

Cia sae viditectur amende a que non prerro dollam

36 pt georgia bold

Cia sae viditectur amende a que non

16 pt minion pro semibold italic

Occuptibus vitium harcid quunt.

Expla volupta quunte et ero el ium, seque lauta sequatur, voluptae sit a quiatis es aris as pliquosam, omnis venda sanditiis dolupta volorit, volut as qui cum que ipsam ipsae. Ut ius et haribus ciendam, same pe vent eium cusdae vel ius.

P 10 pt minion pro regular

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osandam nusam ad essint moloria ne ne occum re, simusda escilique cuptasperiam nullant ea alibus mo blandae prorisc itaque pe destiamus eturit molorest od quibusdae labore cum net, volore nonem volorio. Nulpariae pror as endelis eossumquis doluptatus, conseribusti dolupta volent mosti officta tempore, que verrovid mintum haribus, nis sitatem hici ipsam ex el iundae pratemquati dolupta elique pero quod molupta sita nonseque nost, cor reratempos enis ilit apicium invent aliqui nusaper natiassin poribus sit quunt magnis aboruptia vit faci non exernatem rehenem hitatis iumquae apiet et quae. Et labore nullam etur?

Et hiliquatem consequ odicate coriae. Et ium explandus molorepuda seceatio entiatus et ea conemqui consequ iatempo rehenis earupta quam sapiendam que repelenis undia que dolorepudit as dollorunt hicia quiscia delesti beature ptassus soluptam atur aut vit, ad quis pedit, ommolor porpore, aspedit, cusa evelitat-

ur, inis eicatem poremporeiumTias modit que voloreiciet lignihi ctaectat.

Igenda conectat fugia dis idiciet adipici aestissinus, quasim faccus volum ero et ullab idendaest reic temporeratem vellabo. Exerfer spides mos qui tem ea pro imaximp orepuda quia erion perum quat repero quiam eatur reratis sundebis sus.

Rerem aut eturio. Us. Um eost aliquidis es eos maximpost, qui ut volorpore dolorpo ribus, quae as que doluptatinus re, natibea quaspita ipit voluptatiis as aut et omni rem qui sin re, niatur alistrum re reruntur?

Uptatur? Orpost ut est providem eos natempo resequias rerum excereped ut eum fuga. Ape necat.

Luptin rem arum ipsam verspiet doluptas estiam explant adistiatem quam quis et et quo molorestem dollabore diation eum ut ullist, acideseque nusdanimagni odi doluptatente et dollo tet, ad molorehentor soluptatam suntio-

16 georgia italic

Occuptibus vitium harcid quunt.

Expla volupta quunte et ero el ium, seque lauta sequatur, voluptae sit a quiatis es aris as pliquosam, omnis venda sanditiis dolupta volorit, volut as qui cum que ipsam ipsae. Ut ius et haribus ciendam, same pe vent

P

10 verdana regular

osandam nusam ad essint moloria ne ne occum re, simusda escilique cuptasperiam nullant ea alibus mo blandae prorisc itaque pe destiamus eturit molorest od quibusdae labore cum net, volore nonem volorio.

Nulpariae pror as endelis eossumquis doluptatus, conseribusti dolupta volent mosti officta tempore, que verrovid mintum haribus, nis sitatem hici ipsam ex el iundae pratemquati dolupta elique pero quod molupta sita nonseque nost, cor reratempos enis ilit apicium invent aliqui nusaper natiassin poribus sit quunt magnis aboruptia vit faci non exernatem rehenem hitatis iumquae apiet et quae.

Et labore nullam etur?

Et hiliquatem consequ odicate coriae.

Et ium explandus molorepuda seceatio entiatus et ea conemqui con-

sequ iatempo rehenis earupta quam sapiendam que repelenis undia que dolorepudit as dollorunt hicia quiscia delesti beature ptassus soluptam atur aut vit, ad quis pedit, ommolor porpore, aspedit, cusa evelitatur, inis eicatem poremporeiumTias modit que voloreiciet lignihi ctaectat.

