Chicka Chica Boom Boom book cover redesign
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Chicka Chica Boom Boom book cover redesign

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Chicka Chica Boom Boom book cover redesign Chicka Chica Boom Boom book cover redesign Presentation Transcript

  • BOOK COVER REDESIGN AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | TABLE OF CONTENTS DESIGN NARRATIVE ............................................................................... 3 BOOK CHOICE.......................................................................................... 4 INSPIRATION ........................................................................................ 5-6 ROUGH DRAFTS ................................................................................... 7-9 DESIGN PROCESS ............................................................................ 10-13 TYPOGRAPHY CHOICES ........................................................................ 14 TYPOGRAPHY PROCESS .................................................................. 15-16 COVER DESIGN PROCESS ..................................................................... 17 FINAL BOOK COVER DESIGN ........................................................... 18-19 AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | DESIGN NARRATIVE OBJECTIVE You will utilize the design principles reviewed last week— You will design a full-color, wrap-around book cover of your choice, including the front and color, unity, Gestalt, space, dominance, hierarchy, and back covers, spine, and both flaps. The design solution must be primarily typographic, with the balance—as well as the knowledge you have acquired title a minimum of three words. Visuals may be used to enhance the design, but they must be about type selection, to create a book-cover design. The secondary to the typography, which is the primary focus of the assignment. design must be primarily typographic in nature. The choice of book is up to you, but it must be previously published, since you will be required to post both your redesign and the book’s original design. Please scan the original front cover at 72 dpi, approximately 1” x 2”. Keep the file size under 15 KB. Part 1 (Unit 2) Redesign a book cover of your choice. Prior to design, write and submit a one-page brief of your book communicating the story, tone, intent, and point As an example, the design of a book on the American Wild West could feature a hot-metal, of view of the author. Please post this document on the discussion board for serif typeface typical of the era and complement it with a more modern sans serif for the byline. this unit. Upon approval, create thumbnails or sketches (small, unrefined A book on cooking or entertaining might use a typeface with a calligraphed flourish, and a book drawings) for a minimum of three different and distinct design approaches. Scan and post on the discussion board. Please include any notes necessary to on urban habitat could incorporate a grunge- or graffiti-like scrawl. explain the work submitted. Review designs submitted by other students and post constructive critiques on the work of three students. Also, make sure to You will need to lay out the template using either InDesign or QuarkXPress. The layout should keep a print-quality file in your system. At the end of the course, you will be required to burn a CD with all your work on it. be accurate and should include crop marks and bleeds. All imagery used should be original work. All five surfaces must be designed. You will submit a JPEG file of each one of the panels, Due: Research, written brief, preliminary concept sketches, and comments on plus one of the whole jacket. The maximum size should be 550 pixels wide for the flat version. others’ work The panels should be saved at approximately 100 pixels wide. Part 2 (Unit 3) After reviewing your peers’ and professor’s comments on the discussion board, create tight roughs (refined drawings or sketches that include more detail than the thumbnails) of your three design alternatives. Scan and post PDF files on the discussion board, along with a short caption about the book. Review designs submitted by other students and post constructive critiques on the work of three students. Remember, at this stage, you are still not at final design, so try to be discriminating and helpful to your fellow students. Due: Tight roughs and comments on others’ work Part 3 (Unit 4) Review the online comments about your designs. If you have questions about the feedback received, e-mail your professor. Upon final approval, create and produce your final book-cover design. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | BOOK CHOICE BOOK CHOICE For this project I have chosen to redesign the children’s book, Among all the books I’ve read to my children, “Chicka Chicka Boom Boom” is by far one of the “Chicka Chica Boom Boom”. most memorable books that they’ve thoroughly enjoyed. The story is very simple in nature and involves a lot of rhyming to help children learn their ABC’s. Throughout the story the ABC’s are in a race to get to the top of the coconut tree where there’s quite a bit of anticipation and excitement as the letters all travel up the tree. They begin wondering if there’ll be “enough room” and before they all make it to the top they all go “chicka chicka boom boom” as they outweigh the tree. As the letters are all banged up, with “skinned knees”, “stubbed toes” and “black eyes”, they help one another up the tree before the sun goes down. As the story ends, the moon comes out. The next morning when the letter “A” wakes up beginning the cycle all over again as the letter “A” dares the other letters, “Dare double dare, you can’t catch me. I’ll beat you to the top of the coconut tree.” There’s so much to admire about this story that helps teach young children their ABC’s. It’s rhyming and repetition make the story more fun for children. For my children I’ve found that the way the story uses repetition and then ends really makes it one of those stories that can easily be read a hundred times in a day. The story really has a strong message beyond just learning their ABC’s too - it emphasizes if they fail at something to keep trying. For me the one disappointment in this book has always been the illustration. It uses simple solid shapes throughout. I’ve always found the illustration throughout, including the book cover to be something that could be improved. For me the one thing I’d love to do is apply traditional illustration and hand rendered type to the book cover design to help make it more visually appealing to children. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | INSPIRATION INSPIRATION When I first thought of redesigning this book I found myself most inspired by the work of children’s book illustrator, Eric Carle. I am hoping to achieve a more hand created look rather than computerized. I think this style would be more appealing to children. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | INSPIRATION INSPIRATION Below are a few book covers I admired while searching for inspiration. All of them had either something unique with typography or off computer creation of the covers. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | ROUGH DRAFTS ROUGH DRAFTS The following were rough ideas sketched out prior to beginning this project on the computer. CONCEPT 1 CONCEPT 2 CONCEPT 3 The first concept has a similar composition The second concept involves spanning the The third concept would involve a more to the current cover, however the style of the coconut tree across the front and back cover typographic front cover. The cover would also be illustration and type would be hand rendered. with letters scattered across the bottom. Again, hand generated but the type on the front cover I was considering either watercolor or a type a hand generated solution would be used. would almost appear as if the type is falling of paper mache. I’ve also considered exploring from the title. the style of Eric Carle where he paints on tissue paper to create his type and illustration. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | ROUGH DRAFTS ROUGH DRAFTS The following were rough ideas sketched out prior to beginning this project on the computer. CONCEPT 4 CONCEPT 5 CONCEPT 6 The fourth concept would be a more collaged The fifth concept plays off the use of negative For the sixth concept the coconut tree creates style cover where the letters would be hand space. This time instead of creating the collage/ the “i” in both “chicka” words. Though I like generated and then collaged together. For the paper mache this would create the background, this approach I’m not so certain kids would read front cover it would create the coconut tree. On but the type would be left in negative space. On this unless I put the “i” climbing the tree. Again, the back cover it would almost create an ocean the back a few letters would be large, again in hand generated illustrations and type. of letters that could act almost as a letter hunt hand generated style. for the kids to identify their ABC’s. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | ROUGH DRAFTS ROUGH DRAFTS The following were rough ideas sketched out prior to beginning this project on the computer. CONCEPT 7 CONCEPT 8 The seventh concept would focus on using The eighth concept involves creating three type to appear to “move” more. I considered dimensional elements for type and illustrations creating a linoleum print of the type so that the and then photographing them to use in the book movement lines were clearly naturally made like cover design. The front cover focuses solely in printmaking or possibly another watercolor or on the type and the back cover reinforces the paper mache style illustration of the type. concept of the coconut tree. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | DESIGN PROCESS DESIGN PROCESS Knowing I wanted to create original type with a hand rendered, illustrative feel to it I spent a few days painting huge color fields that would give me flexibility to use them type, illustrative elements or backgrounds. Acrylic paint was applied to large sheets of translucent vellum. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | DESIGN PROCESS DESIGN PROCESS Because painting the textures were created spontaneously, I allowed the kids (and a friends kids) to join in the fun of creating the variations of colors created. Some colors were mixed during the painting process others the paint was applied in more than one coat. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | DESIGN PROCESS DESIGN PROCESS Color fields were painted ranging anything from one to four feet wide to be used within the project. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | DESIGN PROCESS DESIGN PROCESS (continued) AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | TYPOGRAPHY CHOICES TYPOGRAPHY CHOICES Typographic choices were explored. The cover/headline font Cover/headline font was chosen based on the need for a heavy, chunky, bold Futura Extra bold font that would enable cutting out letters from the painted paper. I nearly chose ITC Franklin Gothic Extra bold, however, the lowercase “a” was a simpler form for the purposes of a children’s book in the futura typeface. Univers 47 light condensed is the preference for body copy, as an alternative serif option Adobe Caslon regular may be used if a serif proves to work more effectively. In this lively alphabet rhyme, all the leters of the alphabet Body copy choice #1 race each other up the coconut tree. Will there be enough Univers 47 light condensed room? Boom! Now a modern classic, this ryythmic alphabet chant rolls along on waves of fun. Lois Ehlert’s rainbow of bright, bold, cheerful colors makes the merry parade of letters unforgettable. In this lively alphabet rhyme, all the leters of the Body copy choice #2 alphabet race each other up the coconut tree. Will Adobe Caslon Regular there be enough room? Boom! Now a modern classic, this ryythmic alphabet chant rolls along on waves of fun. Lois Ehlert’s rainbow of bright, bold, cheerful colors makes the merry parade of letters unforgettable. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | TYPOGRAPHY PROCESS TYPOGRAPHY PROCESS Originally in my mind the book cover I thought might be best with all strong bold colors, including the background. After cutting out the letters from the painted background I found I wasn’t as fond of this concept. Not only were there issues with some of the colors that were close in value, I found that some colors proved to provide challenges as they were used against the bright yellow/orange color I had originally envisioned using. I then explored with other colors as a background, to include the light blue/white color field. I enjoyed seeing it create a “sky”, however, some of the blues again posed problems in contrast between the letters and painted background. The one thing I liked least about using the textured painted backgrounds is that a glare was created and due to the painting techniques some papers looked a little more wrinkled than I liked. I tried another test of the letters against just a white textured paper and thought it may have some potential if the typographic elements were implemented creatively. A coconut tree illustration was also created in a very similar manner as the letters. The story includes a coconut tree that the letters “climb” and later fall down so it seems to be one visual that could and should likely be included somewhere on the cover. I then composed the tree in a way where the letters looked as though they had fallen down the tree which seems more interesting than the tree standing on it’s own. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | TYPOGRAPHY PROCESS TYPOGRAPHY PROCESS I continued to work more with the letterforms in a more creative way for the cover. I found it interesting to see such bold, bright, and textured letters piled up and felt it resembled visually some of what the book touches on in the story. Close up views seemed very intriguing and could potentially be implemented into the cover’s inside flap design. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | COVER DESIGN PROCESS COVER DESIGN PROCESS I used the photographs taken of the letters, illustrative elements and paper texture and used it to composite the main cover imagery in photoshop. Due to the lighting and the paper texture all imagery required close adjustments to ensure colors were as close as possible. Additionally masking was necessary to blend images together as seamlessly as possible. For the names of authors and illustrators I elected to mask the names against the original color fields due ensure they were as legible and flexible as possible for any potential revisions that might arise as additional detailed type was added to the book cover design. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | FINAL BOOK COVER DESIGN FINAL BOOK COVER DESIGN The final book cover was designed in Indesign where final type was composed to finish the book cover design. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | FINAL BOOK COVER DESIGN FINAL BOOK COVER DESIGN I’ve included a few photos of the final book cover design mocked up full size. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010
  • PROJECT BOOK COVER REDESIGN | FINAL BOOK COVER DESIGN FINAL BOOK COVER DESIGN I’ve included a few photos of the final book cover design mocked up full size. AMANDA KERN || GRDS 709 TYPOGRAPHY STUDIO I || PROFESSOR TRUDY ABADIE || SAVANNAH COLLEGE OF ART & DESIGN || FEBRUARY 3, 2010