Type and strategy specimen

ALL CULTURES, EXCEPT ONE, GROW UP

Type AND

strategy specimen

VIVIENNE MAK UWE GRAPHIC DESIGN

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Type

strategy specimen

VIVIENNE MAK UWE GRAPHIC DESIGN 2013-2014

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AND

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TABLE OF CONTENT 1/ INTRODUCTION

3/ TYPOGRAPHY 4/ COLOUR 5/ IMAGERY 6/ PAPER AND FORMAT

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2/ PAGE ARCHITECTURE

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Introduction

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Peter Pan noun 1/

the hero of Sir James M. Barrie’s play about a boy who never grew up.

2/

( italics ) the play itself (1904).

For the everything about one thing project I decided to work on the story of Peter Pan written by J.M. Barrie Peter Pan was my favourite movie when I was a little kid and a couple of months ago I actually read the story of Peter Pan and I was astonished that I was so impressed by the story itself.

I thought because it was a thing I was fond about when I was a little girl that it would probably loose some of its charm and magic when I would read it as an adult.

“Would you like an adventure now or would you like to have tea first?”

But in fact the opposite appeared to be the truth. Peter Pan, written by J.M. Barrie is truly a magical story.

What striked me the most about this book is its relations with today’s society. It is af if Barrie put up a mirror about what society looked and would look like.

When I got deeper into the story I found quite a lot of references towards the theories of his contemporary Sigmund Feud.

Although these two didn’t know eachother, in fact what they were saying looks quite similar.

This is why a decided to analyze the story of Peter Pan through the eyes of psycho-analyst Freud.

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Although it was written over a hundred years ago it is still very up to date and in no way oldfashioned.

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Page architecture

Grid noun

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1 / a grating of crossed bars; gridiron 2 / electricity 3/ electronics. an electrode in a vacuum tube, usually consisting of parallel wires, a coil of wire, or a screen, for controlling the flow of electrons between the other electrodes 4 / surveying . a basic system of reference lines for a region, consisting of straight lines intersecting at right angles 5 / a network of horizontal and perpendicular lines, uniformly spaced, for locating points on a map, chart, or aerial photograph by means of a system of coordinates

Grid rationale Roughly said there are two sections of the book. One section are the pages with the texts of Freud. The other section is the main book. The main book has one grid system with multiple uses which I will show on the following pages.

paper size: 170 x 220 mm

Peter Pan noun who never grew up.

2 / ( italics ) the play itself (1904).

J.M. Barrie was a well-known Scottish novelist born in 1860. He was born in Kirriemuir in Scotland but went to London to find a suitable place for him to write. It was there, in London, in Kensington Gardens, that he met the Llewelyn Davies family back in 1897. He was walking his St. Bernard dog Porthos in the park when he met George and Jack, the oldest of the five sons of Arthur and Sylvia.

Peter Pan, play 1904

Portrait of novelist J.M. Barrie

They quickly became acquainted and the boys became a source of inspiration for Barrie. He even took them on trips to his holiday home.

George, Jack, Peter, Michael and Nicholas became pirates, lost boys, fairies, Peter Pans and much more.

For J.M. Barrie this was a way to write, to stay young and to live.

When their parents, Arthur and Sylvia both died shortly one after another, J.M. Barrie unofficially adopted the children.

Though J.M. Barrie died in 1937, his story is more alive than ever, even after over a hundred years. J.M. Barrie said that later on in his life he realized that the boy, who would never grow up, was he himself. He could not bear being a grown up.

He refused the responsibilities; he refused to give up his games and more than all that he refused to give up his freedom and innocence.

