Just before I started designing my bookshelf banner for this project, I googled the title to see what existing banners there was. Originally I was thinking of a uniform, straightforward rectangle design but I found this image of bunting. This then gave me a really good idea, that I could use the bunting to create a banner but obviously personalise it with the characters I'd already created. I think this engages better with the target audience because it's quite fun and quirky and more so decorative so could be sold as a further product.
Showing posts with label brief two. Show all posts
Showing posts with label brief two. Show all posts
Wednesday, 14 November 2012
Tuesday, 13 November 2012
The Wind in the Willows; Window displays.
I wanted to look at existing window displays in order to get ideas for when I create my own to promote The Wind in the Willows. From the research it seems that a lot of promotional material mainly consists of the actual from of the book covers but scaled up to something like A0 in order to capture the audiences attention in the bookshop window. Some smaller bookshops tend not to use a single book for their display too so I could consider having different sizes of poster to work across the different places my product will need to be advertised.
Thursday, 8 November 2012
The Wind in the Willows; visual research.
Lisa very kindly picked up this leaflet on the theatre version of The Wind in the Willows as a form of visual inspiration for my project. This has been a great help because it's further showed me a style that has been used and the sort of font that may work best as well as showing an example of colour pallets that can be considered. This is directed a such a wide target audience with both adults and children so I need to remember this as my own designs mainly need to speak to the children more so than the adults.
The Wind in the Willows; childrens illustration.
I looked at children's illustration as a main focus for my brief because I think the imagery is what is going to speak to the children most when they see the book on the shelf. I've noticed that a lot of work tends to have a very unique hand rendered look shining through from each illustrator so I need to consider how my style will stand out from whats already existing. Vector imagery also seems to be consistent through the research just because the is a current popular style and makes things look very cartoon-like which also speaks to the target audience. Watercolour consitency has also began to inspire me because I feel this style still speaks to the target audience but has an element of sophistication to it which I really like. It'll also be a new technique for me to work with if I do decide to go down this route.
Tuesday, 2 October 2012
Penguin Design Award 2013; previous winners.
2010
2011
2012
I have looked at previous winners from the penguin design awards to get an idea of the sort of thing the judges go for. I've noticed each cover from over the years has a completely unique style and stands out from all the others. There are a varied range of styles above so theres nothing in particular I need to stick to, I just need to make sure I make it different so it catches the judges eyes. I quite like the illustrative james and the giant peach cover due to the style and the effort that has clearly gone into it.
Penguin Design Award 2013; existing book covers.
These are examples of all existing book covers for the wind in the willows. Whilst researching this I found so many examples there was far too many to blog. The ones above are just a few that caught my eye for various reasons. I feel that my least favourite is the second from the top because although I like to whole disney esk style to it, I feel that the wind in the willows is far too much of a classic book for this. It needs a modern yet semi-classical look if the two can possibly be combined. This is something I will explore when coming up with my own designs for the book cover. Based on all these examples I can now make sure I create something completely different and unique.
Penguin Design Award 2013; The Wind in the Willows.
The Wind in the Willows is a classic of children's literature by Kenneth Grahame, first published in 1908. Alternately slow moving and fast paced, it focuses on four anthropomorphised animal characters in a pastoral version of England. The novel is notable for its mixture of mysticism, adventure, morality, and camaraderie and celebrated for its evocation of the nature of the Thames valley.
In 1908 Grahame retired from his position as secretary of the Bank of England. He moved back to Cookham, Berkshire, where he had been brought up and spent his time by the River Thames doing much as the animal characters in his book do—namely, as one of the most famous phrases from the book says, "simply messing about in boats"—and wrote down the bed-time stories he had been telling his son Alistair.
The Wind in the Willows was in its thirty-first printing when playwright A. A. Milne adapted a part of it for the stage as Toad of Toad Hall in 1929.
Plot summary
At the start of the book, it is spring time: the weather is fine, and good-natured Mole loses patience with spring cleaning. He flees his underground home, heading up to take in the air. He ends up at the river, which he has never seen before. Here he meets Ratty (a water rat), who at this time of year spends all his days in, on and close by the river. Rat takes Mole for a ride in his rowing boat. They get along well and spend many more days boating, with Rat teaching Mole the ways of the river.
