TYPE SPECIMEN
“The art of papercraft” Monica Giunchi
Content #1 Strategy
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#2 Margins
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#3 Basic Grid
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#4 Variety of Grid
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#5 Colour
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#6 Imagery
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#7 Typography
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#8 Expressive Typography
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Strategy After looking at different types of book about papercraft, I realized that the majority of them were either only about tutorials in a childish and badly designed way, or only about artists’ work, with a more efficient design. Therefore I decided that I wanted to create a more complete guide to papercraft conjugating these two kinds of books, trying to give an insight in the techniques and also to offer a source of inspirations made by the work of designers and artists, in order not to close the possibilities of the medium of paper to only decorative elements but to give an input to experimentation to create challenging pieces of art and design. The audience of my book is whoever is interested in papercraft, from a decorative and hobby point of view but with an interest in going a bit further than the simple repetition of the tutorial I have put in the book. The book starts with a general introduction about papercraft, to then be divided into the sections of the different techniques, which are mainly constituted of two parts, one called “Do it Yourself” and the other “Artists’ Work”. I have used a 8 column grid with a gutter of 15 pt, same measure as the baseline. This is the same for all the book, in a simple layout, which variates slightly through the different sections: for the text and informative sections I used a very basic layout constituted by the title, the body text and a rare presence of images. It then gets more complex in the tutorials’ sections, in which I had to handle with all the different elements to include, from the illustrative pictures, to the step-by-step text, to the final artwork image. Finally for the inspirational parts I decided to put the text about the artists on the top left of the spreads, with images of their work under the text and in the right page.
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In regard to the typeface choices, I have used two main ones throughout the book, with an ecception for the chapter and subchapter pages and for the cover, for which I chose to make a more expressive use of Typography. For the body text I have used Aller, which is a delicate sans serif typeface created by the Danish company Dalton Maag Ltd, while for the paragraph titles I have used Liza Pro Text, a script font by the Dutch company Underware, which simulate in a really effective way the handwritten, in line with my topic of handmade and crafts. Regarding to the expressive use of typography I combined the numbers of Clarendon typeface, an historic English slab serif, with the text of another slab serif but of more recent creation, Bree Serif, by TypeTogether. The main colours that recur throughout the book are a light blue and a stronger red, but the presence of the photographic images and the vectoral diagrams variates a bit the monothematic coloration. For the tutorials most of the images are either in vectorial diagrams, for the origami, or photographs of the process taken from the web and made by myself in a nicely organized layout.
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Margins Page size: 176 x 250 mm 1. Head Margin 13 mm 2. Bottom Margin 12.7 mm 3. Inside Margin 17 mm 4. Outside Margin13 mm
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2 4
Basic Grid 9 column grid gutter 15 pt Baseline Grid 15 pt Column width 11,519 mm
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Examples of grid variety 1. Introduction and text sections
A b��e� h��tor�
Different cultures have originated different kinds of papercrafts, the most
The earliest example of ‘paper-folding’ was an ancient
in which we can find new uses for paper in modern society, like decoupage,
Egyption map, drawn on a paper like substance and folded
gift wrapping, and so on.
into a rectangle, like modern road maps.
famous one remains origami, but within the Japanese culture there are other kinds of papercraft, like Kirigami and Chigiri, China is famous for the ancient tradition of paper cut and the Chinese paper lanterns. All different tradition
A lot of designers and artists have recently made use of paper as a medium
Back then, it wasn’t possible to create intricate paper
to create powerful works of design, art and videos. As Robert Klanten noticed
folding, because the right paper had not been invented.
“in an age where almost any information, be it newspaper, article or video
When the Chinese invented wood based paper, it became
clip, photograph or music file, is only a few
possible to fold the paper more crisply and with more
free clicks away, the unique immediacy of an
precision (2nd century B.C.). It is not known exactally when
object, performance or installation, its multi-
it started, but the first Japanease oragami dates from the
sensory properties, the moment itself gains
the basic sheet morphs
6th century A.D.
renewed importance”.
from flat plane into an actual
Paper is very versatile, its uses are infinite. The only way to get it known is to explore it deeply and try out.
“With just a few folds or drops of glue,
body that represents and defines its occupied space”
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�h� th�� ��o� In the landscape of the contemporary life, where we seem to increasingly spend our time in front of a computer, I think it is important to regather the manuality and tactility of handmade crafts. The aim of my book is therefore to give a starting point to all those who wants to rediscover creativity through a simple medium like paper.
I have recently been exploring different ways you can handmake items, in particular with paper, and found it was extremely refreshing from the long days I have passed designing in front of my computer, the things you can actually do are infinite: from origami to boxes, beautiful paper lamps or decorations for your house, even little handmade books. My book is therefore an exploration of these different techniques and also aims to give an insight in to what some artists and designers have done with this medium, in order to push forward the input to creativity.
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2. Tutorial sections
�o�� St�tion�r� Leafy vegetables make great-tasting salads, and sumptuous floral-shaped stamps, too. Here, the end of a head of Treviso radicchio yields a roselike print. You can vary stamp shapes with other vegetables, such as romaine lettuce stems or even brussels sprouts cut in half. Material: Stamp pad, Treviso radicchio, knife, Card.