margins: top 12,7 mm bottom 12,7 mm left 18 mm right 18 mm columns: 9 interval 4 mm rows: 23 interval 3 mm

paper size: 110 x 110 mm

Beyond the pleasure principle

‘The manifestations of a compulsion to repeat (which we have described as occurring in the early activities of infantile mental life as well as among the events of psycho-analytic treatment) exhibit to a high degree an instinctual character and, when they act in opposition to the pleasure principle, give the appearance of some ‘daemonic’ force at work. In the case of children’s play we seemed to see that children repeat unpleasurable experiences for the additional reason that they can master a powerful impression far more thoroughly by being active than they could by merely experiencing it passively. Each fresh repetition seems to strengthen the mastery they are in search of. Nor can children have their pleasurable experiences repeated often enough, and they are inexorable in their insistence that the repetition shall be an identical one. This character trait disappears later on. If a joke is heard for a second time it produces almost no effect; a theatrical production never creates so great an impression the second time as the first; indeed, it is hardly possible to persuade an adult who has very much enjoyed reading a book to re-read it immediately. Novelty is always the condition of enjoyment. But children will never tire of asking an adult to repeat a game that he has shown them or played with them, till he is too exhausted to go on. And if a child has been told a nice story, he will insist on hearing it over and over again rather than a new one; and he will remorselessly stipulate that the repetition shall be an identical one.

None of this contradicts the pleasure principle; repetition, the reexperiencing of something identical, is clearly in itself a source of pleasure. In the case of a person in analysis, on the contrary, the compulsion to repeat the events of his childhood in the transference

margins: top 6 mm bottom 6 mm left 20 mm right 7 mm columns: 7 interval 4 mm rows: 12 interval 3 mm

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1 / the hero of Sir James M. Barrie’s play about a boy

He then writes the books, ‘Peter Pan, or the boy who would not grow up’ (1904), ‘Peter Pan in Kensington Gardens’ (1906) and ‘Peter and Wendy’ (1911). The story is also written into a play and thus the legend of Peter Pan was born.

Ever since then Peter Pan has been a constant character in childhood fiction and many plays, movies and books are inspired by this Peter.

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Peter Pan is a character that was made up over a hundred years ago when the famous Scottish writer J.M. Barrie wrote ‘The Little White Bird’ in 1902. This is the story that first introduces, Peter, the boy who refused to grow up.

Grid rationale

1/1 / A son or daughter of any age 1/2 / An immature or irresponsible person 1/3 / A person who has little or no experience in a particular area

1/4 / archaic: descendants of a family or people 1/5 / A person regarded as the product of

Cut out pages appear at the beginning of a chapter revealing some of the words of the chapter quote.

person who could be the symbolical father of Peter is Captain Hook.

Though Hook has no relationship with Peter whatsoever he is the only adult in Neverland and he is a pretty sophisticated one although he is a pirate. Somehow this sophisticated dandy of a man charms Wendy.

Hook, who has now become a threat to Peter for losing his mother, ‘The Wendy’, decides that it is time to eliminate Hook.

This is the moment where the Oedipus Complex comes into the story.

At first Peter is only able to sever the hand of the pirate. However, at the end of the story he is able to eliminate Captain Hook once and for all when he manages to feed him to the crocodile that has been hungry for Hook ever since he had the taste of his flesh. When Peter finally got rid of ‘his father’ he decides to become just like him.

He captures the ship, his lost boys become his subordinates and he even orders ‘The Wendy’ to amend the clothes of Hook so that they will fit him. This is the final stage of the Oedipus Complex: the identification with the father.

Nevertheless, at the same time, Peter is also in his latency stage.

He refuses to commit to any relationship and does not give into any sexual desires. We don’t even know whether he has them.

He, however, has many girls who desire him: the mermaids, Tiger Lily, Tinkerbell and of course Wendy.

They all admit that they want more from him than just friendship.

However Peter seems not to be able to understand this and is not ready to give anything that the girls are asking for.

He is very happy with himself and his cleverness. This is also a part of the latency stage: curiosity. He wants to know everything, is very adventurous and seems to think he is inconvincible and immortal.

He refuses to believe that death is something that would happen to him. This narcissism is typical for a boy in the latency stage. Not being able to think about other people’s needs and desires. He only cares for what happens to him.

He thinks he is a very clever boy.

At one point he even says: “Oh the cleverness of me…” when Wendy sews on his shadow and he acts as if that was his genius idea.

Chapter quotes appear at the beginning of every chapter.

Freud’s handwriting appears to indicate that Freud’s words will introduce the new chapter.

This is what an average body copy page will look like.

left: Peter and Hook during the dissolution of the Oedipus Complex.

