Intro To
T y p o g r a p h y 1609QCA
Lonely Planet guide Books Book Jackets Maret Dolan S987916
Lone l y Pl anet
Lo n ely P la n et
Lo n ely P la n et
Sydney
Melbourne
Tasmania
A hyper-energetic, ambitious marketplace of the soul, where anything goes and everything usually does.
Melbourne is food-obsessed, marvelously multicultural and a showpiece for Australian culture.
Australia’s quirky and rugged southern neighbour celebrates its relative isolation with a laid-back ambience.
TABLE OF CONTENTS BACKGROUND INFORMATION 03 COLOUR - RELATIONSHIP-STYLE-FONTS 04 FEEDBACK ON DESIGN IDEAS 5 SYDNEY - NET AND PROCESS 6 MELBOURNE - NET AND PROCESS 10 TASMANIA - NET AND PROCESS 14 SPINE 18 BACK COVERS 18 PHOTOS OF COVERS 20 FINAL MOCK-UP 23
background information I have chosen to use Lonely Planet Guides for my assignment as my passion in life is to travel. Every year my husband and I try to travel at least twice. We enjoy doing things outside the box so we only ever book/plan the basics. Once flights are booked I usually research the Internet and buy the Lonely Planet Guide for that area. Over the years I have collected at least 20 guides. I thought that by creating ‘new look’ Australian Lonely Planet Guides it would boost the number of people visiting our shores.
Original Covers
Colour - Relationship - stlye - fonts Colour
Style
Colour techniques used throughout were all natural, earthy
I have used this style of presentation as I wanted to stay as close
tones. The reasoning behind this is to provide a strong sense of
as I could to the original Lonely Planet Guides. The only things I
visual cohesion between all Australian Lonely Planet Guides.
have changed is the size of the book plus the colour scheme. I have not changed the logo except the colour as people need to be able to quickly associate it with the hundreds of other Lonely
Relationship
Planet Guides that are in publication.
Fonts
To guarantee that my ‘new look’ Australian Lonely Planet Guides
It took me a long time to get the fonts correct. I took my template
be consistent with all Lonely Planet Guides, I kept the same
of the book jackets into the tutors four times for feedback. I didn’t
layout for all 3 book covers. The only thing I did do was change
have a problem with the tactile typography, it was that I kept
the colour of the logo from blue to white / brown.
asking myself, what font should I be using for each area. Below is what I decided on using.
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feedback on design ideas Ideas From the beginning of this assignment I made sure that I took my ideas into the Tutors at least 4 times as I was determined to meet the criteria. The following was their feedback:
Feedback from Aurelie Maron (Tutor)
Feedback from Jacinda Baird (Tutor)
Aurelie liked my concept especially the change of colour scheme
When Jacinda saw my ideas I had already made the changes that
to represent Australia. She recommended:
Aurelie had recommended. This was a good strategy as it meant
•
To turn the book into a landscape A4 size so that I had more
that I could get feedback in different areas. I asked questions
room for my tactile typography.
about type and layout. She recommend:
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Remove the gradient in the background
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Use a cleaner font with italics for the quotes.
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Tasmania needed some leaves stuck on the outside of the
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Make sure that the font used for the blurbs was also easy to read.
glass as she was worried that when photographing you won’t see the detail inside the photo frame box.
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It was OK not to follow the rule of 9-13 words per line in a quote.
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But follow the rule of 9-13 words per line in the blurb on the back.
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Sydney “The city of fireworks, bridges and the Opera house”
P
icking Sydney as one of my book covers was
weren’t to have the focus on images, I thought
an easy decision as I new I wanted to use silver
that the mesh would create a soft background for
wire and mesh to represent the metal and the
my ‘funky free-form text’.
