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Item The adventures of Tom Bombadil book redesign: re-designing Tolkien’s poems from the Red Book into an illustrated book(2021) Larochelle, Coralie; Pacher, ConstanzaA redesign of J.R.R. Tolkien's The Adventures of Tom Bombadil, a collection of poems and part of his legendarium. Design and typographic principles bring out the beauty of the book, and linocut-stamp illustrations highlight each poem.Item Anne of Green Gables - book design & illustration: book jacket(2022) McMullin, Shae; Pacher, ConstanzaI designed, typeset, and illustrated Anne of Green Gables by L. M. Montgomery. I focused on combining the historical setting of the book with contemporary middle-grade book design trends. I conducted research into eBook design with the goals of understanding industry standards as well as the experiences of eBook readers. I created a reflowable eBook that retained the visual spirit of the print version while remaining accessible and responsive.Item Anne of Green Gables - book design & illustration: case study(2022) McMullin, Shae; Pacher, ConstanzaI designed, typeset, and illustrated Anne of Green Gables by L. M. Montgomery. I focused on combining the historical setting of the book with contemporary middle-grade book design trends. I conducted research into eBook design with the goals of understanding industry standards as well as the experiences of eBook readers. I created a reflowable eBook that retained the visual spirit of the print version while remaining accessible and responsive.Item Anne of Green Gables - book design & illustration: print interior(2022) McMullin, Shae; Pacher, ConstanzaI designed, typeset, and illustrated Anne of Green Gables by L. M. Montgomery. I focused on combining the historical setting of the book with contemporary middle-grade book design trends. I conducted research into eBook design with the goals of understanding industry standards as well as the experiences of eBook readers. I created a reflowable eBook that retained the visual spirit of the print version while remaining accessible and responsive.Item Anne of Green Gables - book design & illustration: video(2022) McMullin, Shae; Pacher, ConstanzaI designed, typeset, and illustrated Anne of Green Gables by L. M. Montgomery. I focused on combining the historical setting of the book with contemporary middle-grade book design trends. I conducted research into eBook design with the goals of understanding industry standards as well as the experiences of eBook readers. I created a reflowable eBook that retained the visual spirit of the print version while remaining accessible and responsive.Item The beetle in the barnhouse - Foe book redesign(2021) Le, Ashley; Pacher, ConstanzaThe front cover of this book design shows a significant amount of details that can be found throughout the novel. The worn-down wood texture represents the Barnhouse, its old age apparent by the deep carvings of the wood’s texture. A beetle rests inside the ‘O’ in FOE, which represents the beetle that the replacements, Junior and Henrietta, were captivated by when they first saw it. The beetle inside the “o” is inspired by a quote: “It’s not an infestation, I say. It’s only one.” The beetle’s colour easily blends well with the colour of the wood background, almost making the beetle seem like it’s making an infiltration into Junior’s home; this infiltration is how the replacement believed that Terrance wants to take over his spot as his replacement while he is out in space. The motif of the wood texture and the beetle are carried throughout the entire novel, creating an intriguing visual representation of the replacements and their original owners. It is the beetle that helps us tell the difference between the replacement and the original owners, and it is the Barnhouse that makes the two similar to each other. A serif font, Adobe Garamond Pro and Yu Mincho, is used throughout the entirety of the book, emphasizing Junior’s importance on keeping things the way they are and not willing to accept change. This also applies to Henrietta’s replacement, where the significance of her memories only caters to the original Junior’s image of her, representing their failed marriage.Item Book design - A collection of short stories by Edgar Allan Poe(2022) Drouin, Ashley; Pacher, ConstanzaThe goal of this project was to redesign a book or a collection of stories. This book consists of six short stories written by Edgar Allan Poe. Poe is known for his horror stories and poems that deal with mystery, death, and other macabre subject matter. The cover design includes a dripping blood illustration above a rich red background. The colour and design of the cover represent murder and death, which are major themes present in Poe’s writing. The typeface is a clean sans-serif font written in large white letters which gives the book a modern feel and contrasts against the red. The inside cover is black with white illustrations of a cat and a heart. These two illustrations are images that relate to two of Poe’s most well-known stories, The Tell-Tale Heart and The Black Cat. The interior includes a small illustration at the beginning of each story and a black and white texture on the left page. Each illustration and texture is different and represents a specific symbol, theme, or emotion of that particular story. Lapture Display is used for the chapter openings, a serif typeface with jagged and sharply cut edges. This typeface works well with Poe’s work due to its edginess and