#1 Cut off stem end with a
#3 Press cut side onto a large
sharp knife.
stamp pad the onto cards,
#2 Stand the stem on a paper
stationery, and more,
towel, cut-side down, for 5
blotting on paper towel
minutes to dry.
between presses.
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�nowfl�k�
#6 Fold the right corner upward so the bottom edge of the triangle meets the upper crease.
so the right edge aligns with the
#7 Fold the left corner upward so the bottom edge of the triangle
The garland in the previous page is made with origami paper, dental floss, and tape.
aligns with the opposite side. #8 Fold the resulting shape in half opposite side. #9 Cut your design and open.
The second and third flakes in that garland are based on a 5-pointed star. You can find the directions for a it here, they’re easier to cut since there are fewer paper layers. The first, fourth, and fifth flakes in the garland are based on 8 points. Material: Origami Paper, Dental Floss, Tape #1 Place a square of paper pretty
pressing a small crease into the
side down. Fold the bottom point
#6
#7
#8
paper. Open the triangle again. #4 Bring the top corner down to the
up to the top to form a triangle. #2 Bring the left corner over to the
crease you just made and mark
right corner and mark the midpoint
the midpoint by pressing a small
by pressing a small crease into the
crease into the paper. Open the
paper. Open the triangle.
triangle again. #5 The paper should now have three
#3 Bring the right corner up to the
points marked with creases.
top and mark the midpoint by
#9 #1
#2
#4
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#3
#5
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3. Artists’ work sections
Robert J. Lang Robert J. Lang is recognized as one of the
and form to yield models that are at once
world’s leading masters of the art, with over
distinctive, elegant, and challenging to fold.
500 designs catalogued and diagrammed.
Dr. Lang is one of the pioneers of the
He is noted for designs of great detail and
cross-disciplinary marriage of origami
realism, and includes in his repertoire some
with mathematics. He has consulted on
of the most complex origami designs ever
applications of origami to engineering
created. His work combines aspects of the
problems ranging from air-bag design to
Western school of mathematical origami
expandable space telescopes.
design with the Eastern emphasis upon line
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Nadiah Almahdaly, "KAMI" "Inspired by my 2 youngest brothers,
the other as each brother fights for control.
my animation talks about 2 brothers
I started animating about 2 years ago
squabbling over who gets imaginative
when I was doing my second degree. I
control of their playtime.The use of 2 types
was particularly interested in Stop Motion
of paper craft represents each brothers’
animation and initially decided to use
different styles of imagination and
papers as a medium because it was cheap.
personality. Origami for the sporty, Action
After much research into the kinds of
Hero-type brother and Quilling represents
paper craft however, I got more and more
the more adventurous, Fantasy Hero-type
attracted by the simplicity and flexibility of
brother. The film jumps from one style to
the medium."
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Colour There are two main colour throughout the book, although sometimes there are also variations.
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C: 41,96 M: 0 Y: 12 K:0
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C: 0 M: 90,98 Y: 96,47 K:0
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Imagery For the imagery, there are two main types of it, the first is the one for the tutorial sections, consisting on one hand of vectorial drawings for the origami diagrams, and images mainly inspired by
the “Things Organized Neatly� blog for the photographic illustrations. For the artists’ sections I have mainly downloaded images of their work from the web, or taken screenshots from their video.
1.1 Tutorials, Vectorial diagrams
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1.2 Tutorials, Photographic images
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2 Artists’ Work, Images and Screenshots
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Typography For the main body text I have used the sans serif typeface Aller with its different variations.
ALLER Designed by: Dalton Maag Ltd Classification: Sans serif About: The Aller font family was created in 2008 for the Danish School of Media and Journalism, with the kind sponsorship of publisher Aller.
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Paragraphs Titles For the paragraphs titles I have chosen the font Liza Text Pro, a live script typeface by the Dutch company Underware, because its style fit very well with the idea of handmade.
LIZA TEXT PRO Designed by: Underware Classification: Script About: Designed by Underware, Liza Text Pro, thanks to its extremely intelligent OpenType architecture, approaches human hand lettering as close as technically possible.
A B C D E FGHIJKLM NOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789!?# %&$@*{(/|\)}
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Expressive Typography For the chapter pages, the subchapter ones and for the cover I have tried to use a more expresssive typography, combining
the numbers of Clarendon typeface and the Bree typeface for the text.
Chapter page
Subchapter page
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Artist's work
Paper cutting
03.02 Paper Cutting
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CLARENDON Designed by: Robert Besley, 1845 Classification: Slab Serif About: Clarendon typefaces hey have been made with great care, so that while they are distinct and striking, they possess a very graceful outline, avoiding on one hand the clumsy inelegance of the Antique or Egyptian character, hitherto in use among printers, and on the other, the appearance of an ordinary Roman letter thickened by long use under the machine.
0123456789 BREE SERIF Designed by: TypeTogether Classification: Slab serif About: This friendly upright italic is the serif cousin of TypeTogether’s award winning font Bree. Designed by Veronika Burian and JosÊ Scaglione, Bree was originally released in 2008 and it became an immediate success because of its originality, charming appearance and versatility. Bree Serif was initiated with the help of Google webfonts.
A B C D E FGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 0123456789!?# %&$@*{(/|\)} 17
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