… will start half an hour later, at 2pm!
Bring to class printed color comps of your posters. The illustration and type should well on their way, needing only refinement. To save money you can print on 11 x 17″ and scale to fit. The 18 x 24″ print will be due for final critique the following week.
Bring your sketchbooks for me to check. I’ll take a look at them but not grade them till the following week.
On Thursday December 1, at 6:30 in Shemin Auditorium, I’ll be giving the VALS lecture. I’m not that interested in talking about my work for this one, though. I’ll be talking about my experience at ICON9, the Illustration Conference in Austin TX last summer. It was a grand time and so exciting to see the wealth of opportunities in the illustration world these days. If you can, please come.
Poster by Rich Kelly, SU Illustration Program alum
Bring to class sketches for your final assignment, the gig-poster. Do LOTS of thumbnails; don’t go too quickly to a solution but examine alternates. Here’s an article from Print magazine about gig posters that might spark some ideas.
Bring to class your sketchbooks to show me. Be prepared to work in class.
During the week, work hard and bring your best energy to the unusual-materials project. Email me if you have any questions or want to show wip.
In class: final crit for the Unusual Materials assignment.
Ater crit, we’ll go over the next and final assignment, a gig poster. Think about what music you love, who you wish you could illustrate and design for.
Sketch ideas for your unusual-materials poster. What are you going to say and what are you going to say it with? Don’t forget to sketch in the form of a wide rectangle to reflect the proportions of an 18 x 24″ poster. Consider the placement of your words within that rectangle; that is part of the design.
In your sketches resolve what your style of lettering will be. Consider what material will amplify or comment on the phrase. Will your material behave the way you want it to, form the shapes you need? Collect samples of your material and play its arrangement, what adhesive you might have to use, where your set-up will be, how you’ll photograph it.
Bring to class thumbnail sketches (lots is better than few) and test strips of your materials. In some cases there will be pictures of your materials because you can’t schlep them in. That’s OK, show us what you’ve got.
You have just 2 weeks for this project.
Bring to class your printed storybook covers and interior spreads for final critique. Your artwork must be repro size (i.e. the same size as the final printed piece). When you print the cover, if you have a pale background you can put a gray .5 rule around the trim size or cut it out to size. If you cut it out, in the print dialogue box select “Marks and Bleed” and select “Cropmarks”. This will give you corner marks to indicate where to trim your page.
When printing your interior spread, make sure your pages butt together (no space in between the 2 pages). Using InDesign, you can print your cover separately selecting page 1 only; under Setup select the vertical format and 8.5 x 11″ paper size. To print the spread: under general, choose Spreads; under Setup select the horizontal page format and paper size, 11 x 17.” Make sure to select “Cropmarks” and trim out your pages. If you’re sending the document to Schine Copy Center, you may need to save it as a pdf. Choose the Print Quality option and follow the above general directions, saving one document as cover and the other as the spread.
Questions? Ask me. I’m around.
The front cover of your book cover should be nearly done and the interior illustration at least roughed out. You’d be smart to plan the interim pages and illustration before finishing the jacket; they are all parts of the same whole and have to work together.
The front cover should have an image or illustration, display type of the title, and the author’s name (you can include yourself as illustrator.) If stumped, look at existing books of that genre. The interior spread will be 2 facing pages and include: chapter number, chapter title (or name of a story), drop cap, folios (page numbers) and at least a couple of paragraphs of body copy. The illustration will be on the facing page… unless you come up with another layout idea that serves the topic well. You may include ornamentation if appropriate.
We’ll have a mini-crit of your front covers; show your interior spread if you’ve got it ready for feedback. In class we’ll do a workshop in setting a block of body copy and how to insert a drop cap (yep, there’s more than one way.)
Final critique for the Storybook project is the following week. Pace yourself for a happy conclusion; get lots done in the coming week. And enjoy yourselves!
Bring to class proposals and sketches for your storybook project. Know the stories! It sounds like a Doh! moment, but in book jacket work you have to read the text, especially for fiction. How else will you know that a pearl bead is a key icon in the tale?
Do lots of thumbnails, for the cover and for the interior. Doodle your illuminated initial too. Anticipate whether you want to do hand lettering (highly recommended) or set type. If your title is hand lettered it does not have to be calligraphy or script. Play. Invent letterforms. If you set all of your type, do you want to customize it? Consider display typefaces with a lot of personality that will communicate the tone of the stories and support the visuals.
If you aren’t an illustrator, consider other ways to create imagery for the cover and interior. You can do wonders with photography, found objects and images, a scanner and Adobe Photoshop.
The whole design should be a pleasing combination of type and image.
Bring to class your original art for the script/calligraphy assignment. You can use pencil to lightly describe the skeleton of your letterforms but the actual formation of letters needs to be with pen or brush making the strokes, not filling in an outlined form. Pay attention to the position of the words on the page. It’s a rare phrase that will look best as horizontal lines of text dully placed in the center of the page.
Class will begin with a critique of the script/calligraphy assignment. After crit, we’ll look at how you can digitize your lettering and further modify it as vector forms in Adobe Illustrator.
The next assignment will be Storytime! You’ll design a book cover and interior spread for a collection of tales, your choice. It could be classical children’s Grimm Fairy Tales or modern absurdist (SU’s own!) George Saunders. Start thinking about what you’ll want to do.
Illustration and lettering by Elvis Swift
Due to my teaching obligations with the freshmen next week, we will have a shortened class. Come to Shaffer room 332 at 4 till 6pm. Bring with you sketches for your scriptcalligraphy assignment. Do test strips with your materials, your tools. your paper. Choose a word or phrase that is eloquently, smartly expressed by the style of your lettering. Purposefully choose a formal or informal style of lettering. You can design your word or phrase with thumbnails and penciled onto the board or paper, but make your mark in one fell swoop, using the tool to define the strokes.