colour of the Sydney Harbour Bridge. As we
Materials MESH
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ARTISTIC WIRE
the coiling Gizmo
The Process Drawing my ‘funky free-form’ text was fun. I did it on A3 paper as I wanted to be able to bend the wire into shape and place it onto each letter so that it mirrored the text on the paper. Bending wire by itself didn’t give the effect I was wanting so I dug out my Coiling Gizmo and curled the wire. This gave me the effect I wanted - Bold chunky and ‘construction like’. Using my gimzo there was one down side - I could only wrap as to the length of the rod on the tool. This was fine on the letters that I had to join e.g. ‘N’ but the ‘S’ was a little short. Reading my instructions of my gizmo I discovered how to make a double spiral. By attaching this to the end of the ‘S’ it gave me the exact length I needed. To create the bridge I folded an A3 piece of paper into halves and drew half of the bridge. Still folder I cut out the shape. Perfect size. I placed the letters on and there I had it. - Tactile Typography of SYDNEY
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Sydney
flat net “Book size - A4 landscape”
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Melbourne “The home of graffiti, the arts and old and new architecture”
M
elbourne is an amazing city with polarizing
and the word Melbourne, made out of copper, to
architecture. I decided that I wanted to
represents new buildings in the area. I have added
draw travellers attention to this when visiting this
steampumk / clock parts to show that each letter
beautiful city. I designed the cityscape to represent
(building) is unique in it’s own right.
old buildings that you find around the city center
Materials COPPER SHEET
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EMBOSSING TOOLS
Clock bits
The Process Old and new - this is what I was trying to show in this Tactile Typography. Old being the sky scrappers in the background and the embossed steampunked copper letters in the foreground to present the new. To tie the two concepts together I made the windows of the background building raised to give a 3D effect. The font I designed for the word Melbourne needed to be changed several times as when I embossed the letters the shape would change. Above is the final font design that ‘worked’. I also used a cutting printer to cut out the skyscraper background as I found that by hand drawing it and using a knife I couldn’t get clean edges. Lastly I used PVA glue to randomly stick clock parts to the bottom of each letter.
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Melbourne
flat net “Book size - A4 landscape”
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Tasmania “The home of all things natural�
T
asmania the island of beauty. I thought that
the small photo lab at the University to
this would be easy to represent. I new that I
photograph my pieces.) I wanted leaves to bulge
wanted to use leaves and sticks, however every
out of the cut out title however it looked a mess
time I started an idea it looked terrible. Finally I
so based on feedback from Aurelie (tutor) I placed
decided to cut out the font I designed and stick
leaves on top of the finished product to give it a
leaves behind it. This looked really good however
more 3D effect.
the detail is hard to see in the photos. (I even used
Materials PHOTO FRAMES
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CUTTING KNIFES
leaves
The Process While deciding on my font design, I had to consider that I was going to cut out the letters. Hence there had to be enough white space around each letter so that the cardboard wouldn’t collapse. I found a tree on the Internet that I printed onto card then drew my letters over the top. I cut it out with a craft knife and stuck this inside an A4 photo frame. I got another photo frame, discarded the backing of both of them, and filled the bottom one with leaves that I had collected 4 weeks prior. I used sticky tape to join the two frame, which made sure that no leaves could fall out. I photographed the frame and some leaves separately then in Photoshop combined the two to get my finial Tactile Typography of MELBOURNE.
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tasmania
flat net “Book size - A4 landscape”
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spine and thEbackcovers “Frar tahylie a wefgite goer heye iae sit dignitia sinuquiam cosequ ati eseque et laborum”
sydney
THE BACK COVERS - The layout of the back covers is a representation of the original (see below). However the burbs for each book came from the Lonely Planet website.. The bar-code has been taken from an original Lonely Planet Guide as I wanted my covers to mirror the original versions. If you look up the ISBN number you will see that it is attached to the Lonely Planet Guide itself.
THE SPINE - I felt that it was really important to keep the spine looking exactly the same as the original covers. The only difference is the colour scheme. When your books are on a book shelf, I want people to associate my book covers with all Lonely Planet Guides, but also stand out as ‘Australian’ due to the colour.
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Original Back Cover
melbourne
tasmania
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sydney
mock-up Realbook
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Melbourne
mock-up Realbook
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tasmania
mock-up Realbook
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Visit Australia The land of plenty
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Maret Dolan S987916 24