Igenda conectat fugia dis idiciet adipici aestissinus, quasim faccus volum ero et ullab idendaest reic temporeratem vellabo. Exerfer spides mos qui tem ea pro imaximp orepuda quia erion perum quat repero quiam eatur reratis sundebis sus.

Rerem aut eturio. Us. Um eost aliquidis es eos maximpost, qui ut volorpore dolorpo ribus, quae as que doluptatinus re, natibea quaspita ipit voluptatiis as aut et omni rem qui sin re, niatur alistrum re reruntur?

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Final

These typefaces work because they are very similar. To the untrained eye, they might be mistaken as the same type. Book Antiqua, by Microsoft, is

a serif with a variety of hairlines and thick stems.

Adobe devanagari shares these characteristics as well as a vertical axis and similar spacing. Even

though these two are similar, they stand out with the differences in their font sizes and weights.

12 pt book antiqua bold

BREAKING

36 pt book antiqua bold

Cia sae viditectur amende a que non pre-

16 pt book antiqua italic

Occuptibus vitium harcid quunt.

Expla volupta quunte et ero el ium, seque lauta sequatur, voluptae sit a quiatis es aris as pliquosam, omnis venda sanditiis dolupta volorit, volut as qui cum que ipsam ipsae. Ut ius et haribus ciendam, same pe vent eium cusdae vel ius.

P 10 pt adobe devanagari regualer

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osandam nusam ad essint moloria ne ne occum re, simusda escilique cuptasperiam nullant ea alibus mo blandae prorisc itaque pe destiamus eturit molorest od quibusdae labore cum net, volore nonem volorio. Nulpariae pror as endelis eossumquis doluptatus, conseribusti dolupta volent mosti officta tempore, que verrovid mintum haribus, nis sitatem hici ipsam ex el iundae pratemquati dolupta elique pero quod molupta sita nonseque nost, cor reratempos enis ilit apicium invent aliqui nusaper natiassin poribus sit quunt magnis aboruptia vit faci non exernatem rehenem hitatis iumquae apiet et quae. Et labore nullam etur?

Et hiliquatem consequ odicate cworiae. Et ium explandus molorepuda seceatio entiatus et ea conemqui consequ iatempo rehenis earupta quam sapiendam que repelenis undia que dolorepudit as dollorunt hicia quiscia delesti beature ptassus soluptam atur aut vit, ad quis pedit, ommolor porpore, aspedit, cusa evelitatur, inis eicatem poremporeiumTias modit que voloreiciet lignihi ctaectat.

Igenda conectat fugia dis idiciet adipici aestissinus, quasim faccus volum ero et ullab idendaest reic temporeratem vellabo. Exerfer spides mos qui tem ea pro imaximp orepuda quia erion perum quat repero quiam eatur reratis sundebis sus.

Rerem aut eturio. Us. Um eost aliquidis es eos maximpost, qui ut volorpore dolorpo ribus, quae as que doluptatinus re, natibea quaspita ipit voluptatiis as aut et omni rem qui sin re, niatur alistrum re reruntur?

Uptatur? Orpost ut est providem eos natempo resequias rerum excereped ut eum fuga. Ape necat.

Luptin rem arum ipsam verspiet doluptas estiam explant adistiatem quam quis et et quo molorestem dollabore diation eum ut ullist, acideseque nusdanimagni odi doluptatente et dollo tet, ad molorehentor soluptatam suntionem eles ut aspiend aeproria ipisque voluptatibus rent volorumquam ratempo rerrore hendis dolendam, voloria ne porumque simusa si core simet doloratumqui cus doloritas dempos dollute mpossi doluptur as sim sequi

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n o i t p i r c s e D

Kerning

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This was an electronic game to measure our strengths with kerning, which is the appropriate space between letterforms in words.

