Design - Student Works

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19XX
(2010) Kirk, Keenan; Neiman, Kathy
Text and illustration by Keenan Kirk. Assuming the roles of author, curator and designer, Grant MacEwan University students were asked to write a short historical narrative, then to create and assemble an accompanying collection of historical artifacts and illustrations. https://www.keenankirk.com/
A great change will come
(2014) Dyck, Jonathan; Pacher, Constanza; Dupuis, Jess
Winner of the Creative Category in the MacEwan Book of the Year Student Contest. Under the premise that the visual form is dictated by the content, students were encouraged to analyze plot, characters, point of view, imagery, tone, themes and symbolism to extract keywords, sentences and passages as the basis for their designs. Students were asked to challenge literal interpretations by exploring the use of expressive typography and text and image relationships.
A mad tea-party: mockup
(2021) Favre, Chelsea; Pacher, Constanza
In “A Mad Tea-Party from Alice’s Adventures in Wonderland’’ by Lewis Carroll, Alice has just met the Mad Hatter, March Hare, and the Dormouse at their tea-party, where she engages in a nonsensical conversation regarding hair cutting, riddles, buttered clocks and time. The Hatter chimes in periodically with off-topic chatter that derails the conversation at hand, much to the annoyance of Alice. Her consternation grows more apparent as the conversation continues, and it ends with a nonsensical parody of Twinkle Twinkle Little Star. A whimsical approach was taken in the way the text is laid out on the page, aiming to lead the reader’s eye down a winding, amusing path from one section to the next. The Hatter’s nonsensical interruptions break the text using a larger coloured and eccentric typeface to accentuate how disruptive his interruptions are. Despite the interjection of the larger text into the normal paragraphs, they are presented in a way that leads to the next part of the story with ease. Alice’s irritation is expressed in red with certain words emphasized in larger, bolder text to force that annoyance on the reader, growing in size to match her growing irritation as the story progresses. The illustrations used to decorate this piece add to the whimsical, fantastical nature of the story. The little Mad Hatter hat that sits upon the first letter of the story draws attention to the beginning, while the teapot pouring tea down the text into a much larger teacup below not only helps the reader navigate the text but also brings attention to the setting of the story. The image serves to illustrate how bizarre the world is that Alice finds herself in. Lastly, the image of a sleepy Dormouse brings attention to the ending of the tale, providing a delightful, visual element to the conclusion. Course: DESN 231 Typography II.
A mad tea-party: spread
(2021) Favre, Chelsea; Pacher, Constanza
In “A Mad Tea-Party from Alice’s Adventures in Wonderland’’ by Lewis Carroll, Alice has just met the Mad Hatter, March Hare, and the Dormouse at their tea-party, where she engages in a nonsensical conversation regarding hair cutting, riddles, buttered clocks and time. The Hatter chimes in periodically with off-topic chatter that derails the conversation at hand, much to the annoyance of Alice. Her consternation grows more apparent as the conversation continues, and it ends with a nonsensical parody of Twinkle Twinkle Little Star. A whimsical approach was taken in the way the text is laid out on the page, aiming to lead the reader’s eye down a winding, amusing path from one section to the next. The Hatter’s nonsensical interruptions break the text using a larger coloured and eccentric typeface to accentuate how disruptive his interruptions are. Despite the interjection of the larger text into the normal paragraphs, they are presented in a way that leads to the next part of the story with ease. Alice’s irritation is expressed in red with certain words emphasized in larger, bolder text to force that annoyance on the reader, growing in size to match her growing irritation as the story progresses. The illustrations used to decorate this piece add to the whimsical, fantastical nature of the story. The little Mad Hatter hat that sits upon the first letter of the story draws attention to the beginning, while the teapot pouring tea down the text into a much larger teacup below not only helps the reader navigate the text but also brings attention to the setting of the story. The image serves to illustrate how bizarre the world is that Alice finds herself in. Lastly, the image of a sleepy Dormouse brings attention to the ending of the tale, providing a delightful, visual element to the conclusion. Course: DESN 231 Typography II.