Drawing by F.D. Bedford for the original 1911 edition of ‘Peter and Wendy’

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1 / A young human being below the age of puberty or below the legal age of majority

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noun

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“Would you like to have an adventure now or would you like to have tea first?”

Dictionary pages appear to indicate the main focus of the chapter.

Child / 42 /

Within the main book there are different types of pages that reoccur: - cut out pages - chapter pages - dictionary pages - body copy pages - illustration pages - quote pages

We are all of us failures, at least,

Original Peter Pan illustrations will usually be placed in the center of a page.

Quote pages appear at the end of every chapter as a conclusion.

I have made cut outs in the pages that start a new chapter. You will see some words of the quote that will start the chapter but not all of them.

This is done to emphasize on the playfulness of the story of Peter Pan.

Cut out page

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Chapter page

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The illustrations on the chapter pages fit within the margins of the document

The chapter quotes are centered in the page and always fit in 5 columns and two intervals.

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“Would you like to have an adventure now or would you like to have tea first?�

Dictionary page The dictionary words are flushed left in the page and always fit in 7 columns.

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noun 1 / A young human being below the age of puberty or below the legal age of majority

1/1 / A son or daughter of any age 1/2 / An immature or irresponsible person 1/3 / A person who has little or no experience in a particular area

1/4 / archaic: descendants of a family or people 1/5 / A person regarded as the product of

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Child

Chapter page The text pages fit within 8 columns. Column to the spine is left open for better legibility.

The quotes are flushed right and fit within 4 columns.

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person who could be the symbolical father of Peter is Captain Hook.

Though Hook has no relationship with Peter whatsoever he is the only adult in Neverland and he is a pretty sophisticated one although he is a pirate. Somehow this sophisticated dandy of a man charms Wendy.

Hook, who has now become a threat to Peter for losing his mother, ‘The Wendy’, decides that it is time to eliminate Hook.

At first Peter is only able to sever the hand of the pirate. However, at the end of the story he is able to eliminate Captain Hook once and for all when he manages to feed him to the crocodile that has been hungry for Hook ever since he had the taste of his flesh. When Peter finally got rid of ‘his father’ he decides to become just like him.

He captures the ship, his lost boys become his subordinates and he even orders ‘The Wendy’ to amend the clothes of Hook so that they will fit him. This is the final stage of the Oedipus Complex: the identification with the father.

Nevertheless, at the same time, Peter is also in his latency stage.

He refuses to commit to any relationship and does not give into any sexual desires. We don’t even know whether he has them.

He, however, has many girls who desire him: the mermaids, Tiger Lily, Tinkerbell and of course Wendy.

They all admit that they want more from him than just friendship.

However Peter seems not to be able to understand this and is not ready to give anything that the girls are asking for.

He is very happy with himself and his cleverness. This is also a part of the latency stage: curiosity. He wants to know everything, is very adventurous and seems to think he is inconvincible and immortal.

He refuses to believe that death is something that would happen to him. This narcissism is typical for a boy in the latency stage. Not being able to think about other people’s needs and desires. He only cares for what happens to him.

He thinks he is a very clever boy.

At one point he even says: “Oh the cleverness of me…” when Wendy sews on his shadow and he acts as if that was his genius idea.

left: Peter and Hook during the dissolution of the Oedipus Complex.

Drawing by F.D. Bedford for the original 1911 edition of ‘Peter and Wendy’

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This is the moment where the Oedipus Complex comes into the story.

The body copy is flushed left and fit swithin 4 columns.

Quote page

The text is ligned out like this because most of the quotes are told by the narrator in the story of Peter Pand and it feels almost as if the narrator is having a dialogue when he’s telling, as if you are in the story too.

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There never was a simpler happier family

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The quotes are flushed left on the left page and always fit in 8 columns.

until the coming of Peter Pan.

The quotes are flushed right on the left page and always fit in 8 columns.

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Typography

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Font noun

1 / Printing. a complete assortment of type of one style and size.

Caslon noun

1 / William, 1692–1766, English type founder and designer.

2 / Printing. an old-style type modeled after the types designed by William Caslon.