The game showed us our accuracy with kerning and then provided us with a final score. To continue our practice, we found real-life examples of bad kerning.

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Final

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Final

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Final

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l a n i F

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Final

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Final

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e r o c S l a Fin

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e r a m t h g i N g n Kerni

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e r a m t h g i N g n i n r e K

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e r a m t h g i N g n Kerni

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n o i t p i r c s e D

Grid Work

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Here we looked at how changing just one variable in typography can create a hierarchy in a document.

We used the same text for each example, but changed it by playing with different sizes, color, and typeface. We used a grid to layout how the information would be presented and then looked to reallife examples to see how grids are used in other areas of design.

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Final

Final

Common Typographic Diseases

Common Typographic Diseases

Various forms of dysfunction appear among populations exposed to typography for long periods of time.

Listed here are a number of frequently observed afflictions.

Typophilia An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.

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Typophobia The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.

Typochondria A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.

Various forms of dysfunction appear among populations exposed to typography for long periods of time.

Listed here are a number of frequently observed afflictions.

Typothermia The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.

Typophilia

An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.

Typophobia

The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.

Typochondria

A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.

Typothermia

The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.

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Final

Final

Common Typographic Diseases

Common Typographic Diseases

Various forms of dysfunction appear among populations exposed to typography for long periods of time.

Listed here are a number of frequently observed afflictions.

Various forms of dysfunction appear among populations exposed to typography for long periods of time.

Listed here are a number of frequently observed afflictions.

Typophilia An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.

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Typophobia The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.

Typochondria A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.

Typothermia The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.

Typophilia An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.

Typophobia The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.

Typochondria A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.

Typothermia The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.

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Grids

Final Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.

Typophilia

An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.

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Typophobia

The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.

Typochondria

A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.

Typothermia

The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.

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Grids

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Grids

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s d i r G

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Front Matter

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To go along with our study of book covers, we created the front matter for The Cheese Monkeys.

The designs matched the covers we made and overall added to the aesthetics of the book. I used my interpretations of the tone of the novel to create the front matter in an effective way.

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Final

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y a l P w o d a h The first step in this project was to create letters using our shadows. This proved to be tricky for some, but for my name, Hannah, I only needed to form 3 letters.

I choose to do a mix of capitals and lowercase letters for a variety of shapes and sizes.

Shadow Type

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I used the uneven surface we were working with to my advantage. The breaks in the walls and ceiling contorted the letter forms. For example, on the H, my hand bends where the shadow met the ceiling. I decided to keep this because it looked like a serif. Also, positioning my body closer to the light allowed for me to create a difference in the stem and the hairline in the letter.

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n o i t a Inspir

Spacing

Before I began planning out my typography anatomy chart, I had to do my research. A quick look on Google images was all I needed to see that there are a lot of variations of these charts. I looked through a number of them and settled on a few techniques I was most inspired by.

Once the pictures were done, I uploaded them to my computer. On InDesign I arraigned them in order and began to align them. The three things I had to keep in mind were the base line, the X height, and the 90

cap line. To achieve the correct sizing, I had to grow and shrink some of the letters.

Once I traced out the first attempt, I realized the kerning between the Ns was uneven.

So it was back to the computer for more accurate fitting. This time, I used the measuring tool ensure even spacing. Using a black permanent marker, I finalized my tracing and moved on to the next step.

I liked the charts that filled in the portion of the letter with color. This was clear and easy to understand. I also noticed so charts that would fill in the negative spots of the letter, which is just as important. I knew I wanted my chart to be colorful, so I was inspired by the bright look of the chart to the left. The elementary colors stand out and I think showcase the letters really well.

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s e h c t e Sk Sketching out the chart came easily once I had finished my research. Shown below was my original design. I wanted a grid background to maintain the technical nature of the assignment. On top of that, I had the title of the chart as well as my letter forms place in order below. I had wanted to split up the title by placing a large H in the middle, but

Final once I got to working on InDesign, I decided I didn’t like it as much.