A rooster stood before me in the road looking for a fight
(2015) Copithorne, Robert; Pacher, Constanza; Fiorentino, Carlos
Type as Image: Eliciting Emotions is a project of DESN330 Typography II (Constanza Pacher + Carlos Fiorentino) in the Design Studies Diploma Program at MacEwan University. Students were asked to capture the essence of the book The Sisters Brothers by Patrick deWitt (MacEwan Book of the Year 2014/2015), and translate it into a three-poster series using typography as the main element. Under the premise that the visual form is dictated by the content, students were encouraged to analyze plot, characters, point of view, imagery, tone, themes and symbolism to extract key words, sentences and passages as the basis for their designs. Students were asked to challenge literal interpretations by exploring the use of expressive typography and text and image relationships.
A typographic interpretation of “The Pedestrian” by Ray Bradbury
(2022) Blaak, Rachel; Pacher, Constanza
“The Pedestrian” is the short story by Ray Bradbury about a night in the life of Leonard Mead. Set in a dystopian 2053, Mead is walking alone through his neighbourhood when he is confronted by a police car. After struggling to understand his reasoning behind going for a walk, the police car arrests Mead, explaining that he is being sent to a psychiatric facility. This final design is playing off of the intrusive nature of the car’s speech. It is very aggressive in its tone as compared to Mead’s soft descriptive nature. When approaching this project, it was apparent that the car’s dialogue must be all-caps and sans-serif. On the other hand, Mead is a writer by profession, being very descriptive and poetic in his narration, calling for a soft serif with plenty of rags, creating fluid shapes. The two types of dialogue are very different to represent the difference between human nature and that of a robotic car. The car is not engaged in the conversation, shown by being right-aligned, as if they were two separate monologues. The small caps within the body text represent the cold nature of the scene the reader is placed in. The Background imagery is an abstract rendering of headlights to show that car’s presence. The car’s speech changes in value depending on its volume, getting dark the softer its tone is.
A typographic interpretation of “The Pedestrian” by Ray Bradbury
(2022) Blaak, Rachel; Pacher, Constanza
“The Pedestrian” is the short story by Ray Bradbury about a night in the life of Leonard Mead. Set in a dystopian 2053, Mead is walking alone through his neighbourhood when he is confronted by a police car. After struggling to understand his reasoning behind going for a walk, the police car arrests Mead, explaining that he is being sent to a psychiatric facility. This final design is playing off of the intrusive nature of the car’s speech. It is very aggressive in its tone as compared to Mead’s soft descriptive nature. When approaching this project, it was apparent that the car’s dialogue must be all-caps and sans-serif. On the other hand, Mead is a writer by profession, being very descriptive and poetic in his narration, calling for a soft serif with plenty of rags, creating fluid shapes. The two types of dialogue are very different to represent the difference between human nature and that of a robotic car. The car is not engaged in the conversation, shown by being right-aligned, as if they were two separate monologues. The small caps within the body text represent the cold nature of the scene the reader is placed in. The Background imagery is an abstract rendering of headlights to show that car’s presence. The car’s speech changes in value depending on its volume, getting dark the softer its tone is.
A typographic interpretation of “The Pedestrian” by Ray Bradbury
(2022) Blaak, Rachel; Pacher, Constanza
“The Pedestrian” is the short story by Ray Bradbury about a night in the life of Leonard Mead. Set in a dystopian 2053, Mead is walking alone through his neighbourhood when he is confronted by a police car. After struggling to understand his reasoning behind going for a walk, the police car arrests Mead, explaining that he is being sent to a psychiatric facility. This final design is playing off of the intrusive nature of the car’s speech. It is very aggressive in its tone as compared to Mead’s soft descriptive nature. When approaching this project, it was apparent that the car’s dialogue must be all-caps and sans-serif. On the other hand, Mead is a writer by profession, being very descriptive and poetic in his narration, calling for a soft serif with plenty of rags, creating fluid shapes. The two types of dialogue are very different to represent the difference between human nature and that of a robotic car. The car is not engaged in the conversation, shown by being right-aligned, as if they were two separate monologues. The small caps within the body text represent the cold nature of the scene the reader is placed in. The Background imagery is an abstract rendering of headlights to show that car’s presence. The car’s speech changes in value depending on its volume, getting dark the softer its tone is.