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Avenir noun 1 / a geometric sans-serif typeface designed by Adrian Frutiger in 1988.

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THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG.

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The Quick Brown Fox Jumps Over The Lazy Dog.

AVENIR

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The font Avenir was designed in 1988 by Adrian Frutiger who also designed Frutiger. He is known for his interest in sans serif typefaces.

And said he felt an obligation to design a typeface like futura but which has followed the stylistical development of the 20th century.

Avenir is “future� in French.

It means future. But it has its French charms. It is not perfectly geometrical like the typeface Futura. The vertical strokes are thicker than the horizontal ones, the o is not a perfect circle and the ascenders have been shortened.

This makes that the font is more legible in large texts than for instance Futura. It is more organic, more humanist than a strict geometrical font.

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

Adobe Caslon Pro Caslon is a font originally invented

by William Caslon back in 1722. It is said to be the first British typeface.

It was inspired by Dutch typesetters, however these typefaces seemed to rigid to William Caslon.

He designed Caslon which was still really legible but not as rigid and geometrical as the Dutch fonts.

It has a robust structure, lowered ascenders and descenders and has a rhyhtmic calligraphy feeling when set in italis.

This Adobe Caslon Pro is a revival of this original font done by Carol Twombly in 1990. It stays quite true to the original font, that has, if set in italics a feeling of calligraphy to it.

However it is made more legible for large chunks of text.

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

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Next to Baskerville Caslon is known at the most famous English Baroque Antiqua font. It has gone through numerous revivals and new interpretations. For instance Adobe Caslon Pro.

“Right from the beginning I was convinced that Avenir is the better Futura.”

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- Adrian Frutiger

“When in doubt, use Caslon.”

- Typographer’s adage

Typography rationale

There is Caslon, which is a very old typeface, though I used a revival.

It has the glory and elegance of the era that Peter Pan was written in and where both J.M. Barrie and Sigmund Freud lived in. It has this nice calligraphy touch to it and feels like the grandeur of the olden times.

I wanted a font that was contemporary and legible but that would be ugly next to an old and elegant typeface.

Because Avenir has differences in width in the strokes of the verticals and horizontals you get some kind of elegance that most other sans serif fonts do not have.

“I decided to use these two typefaces because of the perfect balance that they have together.�

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It has probably even been used to print some of the books written

by J.M. Barrie or Freud or their contemporaries. It has the elegance and sophisticated feelof the Victorian era to it.

And then there is Avenir, literally the future, designed by Adrian Frutiger.

This font breathes future and this is exactly what I was looking for.

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Typography use

Textual pages

The story itself starts with: “All children, except one, grow up.”

This makes Peter special right from the beginning. The number two however resembles all the bad things in life. As a child you are self-centred and narcissistic, it is all about you. One person.

Body copy: Avenir book flushed left 10 pt.

You always know after you are two.

Quote on a text page: Adobe Caslon Pro Italic flushed left/right 24 pt.

right: Peter and the darling flying Drawing by F.D. Bedford for the original 1911 edition of ‘Peter and Wendy’

Image caption: Adobe Caslon Pro Italic flushed right 9 pt.

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page markers: Avenir condensed ultralight centred 12 pt.

Title pages

Title : Adobe Caslon Pro Italic centred 32 pt.

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“Would you like to have an adventure now or would you like to have tea first?�

Dictionary pages Title : Adobe Caslon Pro Italic flushed left 58 pt.

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Body copy: flushed left Avenir bold, 12 pt.

Avenir book, 9 pt.

Peter Pan noun 1 / the hero of Sir James M. Barrie’s play about a boy who never grew up.

2 / ( italics ) the play itself (1904).

Quote pages

Quotes appear on left flushed on the left page and right flushed on the right page.

Author: Avenir medium flushed right 18 pt.

As if the quote is having a conversation like the narrator in the story of Peter Pan.

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I think it’s perfectly lovely,

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Quote : Adobe Caslon Pro Italic flushed left/right 72 pt.

We are all of us failures, at least,

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the way you talk about girls...

the best of us are.

- J.M. Barrie

Typography pages

For some pages I have decided to make a contradiction in the story of Peter Pan clear via expressive typography.

before life in fact, you were in an inanimate state and in this state you could not feel any needs or desires.

