Back to the cover! After some feedback from Tom telling us the cover doesn’t read well and that it feels too composed and digital, I got back to thinking about it and decided to start over with the whole composition. I scanned the ink letters I had and printed them out in different sizes, cut them out and started to compose some designs on a piece of paper in front of me, taking photos as I went along. I tried some organised layouts, some messy, and them started cutting up the letters or gluing them down to a piece of paper and them crumbling them up. I tried to make something happen. But it wasn’t happening. I wanted it to look like the messiness of a cover of Emigre magazine but everything I did just looked boring. I began to realise that the whole process was starting to feel like a huge weight in my brain, it wasn’t fun anymore, I don’t like the name anymore and I don’t like the typeface.
Final outcome for Match and Mismatch are my gifs. I initially wanted to make something based on photographs of my hand manipulating the bench so it’s different lengths or using the postcards but I don’t think I could make that look refined enough and also because of time management I had to make priorities hah. So I tried manipulating my bench image in Photoshop instead to see where that got me. Making it digitally this way it would relate to the poster as well, with the solid black background so that’s a plus!
I worked a lot with the poster outcome of this project. After all the tests I did here I thought I might be done but after realising I wanted to use the image of the stretched bench for my publication, I didn’t want it to be visible in the poster as well. I was also starting to change my mind about the placing of the text. It clashed with the white line at the bottom too much and just didn’t sit well. Before all this though, I changed the typeface. I had started using Helvetica when making the tests just to kind of use something, but also started to like it. However, I thought I should look at other typefaces too, to see if there was something else I could use to fit better. I had recently found Gibson and thought that looked nice and kind of similar to Avenir, but when I placed it on the poster I instantly hated the way the “e” looked. It looks too evil, like someone is laughing ominously and the poster is dark enough without having a evil looking “e” in there. So Gibson had to go. But! Then I found League Spartan! And it fit perfectly. I love the roundness of the “b” and the bold strokes of the ascenders. I also tried to make the text a bit wobbly to take away some of the static-ness but didn’t like it in the end so let that go.
So, after some thought I decided to not do three different versions of the bench, but two. So it wouldn’t be the dramatic change of size I wanted to demonstrate in the beginning, but not having that, fixed the problem I had with the composition looking stupid, instantly. I also edited the image of the bench more, adding a black line where the ink didn’t print, and overall making the image darker to avoid any loss of information in the photo. This time it printed way better! And because I decided to go for a black/yellow theme for the poster publication thing (instead of green which was my initial design) I printed the postcards on bright yellow card (unfortunately not as thick as I wanted because the Riso wouldn’t do it) but I am happy with the result!
The concept I will be developing is my first one which focuses on manipulating the bench in shape and has a more darker and experimental feel. I made a lot of collages, cutting the bench up and stacking the benches on top of each other thinking primarily of the postcard series and how I could make an image and then cut it into 4, making the postcards go together as a whole instead of 4 individual designs. Nothing really worked out though and after a riso workshop (seen below) I realised why. With the bench in that small size, it just looked too dainty and cutes-y and that doesn’t fit my concept at all.
Riso prints, Lisa 2018
More gifs! This one is based on an image made by me and Oliver taking turns to draw on a long sheet of paper, creating an abstract cityscape.
My cover is finally finalised although the way there was long. Jumping from the red outcome to yellow papercraft I did when experimenting with one of my projects, I still wasn’t happy with the look and started instead to play around with type on the photocopier. The type didn’t turn out interesting at all but the strange marks that appeared at the edge of the paper looked good so I created a design with them instead.
Cover development 1, 2, and 3, by Lisa
Copying and rotating the image I created a sort of pattern that looks like arrows and kind of like a fast forward button. And that felt like it fit the book finally and it also felt like me with the triangles, movement and a bit artsy so I’m happy with this.
Collection final cover, by Lisa
Nearly there! I now only have one spread left and then I’m sending this to print (might redo the cover though). When placing images for the Kickstarter case study and the crisp vibe they gave off (seen below) I realised I needed to re-arrange some things in my design for the rest of the book to fit this theme as I really liked it.
There is so much colour in my work otherwise that I thought having red as chapter dividers and the book’s main colour might not be a good idea. So I changed it to black instead and at once it got more cohesive which is good. Plus the patterns and type I painted feels more like Japanese calligraphy and I really like that. Thing is, now my red cover doesn’t really match anymore so I might have to think some more about that.
Screenprinting! Starting to create my design for this I took inspiration from these two sketches I quickly did a couple of days ago in a sudden rush of inspiration where I tried to make the Zero expression more contemporary in a way, or pop-y but still keeping the zero vibe.
Zero poster sketches, by Lisa
My first attempt seen below too the right worked okay, I imitated one of my letterpress results from a previous workshop, but it didn’t vibrate enough so second attempt seen to the left was an experiment in creating more fluid lines that more resemble some of the tests I created with my blue and black Klein experiments. Way better results! More alive and with more movement so that’s what I went for, for the final print in two colours.