A typographic interpretation of “The Pedestrian” by Ray Bradbury
(2022) Blaak, Rachel; Pacher, Constanza
“The Pedestrian” is the short story by Ray Bradbury about a night in the life of Leonard Mead. Set in a dystopian 2053, Mead is walking alone through his neighbourhood when he is confronted by a police car. After struggling to understand his reasoning behind going for a walk, the police car arrests Mead, explaining that he is being sent to a psychiatric facility. This final design is playing off of the intrusive nature of the car’s speech. It is very aggressive in its tone as compared to Mead’s soft descriptive nature. When approaching this project, it was apparent that the car’s dialogue must be all-caps and sans-serif. On the other hand, Mead is a writer by profession, being very descriptive and poetic in his narration, calling for a soft serif with plenty of rags, creating fluid shapes. The two types of dialogue are very different to represent the difference between human nature and that of a robotic car. The car is not engaged in the conversation, shown by being right-aligned, as if they were two separate monologues. The small caps within the body text represent the cold nature of the scene the reader is placed in. The Background imagery is an abstract rendering of headlights to show that car’s presence. The car’s speech changes in value depending on its volume, getting dark the softer its tone is.
Altering history so that I emerge victorious
(2015) Stobbe, Morgan; Pacher, Constanza; Fiorentino, Carlos
Under the premise that the visual form is dictated by the content, students were encouraged to analyze plot, characters, point of view, imagery, tone, themes and symbolism to extract keywords, sentences and passages as the basis for their designs. Students were asked to challenge literal interpretations by exploring the use of expressive typography and text and image relationships.
And I was cast adrift on a strange new river
(2014) Huizinga, Robyn; Pacher, Constanza; Dupuis, Jess
Under the premise that the visual form is dictated by the content, students were encouraged to analyze plot, characters, point of view, imagery, tone, themes and symbolism to extract keywords, sentences and passages as the basis for their designs. Students were asked to challenge literal interpretations by exploring the use of expressive typography and text and image relationships.
And that Eli, is how you got your freckles
(2015) Reed, Daniel; Pacher, Constanza; Fiorentino, Carlos
Under the premise that the visual form is dictated by the content, students were encouraged to analyze plot, characters, point of view, imagery, tone, themes and symbolism to extract keywords, sentences and passages as the basis for their designs. Students were asked to challenge literal interpretations by exploring the use of expressive typography and text and image relationships.
Angie Stone: old school man, Rihanna
(2017) Olsen, Janae; Pacher, Constanza
Each year MacEwan University chooses a work of contemporary Canadian fiction. The Book of the Year is explored through classes, author readings, workshops, and contests. This piece belongs to the Book of the Year Poster Series project where Design Studies students interpreted it through type and image. The exhibited work showed excerpts from Love Enough by Dionne Brand. Course: DESN330 Typography II. Instructor: Constanza Pacher.
Anne of Green Gables - book design & illustration: book jacket
(2022) McMullin, Shae; Pacher, Constanza
I 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.
Anne of Green Gables - book design & illustration: case study
(2022) McMullin, Shae; Pacher, Constanza
I 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.
Anne of Green Gables - book design & illustration: print interior
(2022) McMullin, Shae; Pacher, Constanza
I 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.
Anne of Green Gables - book design & illustration: video
(2022) McMullin, Shae; Pacher, Constanza
I 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.
Beautiful: he said she was beautiful
(2017) Scaman, Caitlyn; Pacher, Constanza
Each year MacEwan University chooses a work of contemporary Canadian fiction. The Book of the Year is explored through classes, author readings, workshops, and contests. This piece belongs to the Book of the Year Poster Series project where Design Studies students interpreted it through type and image. The exhibited work showed excerpts from Love Enough by Dionne Brand. Course: DESN330 Typography II. Instructor: Constanza Pacher.
Beautiful: she had been hanging from that word ever since she was a child
(2017) Scaman, Caitlyn; Pacher, Constanza
Each year MacEwan University chooses a work of contemporary Canadian fiction. The Book of the Year is explored through classes, author readings, workshops, and contests. This piece belongs to the Book of the Year Poster Series project where Design Studies students interpreted it through type and image. The exhibited work showed excerpts from Love Enough by Dionne Brand. Course: DESN330 Typography II. Instructor: Constanza Pacher.
Beautiful: she had no center except that word
(2017) Scaman, Caitlyn; Pacher, Constanza
Each year MacEwan University chooses a work of contemporary Canadian fiction. The Book of the Year is explored through classes, author readings, workshops, and contests. This piece belongs to the Book of the Year Poster Series project where Design Studies students interpreted it through type and image. The exhibited work showed excerpts from Love Enough by Dionne Brand. Course: DESN330 Typography II. Instructor: Constanza Pacher.

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