One summer day shortly thereafter, Rat and Mole find themselves near the grand Toad Hall and pay a visit to Toad. Toad is rich (having inherited wealth from his father): jovial, friendly and kind-hearted but aimless and conceited, he regularly becomes obsessed with current fads, only to abandon them as quickly as he took them up. Having only recently given up boating, Toad's current craze is his horse-drawn caravan. In fact, he is about to go on a trip, and persuades the reluctant Rat and willing Mole to join him. The following day (after Toad has already tired of the realities of camp life and sleeps-in to avoid chores), a passing motor car scares the horse, causing the caravan to overturn into a ditch. Rat does a war dance and threatens to have the law on the motor car drivers, but this marks the immediate end of Toad's craze for caravan travel, to be replaced with an obsession for motor cars. When the three animals get to the nearest town, they have Toad go to the police station to make a complaint against the vandals and their motor car and thence to a blacksmith to retrieve and mend the caravan. Toad - in thrall to the experience of his encounter - refuses. Rat and Mole find an inn from where they organise the necessary steps and, exhausted, return home by train. Meanwhile, Toad makes no effort to help, instead deciding to order himself a motor car.
Mole wants to meet the respected but elusive Badger, who lives deep in the Wild Wood, but Rat - knowing that Badger does not appreciate visits - refuses to take him, telling Mole to be patient and wait and Badger will pay them a visit himself. Nevertheless, on a snowy winter's day, whilst the seasonally somnolent Ratty dozes unaware, Mole impulsively goes to the Wild Wood to explore, hoping to meet Badger. He gets lost in the woods, sees many "evil faces" among the wood's less-welcoming denizens, succumbs to fright and panic and hides, trying to stay warm, amongst the sheltering roots of a tree. Rat, upon awakening and finding Mole gone, guesses his mission from the direction of Mole's tracks and, equipping himself with a pistol and a stout stick, goes in search, finding him as snow begins to fall in earnest. Attempting to find their way home, Rat and Mole quite literally stumble across Badger's home — Mole barks his shin upon the boot scraper on Badger's doorstep. Rat finds it and a doormat, knowing they are an obvious sign of hope, but Mole thinks Rat has gone crazy, only to believe him when the digging reveals a door. Badger - en-route to bed in his dressing-gown and slippers - nonetheless warmly welcomes Rat and Mole to his large and cosy underground home and hastens to give them hot food and dry clothes. Badger learns from his visitors that Toad has crashed six cars, has been hospitalised three times, and has spent a fortune on fines. Though nothing can be done at the moment (it being winter), they resolve that once spring arrives they will make a plan to protect Toad from himself; they are, after all, his friends and are worried for his well-being.
With the arrival of spring, Badger visits Mole and Rat to do something about Toad's self-destructive obsession. The three of them go to visit Toad, and Badger tries talking him out of his behaviour, to no avail. They decide to put Toad under house arrest, with themselves as the guards, until Toad changes his mind. Feigning illness, Toad bamboozles the Water Rat (who is on guard duty at the time) and escapes. He steals a car, drives it recklessly and is caught by the police. He is sent to prison on a twenty-year sentence.
Badger and Mole are cross with Rat for his gullibility but draw comfort from the fact that they need no longer waste their summer guarding Toad. However, Badger and Mole continue to live in Toad Hall in the hope that Toad may return. Meanwhile in prison, Toad gains the sympathy of the Jailer's Daughter who helps him to escape disguised as a washerwoman. Though free again, Toad is without money or possessions other than the clothes upon his back, and is being pursued by the police. Still disguised as a washerwoman, and after hitchhiking a lift on a train, Toad comes across a horse-drawn barge. The Barge's Owner offers him a lift in exchange for Toad's services as a "washer woman". After botching the wash, Toad gets into a fight with the barge-woman, who deliberately tosses him in the canal. After making off with the barge horse, which he then sells to a gypsy, Toad flags down a passing car, which happens to be the very one which he stole earlier. The car owners, not recognizing Toad disguised as a washer woman, permit him to drive their car. Once behind the wheel, he is repossessed by his former passion and drives furiously, declaring his true identity to the outraged passengers who try to seize him. This leads to an accident, after which Toad flees once more. Pursued by police he runs accidentally into a river, which carries him by sheer chance to the house of the Water Rat.
Toad now hears from Rat that Toad Hall has been taken over by weasels, stoats and ferrets from the Wild Wood, who have driven out its former custodians, Mole and Badger. Although upset at the loss of his house, Toad realises what good friends he has and how badly he has behaved. Badger then arrives and announces that he knows of a secret tunnel into Toad Hall through which the enemies may be attacked. Armed to the teeth, Rat, Mole and Toad enter via the tunnel and pounce upon the unsuspecting weasels who are holding a party in honour of their leader. Having driven away the intruders, Toad holds a banquet to mark his return, during which (for a change) he behaves both quietly and humbly. He makes up for his earlier wrongdoings by seeking out and compensating those he has wronged, and the four friends live out their lives happily ever after.