There was in other words no feelings of unpleasure whatsoever.

And then you were born and you feel all these needs and desires that cannot all be dealt with. This is why human beings have a death drive.

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The quote written by J.M. Barrie can thus be interpreted as an ode to the instinct Eros. It can be seen as an ode to life and to living. For, as Freud says, although Eros and Thanatos are balanced, the biggest drive is the instinct for life.

Thanatos

This is why we do everything to save lives in hospitals, this is why when we are drowning we cannot help but open our mouth trying to breathe. It is the instinct of Eros in us calling us to not give up on life.

One of the hardest parts in life, according to Freud, is the transition of being a child to becoming a grown up. We can definitely recognize this in the story of J.M. Barrie where Peter just refuses to grow up. According to Barrie: “All children, except one, grow up.�

Sometimes the discussion rises whether this boy could be the writer himself, for he is known to act as a child quite often. Which was of course absolutely not accepted back in the Victorian era.

Life, nevertheless, is not easy.

We come across obstacles all the time, we face defeat, loss, death and all these things that make us sometimes wonder whether it is all worth it. Some people become neurotic or depressed, some might even decide that life is just not worth it and commit suicide.

In the Victorian era, though the child was seen as pure and innocent, it was necessary for them to learn to behave appropriately, from a very young age they were learned the basic rules of civilization. The internalizing of the SuperEgo is of major importance to become a civilized and decent human being.

Eros

Freud, nevertheless, didn’t consider a child as innocent, sure, pure a child was, but the child itself was ruled by the Id and the Id, though it may not realize it, acts inappropriate and is of quite an evil nature. It has no idea of wrong and right.

Therefore a child can do the most evil things without even realizing that it did something wrong.

Freud pages

Title : Adobe Caslon Pro Italic centred 40 pt. body copy: Adobe Caslon Pro Italic justified 9 pt.

beyond the pleasure principle.indd 1

of the conservative nature of living substance. On the other hand we soon call to mind examples from animal life which seem to confirm the view that instincts are historically determined. Certain fishes, for instance, undertake laborious migrations at spawning-time in order to deposit their spawn in particular waters far removed from their customary haunts. In the opinion of many biologists what they are doing is merely to seek out the localities in which their species formerly resided but which in the course of time they have exchanged for others.

The same explanation is believed to apply to the migratory flights of birds of passage - but we are quickly relieved of the necessity for seeking for further examples by the reflection that the most impressive proofs of there being an organic compulsion to repeat lie in the phenomena of heredity and the facts of embryology. We see how the germ of a living animal is obliged in the course of its development to recapitulate (even if only in a transient and abbreviated fashion) the structures of all the forms from which it is sprung, instead of proceeding quickly by the shortest path to its final shape. This behaviour is only to a very slight degree attributable to mechanical causes, and the historical explanation cannot accordingly be neglected. So too the power of regenerating a lost organ by growing afresh a precisely similar one extends far up into the animal kingdom. We shall be met by the plausible objection that it may very well be that, in addition to the conservative instincts which impel towards repetition, there may be others which push forward towards progress and the production of new forms. This argument must certainly not be overlooked, and it will be taken into account at a later stage. But for the moment it is tempting to pursue to its logical conclusion the

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Beyond the pleasure principle

‘The manifestations of a compulsion to repeat (which we have described as occurring in the early activities of infantile mental life as well as among the events of psycho-analytic treatment) exhibit to a high degree an instinctual character and, when they act in opposition to the pleasure principle, give the appearance of some ‘daemonic’ force at work. In the case of children’s play we seemed to see that children repeat unpleasurable experiences for the additional reason that they can master a powerful impression far more thoroughly by being active than they could by merely experiencing it passively. Each fresh repetition seems to strengthen the mastery they are in search of. Nor can children have their pleasurable experiences repeated often enough, and they are inexorable in their insistence that the repetition shall be an identical one. This character trait disappears later on. If a joke is heard for a second time it produces almost no effect; a theatrical production never creates so great an impression the second time as the first; indeed, it is hardly possible to persuade an adult who has very much enjoyed reading a book to re-read it immediately. Novelty is always the condition of enjoyment. But children will never tire of asking an adult to repeat a game that he has shown them or played with them, till he is too exhausted to go on. And if a child has been told a nice story, he will insist on hearing it over and over again rather than a new one; and he will remorselessly stipulate that the repetition shall be an identical one.