gives the book an unsettling feel. The illustrations play off of this font due to their use of simple black lines with a mixture of soft curves and sharp points.Item Book design - A collection of short stories by Edgar Allan Poe(2022) Drouin, Ashley; Pacher, ConstanzaThe goal of this project was to redesign a book or a collection of stories. This book consists of six short stories written by Edgar Allan Poe. Poe is known for his horror stories and poems that deal with mystery, death, and other macabre subject matter. The cover design includes a dripping blood illustration above a rich red background. The colour and design of the cover represent murder and death, which are major themes present in Poe’s writing. The typeface is a clean sans-serif font written in large white letters which gives the book a modern feel and contrasts against the red. The inside cover is black with white illustrations of a cat and a heart. These two illustrations are images that relate to two of Poe’s most well-known stories, The Tell-Tale Heart and The Black Cat. The interior includes a small illustration at the beginning of each story and a black and white texture on the left page. Each illustration and texture is different and represents a specific symbol, theme, or emotion of that particular story. Lapture Display is used for the chapter openings, a serif typeface with jagged and sharply cut edges. This typeface works well with Poe’s work due to its edginess and gives the book an unsettling feel. The illustrations play off of this font due to their use of simple black lines with a mixture of soft curves and sharp points.Item Book design - A collection of short stories by Edgar Allan Poe(2022) Drouin, Ashley; Pacher, ConstanzaThe goal of this project was to redesign a book or a collection of stories. This book consists of six short stories written by Edgar Allan Poe. Poe is known for his horror stories and poems that deal with mystery, death, and other macabre subject matter. The cover design includes a dripping blood illustration above a rich red background. The colour and design of the cover represent murder and death, which are major themes present in Poe’s writing. The typeface is a clean sans-serif font written in large white letters which gives the book a modern feel and contrasts against the red. The inside cover is black with white illustrations of a cat and a heart. These two illustrations are images that relate to two of Poe’s most well-known stories, The Tell-Tale Heart and The Black Cat. The interior includes a small illustration at the beginning of each story and a black and white texture on the left page. Each illustration and texture is different and represents a specific symbol, theme, or emotion of that particular story. Lapture Display is used for the chapter openings, a serif typeface with jagged and sharply cut edges. This typeface works well with Poe’s work due to its edginess and gives the book an unsettling feel. The illustrations play off of this font due to their use of simple black lines with a mixture of soft curves and sharp points.Item Book design: "Fairy tales by H.C. Andersen, an illustrated collection of stories"(2022) Cox, Lisa; Pacher, Constanza"Fairy Tales by H.C. Andersen, A Collection of Stories” features work pulled from Andersen's 156 fairytales existing across nine volumes. Andersen's tales explore the hardship of life and champion resilience in the face of adversity, making his stories suitable for people of all ages. The design of this book pulls from the classic Fairy Tale genre, using ornamentation, frames, and highly stylized and whimsical typefaces. The dark blue cover with a subtle antique pattern creates a lovely backdrop for the typography and ornamentation. The inside of the cover features a dark and misty forest, lending to an air of mystery. Each typeface chosen interacts and compliments the theme and brings variety to each page. Illustrations accompany the introduction of each story, highlighting an essential part of the tale. The Illustrations are stylized and straightforward with a light antique line art feel. This illustrated collection consists of seven stories: the Littler Mermaid, Little Tiny Thumbelina, the Dumb Book, The Fir Tree, the Little Match Seller, The Brave Tin Soldier, and The Elf of the Rose. This Rendition of Andersen's tales celebrates the whimsy of the genre and the haunting tales that have become embedded in western culture. Bachelor of Design, DESN 317.Item The book of sand: experimental layout process booklet(2021) Amoah, Isaac; Pacher, ConstanzaThe process is described through inspirations, exercises, typefaces, layout variations, colour palettes, final spread design, and dust jacket design.Item The book of sand: mockup(2021) Amoah, Isaac; Pacher, ConstanzaThe bird’s-eye-view of the experimental spread replicates the Bible - focusing on two-column structures, with a chapter and paragraphs of verses. The Bible consists of four main genres - law, history, prophets, and poetry. The dialogues have been indented to resemble the poetry structure located in Psalms & Proverbs of the Bible; the justified text structure resembles the remaining genres of the Bible, with one indent at the beginning of the paragraphs. The typeface chosen for the spread is a serif font - Minion Pro; the Bible typically uses serif typefaces. There is gradual progress in the annotations. The different annotations (pen, highlighter, and pencil) reflect the character’s days of studying the mysterious book. The final column in the