This is also the stage where I picked out my colors. I considered using complementary colors, but ended up with choosing bright primary and secondary colors that stood out on the page.

I was very pleased with my final personalized typography chart.

Not only did it use my own body to form the letters, but the way I arranged and colored the chart is reflective of my personality as well.

Aside from lowering the opacity of the background, I ran into no critical changes I needed to make.

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g n i p p a M Word

Expressive Type

To begin the project, we did a word mapping exercise. The words were written down and from that, we attached other words that related.

This helped visualize the different ways a word could be interpreted.

The words I choose to continue with were snap and stutter. I liked these becasue they both had lots of opetions of how to portray the word.

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g n i h c Sket

Sketching First round

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The second step was a round of sketching. We had to make 15-20 sketches per word. I saw this as an opportunity to play with different types of visuals. For snap I experimented with the letters pulling and

snapping, a button snap, and even a sorority snap. For stutter, I tried different sizes and fonts to portray what a stutter sounds and looks like.

Second round

Next, we had a second round of sketching where we chose a concept for each word and refined a few more sketches of it. For snap, I decided to go with the visual of the word actually snapping. Originally,

I wanted the P to be falling down, but that created a sense of falling, instead of snapping. For stutter I wanted the word to be bold, but the stutter to be small. This represents how a stutter makes people shy.

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r o r r E d n a Trial

Final

Once I had my sketches refined, I took to the computer to create them on InDesign. I tried different placements of the P for snap and evaluated their effectiveness. I also was able to find a font that expressed the word because the thin hairlines looked fragile and ready to snap. For stutter, I played with the hues of the stutter part of the word. I liked when I lowered the opacity to further emphasize the quietness of a stutter.

In the end, I was very happy with how my designs turned out. After much consideration, I took out the line under the word snap. The long serifs attached to the word created a smooth visual line for the word itself. Plus the dashes signifying where the P snapped off portrays the word well.

My final edits to the word stutter were to lighten the stutter and to remove the brackets that were around it. While I liked how the brackets looked, they did not do anything to improve the understanding of the word. Also, the added brackets did not fit in with the clean lines of the stutter typeface.

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n o i t a Inspir The quote I choose was “I strive for two things in design: simplicity and clarity. Great design is born of these two things,� by Lindon Leader. I choose this because I knew the design should be simple, like the quote said. For inspiration, I searched for minimalistic designs and examples of where they are used in society. I also looked at simplistic scenery to get a feel for the tone.

Placard Phrase

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Sketches

t p m e t t A t Firs After refining my favorite sketches, I was ready to put them to work.

As we learned, a design will not look good with color if it doesn’t work in black and white, so I kept it colorless for this. I choose a very simple typeface paired with a typeface I downloaded from dafont.com. At this stage I really experimented with placement of the type.

There were several ideas I had in mind when I began my sketching. I started by using complex typefaces while leaving the “simplicity and clarity” minimalistic. I also tried bringing out the “I strive for” and “great design” in my sketches. My favorite designs were when I stuck true to the quote and made the type and the placement simple. I put my main focus on the two key words in the quote.

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r o l o C h t i w g n i y a l P

Final My final design was a collaboration of work between type, composition, and color. It is simple and gets the point across easily to the reader. The subtle hints of blue bring out the phrase “I strive for great design,” which is seen after you read the main message.

I put a lot of thought into what color to use with my design. I didn’t want a flashy or loud color, so I tried a light blue. I really liked that because it reminded me of the signature Tiffany & Co. brand. That worked because the Tiffany packaging is simple and clear. To further go with the Tiffany inspiration, I changed the font to Didot, which had contrast with the thin hairlines.

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Book Cover

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The Book

The Tone

I loved this book. His dry humor and quirks come through his words seamlessly. Listening to the narrator, I was able to hear the story in a fun, engaging way.

Kidd’s narratives came to life and put the reader in his chaotic world.