None of this contradicts the pleasure principle; repetition, the reexperiencing of something identical, is clearly in itself a source of pleasure. In the case of a person in analysis, on the contrary, the compulsion to repeat the events of his childhood in the transference

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evidently disregards the pleasure principle in every way. The patient behaves in a purely infantile fashion and thus shows us that the repressed memory-traces of his primaeval experiences are not present in him in a bound state and are indeed in a sense incapable of obeying the secondary process. It is to this fact of not being bound, moreover, that they owe their capacity for forming, in conjunction with the residues of the previous day, a wishful phantasy that emerges in a dream. This same compulsion to repeat frequently meets us as an obstacle to our treatment when at the end of an analysis we try to induce the patient to detach himself completely from his physician. It may be presumed, too, that when people unfamiliar with analysis feel an obscure fear - a dread of rousing something that, so they feel, is better left sleeping what they are afraid of at bottom is the emergence of this compulsion with its hint of possession by some ‘daemonic’ power. But how is the predicate of being ‘instinctual’ related to the compulsion to repeat? At this point we cannot escape a suspicion that we may have come upon the track of a universal attribute of instincts and perhaps of organic life in general which has not hitherto been clearly recognized or at least not explicitly stressed. It seems, then, that an instinct is an urge inherent in organic life to restore an earlier state of things, which the living entity has been obliged to abandon under the pressure of external disturbing forces; that is, it is a kind of organic elasticity, or, to put it another way, the expression of the inertia inherent in organic life. This view of instincts strikes us as strange because we have become used to see in them a factor impelling towards change and development, whereas we are now asked to recognize in them the precise contrary - an expression

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Colour

Colour noun

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1 / The property possessed by an object of producing different sensations on the eye as a result of the way it reflects or emits light 2 / Pigmentation of the skin, especially as an indication of someone’s race 3/ Vivid appearance resulting from the juxtaposition of many bright things

verb 1 / Change the colour of (something) by painting, dyeing, or shading it 2 / (Of a person or their skin) show embarrassment or shame by becoming red; blush 3 / Influence, especially in a negative way; distort

Colour rationale

Black: C: 0 M: 0 Y: 0 K: 100

White: C: 0 M: 0 Y: 0 K: 0

This is because, back in the days of J.M. Barrie and Freud most books and most childrens books were still in black and white.

I really wanted to use old pictures and illustrations and they just turn out better in black and white.

Black and white is perfect to resemble the elegance and the sophistication of the era that this book is about.

Because I choose an off-white paper the black and white will look different on this and will probably give it some volume and elegance that go with the Victorian era.

“Black and white are the most elegant colours combined.�

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About the colour rationale we can be very short. I decided to go with black and white.

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Imagery

Image / 42 /

noun

1 / A representation of the external form of a person or thing in art 2 / The general impression that a person, organization, or product presents to the public 3/ A simile or metaphor

verb 1 / Make a representation of the external form of

Image rationale

Colours

The imagery is all in black and white. I decided to go with black and white because of multiple reasons.

First of all the picture will look older of course since colour photography is something that has existed for quite a long time but only became popular after 1960. And even then mostly only on special occasions.

Thus in the era of J.M. Barrie and Sigmund Freud, black and white photography was still the norm.

I think this feeling goes pretty well with what I am trying to tell in this book so I made sure that all the pictures are black and white with some grains on it.

When it comes to the illustrations they are all in black and white since most of the illustrations for children’s books back then were produced in black and white.

Because most photographs taken around that time are in black and white I decided to go with black and white pictures in the entire book.

“There ‘s something magic about old pictures in black and white.”

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Though photography has been around since 1820, getting your picture taken was still something quite special in the beginning of the 19th century. and only happened because of special occasions like weddings or for portrait pictures.