spread gets filled with many annotation marks to show the main characters’ obsession with the book.Item The book of sand: rationale(2021) Amoah, Isaac; Pacher, ConstanzaThe rationale for the work is described.Item The book of sand: two page spread(2021) Amoah, Isaac; Pacher, ConstanzaThe bird’s-eye-view of the experimental spread replicates the Bible - focusing on two-column structures, with a chapter and paragraphs of verses. The Bible consists of four main genres - law, history, prophets, and poetry. The dialogues have been indented to resemble the poetry structure located in Psalms & Proverbs of the Bible; the justified text structure resembles the remaining genres of the Bible, with one indent at the beginning of the paragraphs. The typeface chosen for the spread is a serif font - Minion Pro; the Bible typically uses serif typefaces. There is gradual progress in the annotations. The different annotations (pen, highlighter, and pencil) reflect the character’s days of studying the mysterious book. The final column in the spread gets filled with many annotation marks to show the main characters’ obsession with the book.Item Conditions(2020) Zanbak, Keira; Pacher, ConstanzaConditions is a collection of written works by women, their experiences in life, and their thoughts and views on the world. It features six poems, two short stories, and an interview with author Adrienne Rich. The book is illustrated with imagery of mountains, hot weather, and desserts, settings that are often referenced in the stories. On a deeper level, a theme that runs through the book is that of rejection of traditional expectations of women and femininity. For this reason, motifs like flowers and the colour pink were avoided purposely. The typefaces Playfair Display and Crimson Text were chosen to match the overall feel of beauty that is communicated in this collection, as well as the elegance and quality of the written pieces. The layout was kept traditional to accommodate a wide variety of different types of work included in the collection; large headings and ample white space was used to separate each writing.Item Exploring non-traditional typography and visual narrative through Ray Bradbury's "Cistern": mockup(2020) McMullin, Shae; Pacher, ConstanzaThis is a spread that uses expressive typography and visual treatment to help tell the story of "The Cistern" by Ray Bradbury.Item Exploring non-traditional typography and visual narrative through Ray Bradbury's "Cistern": rationale(2020) McMullin, Shae; Pacher, ConstanzaThis is a spread that uses expressive typography and visual treatment to help tell the story of "The Cistern" by Ray Bradbury.Item Exploring non-traditional typography and visual narrative through Ray Bradbury's "Cistern": rationale two-page spread(2020) McMullin, Shae; Pacher, ConstanzaThis is a spread that uses expressive typography and visual treatment to help tell the story of "The Cistern" by Ray Bradbury.Item Film-to-Book Design(2023) Cayanan, Barbie; Pacher, ConstanzaDead Poets Society is a movie directed by Peter Weir, written by Tom Schulman and a novel adaptation by N.H Kleinbaum. DPS follows the lives of the students of Welton Academy, balancing stressful classes and extracurriculars for a successful future. The rare opportunity of discovering their passions and identities arrives; a new English teacher has been hired and changed their teenage lives forever. The book's cover is reminiscent of the poetry book (Five Centuries of Verse) that the students read in their DPS meetings, from the textured font, the golden wreath and the wear and tear that's complimented with references, quotes, key items and visuals on the inside. Each chapter's beginning, midway or end has important details, evidence of teenagers messing with the book or overall time wearing down the quality after every use. DPS was set in 1959, and the novel uses serif typefaces (Miller Text), type with texture (the title and typewriter notes) and handwritten poems, quotes and doodles to put the reader in the mindset of a teenager in an old boarding school. All dark academia elements, visuals of wear and tear on the cover and each page, handwritten details, limited colour scheme and textured type create a cohesive message that separates the novel from the film. The redesign proves the book did not lazily copy scene by scene and line by line. It provides a different experience and different perspective of the story.Item Morphology mockup(2019) Agustin, Kayla; Bury, Anna; Cherkewick, Kessia; Cox, Lisa; Goos, Melaina; Joe, Alyssa; Kellough, Ashlin; Pacher, ConstanzaMorphology: A Visual Exploration of Dialogue in Literature, is a project of DESN330 Typography II, a course in the Bachelor of Design at MacEwan University, taught by Assistant Professor Constanza Pacher (MDes). In this experimental typography project, students visually translated an assigned short story into a two-page layout that challenges convention. With the overall goal of enhancing the meaning of the written text through visual devices, students focused on the nuances of language and speech in dialogues. The project encouraged students to explore alternative ways to organize the page, all while maintaining the legibility and readability of the texts. The resulting piece is a collective publication, which was professionally printed in January of 2020. In addition to designing their own spreads, a group of volunteers worked together in conceiving the name of the publication, as well as designing covers, and front and back matter.