Designer Sketchbook Smyths

[Florentina Holcombe]

Thebinding methods are up to myself to choose. The pocket edition needs to be lightweight and transportable and connect to the story in a contemporary way. The deluxe version needs to presents the content in a larger, refined and more luxurious way. Both are intended to be seen as part of a series. The shipwreck guide is to be part of a separate genre, but preferably relates to the Defoe series.

Contrary to this version, Irish graphic designer and illustrator Connor Smyth has produced a two versions for the novel which present modern artwork using dtp software. This shows how modern technoligical advancements allow for clean refined artwork of an alternative style.

To delve a little further I have looked at various cover designs which feature similar illustrative content that could be used on each of the editions to tie them together. When viewing these I looked for the main motifs which could be transferred, adapted or intergratd into each of my versions.

These are key elements some of which I aim to include in my designs. They are seen repeatedly throughout the examples. Sometimes all at once, others only a few or one of these main motifs has been used. The colours scheme has changed depending on the time period from soft natural tones in older design to vibrant colour in modern artwork. However in both, the colours used are literal in terms of scenery. When moving on and experimenting in this process, from looking at these examples I have noticed the importance of developing a style which works with the content generating a clear message.

To kick start the design process I have created a mind map to explore ideas for editions of the novel. To add, I have also looked at the relevant viewpoints of the story and how to include them within my designs such as; symbolism, main motifs, imagery and typography. This process has helped me to familiarise myself with the novel as wells as work towards developing a style which represents the content clearly.

After looking through the designs for the deluxe and pocket editions I sketched out my initial ideas for the cover. Here I have explored some of the main motifs within the Crusoe covers I have researched by drawing out small thumbnail icons at first. These icons represent the key elements within the scenery. I looked at various ideas with an illustrative stlye and others based on typography.

This sketchbook page shows the development of my ideas and my journey towards designing each of the editions. I have taken the idea to use the icons as a background pattern for my book similar to the design of Ksenia Tatsii. However, my pattern for the deluxe edition is paired with graphic imagery on the front to feature more detailed artwork. The pocket edition takes elements from the deluxe edition but has been simplified for a smaller scale.

I started with my initial ideas for the front and back of the book. I have a cover for the front and back based on my ideas for the Crusoe covers. Again, I am dissapointed here how I have rushed this process. I realise I could have spent far more time exploring colour palettes, inspirations and layouts of the front, back and spine. This definitely points out how I could manage my time more efficiently by exploring relevant and useful material. I coudlt have also put more time and effoert in drawing my mockups cleanly. I think with the lack of time I have given myself I have rushed to the end without enough exploration.

To begin creating my final design measured the dimensions of a large book I own and set the document at this size. The measurements are; front and back cover (161mm), spine (33mm), sleeves (60 mm each) in width and the height (242mm). Afterwards, I took my initial sketch of this idea in to illustrator. I started by drawing over the silhouette with the pen tool to create the Crusoe figure. Gradually, I drew up the background imagery free hand using the pen tool. I experimented with colour and opacity levels to create shading within the elements. To create the icron pattern, I used a simple four by four method changing the position of each of the icons within this grid. When repeated this created a simple elegant pattern. The font used for the heading and body text is Bodoni. This worked to achieve an elegant, refined style. Once the information for the body text has been added the remainder was the logo and barcode. I used Viking Press offficial logo, which fits well at the bottom of the spine. The barcode was a generic stock photo I imaged traced and placed on the back.

The pocket edition adopts the same icons used as in the deluxe edition. Though, I have changed them to from gold to a mix of colours to be more recognisable at a smaller scale. I have lowered the opacity to make the elements in the foreground stand out. This also has a slightly less luxurious feel and creates a fun aesthetic. During this process, I had to recreate the pattern to fit the dimnesions of the pocket versions without distortion. The pocket dimensions are; sleeves (30mm each), front and back (112 mm) and spine at (7mm). The heihgt is 16mm. I have used the same font (Bodoni) as in the deluxe to carry over the theme. However, I have added a stroke to make the text more visible in the foreground. The body text used for this edition is the same however less text is featured, to keep the layout and information simplified for the reader.

This is my final design for the pocket edition of Robinson Crusoe. Again I am pleased with the outcome of this design. It is far more simple than the deluxe version. However, I feel it captures the important aspects of the content. Changing the colours of the icons, has made for a more a simple and fun aesthetic and I feel this cover would stand out among contemporary novels in a book store.

This is my final design for the guide. I feel this cover works well alongside the other designs. However, it is recognisable as a separate genre. Based on my research I have tried to capture the practical advice as well as adventure in the style. If I were to make improvements I would change the imagery a little more to be different from the Defoe editions. I have also noticed that the authors name is not featured on the spine, so I would definitely add this .

The images display the prototypes for each of my designs after print. I first cut them down using the trim marks I added in illustrator. I realise I should have added fold marks, though luckily I knew where to fold them. However it is useful to include them if someone else were to print them in the future. designed I am really pleased with the overall outcome of how each of them look. The dimensions for each of my books fit perfectly. As a collective the designs range in size and thickness showing the use of each of the books. The pocket edition is very light with a 120gsm matt book jacket, as is the guide. The deluxe edition is on 150gsm gloss paper wrapped around a much thicker and heavier book.

Overall, the process of creating these book jackets has been enjoyable. Along the way I have identified many areas of improvements I can make. I could definitely benefit from more detailed experimentation and research. Though, I have enjoyed this exercise I feel I have gotten lost along the way slightly. A lack of time and planning with research and design certainly shows in comparison to my previous work. In the future I will make more effort to not only plan my research but make it more relevant to what I am creating. Aswell as this, I have learned the importance of looking back to the previous exercises I have completed and using the methods I have learned to help structure the process of my assignmnets.

Your initial start referring to key themes is a sensible decision. This shows a logical approach and gives you a range of starting points to work from. You have also shown lots of cover examples including a Ladybird one and analysed them all well. The identification of common motifs is also useful and shows a thorough approach.

Your initial mind-map is clearly organised and identifies lots of relevant starting points. Again, this is a good start to the design process. You have also shown that you understand what a Deluxe Edition is. This research has helped inform your designs and shows a relevant iterative approach to your research and idea generation.

Your sketchbook ideas show a mix of image and type. Where you start to bring colour in you have also considered the additional elements of flaps and the spine. This shows that you are thinking about how your design will wrap around the cover from early on in the design process.

After graduating from university, I was lucky to get a job with Seacourt Print Workshop working as a teacher for their own in-house classes as well as in schools across Northern Ireland. During my time here, I further developed my practise of printmaking and hosted a range of exhibitions. I also worked in the Film and TV industry as a graphic designer, creating everything from shop front signage to fake stacks of money.

A key theme within my work is people and everyday life. I enjoy capturing the small things in life in my work. Over the years I have always had a sketchbook at hand and have actually kept a visual diary of my everyday life. I have sketchbooks upon sketchbooks stored away in cupboards documenting the little things you observe when out and about.

When I started drawing the Belfast pubs at the start of lockdown, I never expected the response I would get from them. I had no set plan when I drew the first pub (which was The Spaniard). In fact, it was mainly to experiment with digital drawing and colours. After the initial response, I realised that it was a subject which I could explore further as people were positively engaging with it.

Obviously not literally unless you want, but I think you can be too precious with work and this can add a lot of stress to the job. I always think about this when I get stuck, as a means to be a little more carefree with the intention of refining it later the next day.

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