Old pictures usually have this beautiful grains and scratches on it. I really like this old and used feel of those pictures, it has a certain charm to it. It gives it a romantic touch.

Different types of images

For the imagery I decided to go with four types of images: - chapter illustrations - copy images - illustrations - quote images Copy images appear in between paragrahs and are usually used as a visual that is related to the text and makes the text nicer to read.

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Peter Pan is a character that was made up over a hundred years ago when the famous Scottish writer J.M. Barrie wrote ‘The Little White Bird’ in 1902. This is the story that first introduces, Peter, the boy who refused to grow up.

J.M. Barrie was a well-known Scottish novelist born in 1860. He was born in Kirriemuir in Scotland but went to London to find a suitable place for him to write. It was there, in London, in Kensington Gardens, that he met the Llewelyn Davies family back in 1897. He was walking his St. Bernard dog Porthos in the park when he met George and Jack, the oldest of the five sons of Arthur and Sylvia.

Peter Pan, play 1904

Chapter illustrations are boxes around the quote that starts off the chapter. The uneven line and illustrations show the playfulness concerning the topic of Peter Pan.

Portrait of novelist J.M. Barrie

They quickly became acquainted and the boys became a source of inspiration for Barrie. He even took them on trips to his holiday home.

George, Jack, Peter, Michael and Nicholas became pirates, lost boys, fairies, Peter Pans and much more.

For J.M. Barrie this was a way to write, to stay young and to live.

When their parents, Arthur and Sylvia both died shortly one after another, J.M. Barrie unofficially adopted the children.

Though J.M. Barrie died in 1937, his story is more alive than ever, even after over a hundred years. J.M. Barrie said that later on in his life he realized that the boy, who would never grow up, was he himself. He could not bear being a grown up.

He refused the responsibilities; he refused to give up his games and more than all that he refused to give up his freedom and innocence.

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“Would you like to have an adventure now or would you like to have tea first?”

He then writes the books, ‘Peter Pan, or the boy who would not grow up’ (1904), ‘Peter Pan in Kensington Gardens’ (1906) and ‘Peter and Wendy’ (1911). The story is also written into a play and thus the legend of Peter Pan was born.

Ever since then Peter Pan has been a constant character in childhood fiction and many plays, movies and books are inspired by this Peter.

Different types of images

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Illustrations made for the story of Peter Pan are usually placed in the center of a page giving them room to be admired because they are really detailed and pretty.

Every chapter ends with a quote on a black and white photo or illustration.

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There never was a simpler happier family

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Sometimes the illustrations also appear within the text.

until the coming of Peter Pan.

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Paper and format

Paper / 48 /

noun

1 / Material manufactured in thin sheets from the pulp of wood or other fibrous substances, used for writing, drawing, or printing on, or as wrapping material 2 / A sheet of paper with something written or printed on it 3/ A set of examination questions to be answered at one session 4/ An essay or dissertation, especially one read at an academic lecture or seminar or published in an academic journal

verb 1 / Apply wallpaper to (a wall or room)

Paper and format rationale I wanted the look and the feel of the book to be authentic and related to Peter Pan and the era that it was written in. Therefore I decided to go with a black and white lay-out.

most of the story of Peter Pan is situated in the woods and the home of Peter Pan, and Wendy for a while, is a tree which is of course made of wood.

Because black and white give a classic and old look to it I wanted to use off-white paper that would make the design come out better. I also decided to go with paper with a light grain in it to give it a feel of an old and decent book. One that has been around for ages and looks worn and torn but won’t fall apart.

Wood is a raw material straight from nature. A lot of the content in the book is about nature and the natural behaviour of the humankind. Which can be soft and sweet but can also be rough like a tree can give you splinters. Wood also has a warm and homely feeling to it.This is why I wanted to use wood as a cover.

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The cover of the book is in wood.

This has to do with the fact that Book dimensions: book cover: 173 x 226 mm regular pages: 170 x 220 mm irregular pages: 110 x 110 mm

“The wooden cover gives the book an authentic look and feel.�

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ALL CULTURES, EXCEPT ONE, GROW UP

VIVIENNE MAK UWE GRAPHIC DESIGN