In addition to the main narrative, the book contains several independent short-stories featuring Rat and Mole. These appear for the most part between the chapters chronicling Toad's adventures, and are often omitted from abridgements and dramatizations. The chapter Dulce Domum describes Mole's return to his home, accompanied by Rat, in which despite finding it in a terrible mess after his abortive spring clean he rediscovers, with Rat's help, a familiar comfort. The Piper at the Gates of Dawn tells how Mole and Rat go in search of Otter's missing son Portly, whom they find in the care of the god Pan. (Pan removes their memories of this meeting "lest the awful remembrance should remain and grow, and overshadow mirth and pleasure".) Finally in Wayfarers All Ratty shows a restless side to his character when he is sorely tempted to join a Sea Rat on his travelling adventures.
Monday, 1 October 2012
Pengin design award 2013; Penguin.
Penguin Books is a publisher founded in 1935 by Sir Allen Lane. Penguin revolutionised publishing in the 1930s through its high quality, inexpensive paperbacks, sold through Woolworths and other high street stores for sixpence. Penguin's success demonstrated that large audiences existed for serious books. Penguin also had a significant impact on public debate in Britain, through its books on politics, the arts, and science.
Penguin Books is now the flagship imprint of the worldwide Penguin Group and is owned by Pearson PLC, the global media company who also own the Financial Times, the business information group and Pearson, the world's largest education publishing and technology company.
Noel Carrington, an editor at Country Life magazine, first approached Lane with the idea of publishing low cost, illustrated non-fiction children's books in 1938. Inspired by the Editions Père Castor books drawn by Rojan and the technique of auto lithography used in the poster art of the time, Carrington's suggestion for what was to become the Puffin Picture Book series was adopted by Penguin in 1940 when, as Lane saw it, evacuated city children would need books on farming and natural history to help adjust to the country. The first four titles appeared in December 1940; War on Land, War at Sea, War in the Air and On the Farm, and a further nine the following year. Despite Lane's intention to publish twelve a year paper and staff shortages meant only thirteen were issued in the first two years of the series. The Picture Books' 120 titles resulted in 260 variants altogether, the last number 116 Paxton Chadwick's Life Histories, was issued hors série in 1996 by the Penguin Collector's Society.
Inexpensive paperback children's fiction did not exist at the time Penguin sought to expand their list into this new market. To this end Eleanor Graham was appointed in 1941 as the first editor of the Puffin Story Books series, a venture made particularly difficult due to the resistance of publishers and librarians in releasing the rights of their children's books. The first five titles, Worzel Gummidge, Cornish Adventure,The Cuckoo Clock, Garram the Hunter and Smokey were published in the three horizontal stripes company livery of the rest of the Penguin output, a practice abandoned after the ninth volume when full-bleed colour illustrated covers were introduced, a fact that heralded the much greater design freedom of the Puffin series over the rest of Penguin's books. Graham retired in 1961 and was replaced by Kaye Webb who presided over the department for 18 years in a period that saw greatly increased competition in the children's market as well as a greater sophistication in production and marketing. One innovation of Webb's was the creation of the Puffin Club in 1967 and its quarterly magazine the Puffin Post, which at its height had 200,000 members. The Puffin authors' list added Arthur Ransome, Roald Dahl and Ursula le Guin during Webb's editorship and saw the creation of the Peacock series of teenage fiction.
Tony Lacey took over Webb's editorial chair in 1979 at the invitation of Penguin managing director Peter Mayer when Puffin was one of the few profitable divisions of the beleaguered company. In line with Mayer's policy of more aggressive commercialisation of the Penguin brand Lacey reduced the number of Puffin imprints, consolidated popular titles under the Puffin Classics rubric and inaugurated the successful interactive gamebook series Fighting Fantasy. Complimentary to the Puffin Club the Puffin School Book Club, addressed specifically to schools and organisations, grew significantly in this period helping to confirn Puffin market position such that by 1983 one in three Penguin books sold was a Puffin.
Penguin design award 2013; existing penguin bookcovers.
These are some examples of existing puffin book covers so that I can get inspired by the design and colours used for my own designs. This helps me understand what kind of illustration style to use in order to communicate to my audience best.
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