While thinking about the imagery of the book, a lot of retro references came to mind. From the cranky voice of the receptionist at registration to the scenery of the classrooms, I was brought to a time in the past. While the tone of the

book was quirky and fun, I also saw it being sarcastic. Because of this, I don’t want the typography to be too playful. I think having an overly polished typeface would contradict the tone in a satirical way.

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Research

s e h Sketc

During our trip to the library, I picked up a wide collection of covers, back covers, and spines. From those I choose my favorites and ones that I thought had a retro feel. I also looked at alternative Cheese Monkeys cover.

I tried to work with a lot of different looks that matched quirky and fun. Some of these included visual representations of both cheese and monkeys. Others were more typography-based and included abnormal spacing and sizing.

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s e h c t e k Refined S

I choose to expand on an idea I had that involved the game Monkeys in a Barrel. The game is very retro and fun. The monkeys that come along with it have character. So I refined a few sketches until I found the perfect balance of what I wanted.

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t p m e t t A t Firs

Here is the first cover I designed. I stuck with the Monkeys in a Barrel theme to match my perception of the book. I drew inspiration from classic graphic elements such as the repetition of the background. I was happy with the typeface I choose, which had a quirky, yet sophisticated feeling.

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t p m e t t A d n o c e S

I agreed with the class that the concept of the barrel worked, but could be portrayed more playful, especially due to the font I am using. For this design, I incorporated the monkey pieces used in the game.

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Final

This is the final design for my book cover. I improved the front by making the monkeys a more visual and bold element. I had them hanging for a quirky look that matched the novel. The text does not take away from the illustration, but holds its own very well. For the back, I brightened up the background color to a cheesy yellow. I also detailed the bad reviews in very small type at the bottom right of the page. I think Chip Kidd would have really liked that tiny detail.

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n o i t a Inspir Right away, I knew I wanted to create an invitation to the Trick-or-Treat event. Halloween is so fun and leaves lots of room for creativity, so the sky was the limit

with what I could do. To get inspriation, I looked around at different Halloween cards as well as thought about my Halloween as a child. I remembered a scary book

that I liked that had cutouts in it and it felt like you were going through the journey with every page turned.

That’s where I decided to take the theme of my card.

Event Mailers

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s e h c t e k S n o i t a t i v In I had two main sketches.

One was muli-layered with several scenes and the other had a similar design concept, but with only one layer

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that folded out like an old gate. I decided to go with the muli-layered because it felt like you were reading a Halloween book before

you go to the information. I wanted to take the view on a journey.

s e h c t e k S e p o l e v En Since my card was a basic greeting card shape, I wanted to add something unique to the envelope. I searched for common Hal-

loween scenery that I could incorporate and landed on a gravesite. I decided to use this for the background of the address so it looked like

the person receiving it has been dead. I decieded on a black background to stand out above the other mail people receive daily.

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y a D r Pape

Designs Next came time to actually design the card on the computer. I traced images of cobwebs, trees, and the state Capitol building for the card. I thought these should

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be solid colors so as to not take away from the main point of the card, which is the last page. On that page is the Capitol haunted because the event is held in East Vil-

lage. Other details include a spooky typeface for the title and text color and hierarchy reminiscent of candy corn.

We had a lot of choices to make when a representitive from the local paper company visited class. A big thing I learned from my prototype was that I needed a stiff

paper so the small cutouts wouldn’t bend into eachother. In class, I was given the idea to add translutcent paper inbetween each of the scenes to tone it down a bit.

I thought this was a great idea, so I ordered a really thin paper as well. The envelope paper I choose had a slight texture to it to be similar to a headstone.

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g n i d l o F d n a g n i t t Cu I didn’t need a fancy fold to get the book-like inspiration that I was going for. But, to make it creative, I had incorporated many intricate cut-outs. It took a couple

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Final

tries to learn that I had to leave a thick border around the edges to attach the translucent paper to, and to prevent the peices to rip.

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Final

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