Monday 15 May 2017

Penguin: Developed ideas

White Nights
Based on the initial idea of using the 'W' from the original cover, the colour scheme has been developed from a colour swatch taken from a sunset. The sunset represents the setting in which the book is set. Figures 1 and 2 show a block colour and then the actual picture of the sunset as use in the 'W'. The colour seems to contrast too much agains the white background, so it was tested with a black background instead to see if it worked better (fig. 3). This works much better and by adding the shadow to the right of the 'W' and new element of dimension is added and enhances the mysterious nature of the storyline. 
fig. 1
fig. 2



fig. 3


Nonsense

The designs shown in figures 4 and 5 show how the number of lines and the rhyming scheme of a limerick could be arranged to create a pattern on the book cover. This would need to be developed so that it is not obvious what the elements are. The opacity difference on the letters enhances the separate elements and makes it easy to determine that this is not a shape/pattern. Figures 6 and 7 show it all in one colour and overlapped more so that there is less space in which the letters and numbers would start to become recognisable. 
fig. 4
fig. 5

fig. 6

fig. 7
Olalla
The design shown in figure 8 is based on the setting of the book. It is set in the Spanish mountains so I decided to try a geometric mountain range as the front cover. The different heights and opacity works well to show the perspective change and keeps it a little more interesting. To make the design more interesting, figure 9 shows the addition of fangs overlaid onto the largest mountain on the front cover of the book. This works well because it represents a theme within the storyline, but discretely. The visibility of the fangs is very low, so experimenting with taking away the triangular shape behind it can be seen in figure 10. This works the best as it makes the book cover design much more interesting than just having the 3 solid triangles. 
fig. 8

fig. 9

fig. 10

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