Inizio+Type+Spec4+Con+Copertina+ISSUU

7/29/2019 Inizio+Type+Spec4+Con+Copertina+ISSUU

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TYPE SPECIMEN

The art of papercraftMonica Giunchi


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CoeStrategy

Margins

Basic Grid

Variety of Grid

Imagery

Typography

Expressive Typography

Colour

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#4

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Strategy

After looking at dierent types of book about papercraft, I realizedthat the majority of them were either only about tutorials in a

childish and badly designed way, or only about artists work, with a

more ecient design. Therefore I decided that I wanted to create a

more complete guide to papercraft conjugating these two kinds of

books, trying to give an insight in the techniques and also to oer a

source of inspirations made by the work of designers and artists, in

order not to close the possibilities of the medium of paper to only

decorative elements but to give an input to experimentation to create

challenging pieces of art and design.

The audience of my book is whoever is interested in papercraft,

from a decorative and hobby point of view but with an interest in

going a bit further than the simple repetition of the tutorial I have

put in the book.

The book starts with a general introduction about papercraft, to then

be divided into the sections of the dierent techniques, which are

mainly constituted of two parts, one called Do it Yourself and the

other Artists Work.

I have used a 8 column grid with a gutter of 15 pt, same measure

as the baseline. This is the same for all the book, in a simple layout,

which variates slightly through the dierent sections: for the text

and informative sections I used a very basic layout constituted by

the title, the body text and a rare presence of images. It then gets

more complex in the tutorials sections, in which I had to handle with

all the dierent elements to include, from the illustrative pictures,

to the step-by-step text, to the nal artwork image. Finally for theinspirational parts I decided to put the text about the artists on the

top left of the spreads, with images of their work under the text and

in the right page.


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In regard to the typeface choices, I have used two main onesthroughout the book, with an ecception for the chapter and

subchapter pages and for the cover, for which I chose to make a more

expressive use of Typography.

For the body text I have used Aller, which is a delicate sans serif

typeface created by the Danish company Dalton Maag Ltd, while for

the paragraph titles I have used Liza Pro Text, a script font by the Dutch

company Underware, which simulate in a really eective way the

handwritten, in line with my topic of handmade and crafts.

Regarding to the expressive use of typography I combined the

numbers of Clarendon typeface, an historic English slab serif, with

the text of another slab serif but of more recent creation, Bree Serif,

by TypeTogether.

The main colours that recur throughout the book are a light blue and

a stronger red, but the presence of the photographic images and the

vectoral diagrams variates a bit the monothematic coloration.

For the tutorials most of the images are either in vectorial diagrams,

for the origami, or photographs of the process taken from the web and

made by myself in a nicely organized layout.


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Margins

Page size: 176 x 250 mm1. Head Margin 13 mm

2. Bottom Margin 12.7 mm

3. Inside Margin 17 mm

4. Outside Margin13 mm

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34

2


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Basic Grid

9 column grid gutter 15 ptBaseline Grid 15 pt

Column width 11,519 mm


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Examples of grid variety

1. Introduction and text sections

8 9

In the landscape of the contemporary life, where we seem to increasingly spend

our time in front of a computer, I think it is important to regather the manuality

and tactility of handmade crafts.The aim of my book is therefore to give a starting point to all those who wants

to rediscover creativity through a simple medium like paper.

h t o

I have recently been exploring different ways you can handmake items, in

particular with paper, and found it was extremely refreshing from the long days

I have passed designing in front of my computer, the things you can actually do

are infinite: from origami to boxes, beautiful paper lamps or decorations for your

house, even little handmade books.

My book is therefore an exploration of these different techniques and alsoaims to give an insight in to what some artists and designers have done with this

medium, in order to push forward the input to creativity.

10 11

The earliest example of paper-folding was an ancient

Egyption map, drawn on a paper like substance and folded

into a rectangle, like modern road maps.Back then, it wasnt possible to create intricate paper

folding, because the right paper had not been invented.

When the Chinese invented wood based paper, it became

possible to fold the paper more crisply and with more

precision (2nd century B.C.). It is not known exactally when

it started, but the first Japanease oragami dates from the

6th century A.D.

A be htoDifferent cultures have originated different kinds of papercrafts, the most

famous one remains origami, but within the Japanese culture there are other

kinds of papercraft, like Kirigami and Chigiri, China is famous for the ancient

tradition of paper cut and the Chinese paper lanterns. All different tradition

in which we can find new uses for paper in modern society, like decoupage,

gift wrapping, and so on.

A lot of designers and artists have recently made use of paper as a mediumto create powerful works of design, art and videos. As Robert Klanten noticed

in an age where almost any information, be it newspaper, article or video

clip, photograph or music file, is only a few

free clicks away, the unique immediacy of an

object, performance or installation, its multi-

sensory properties, the moment itself gains

renewed importance.

Paper is very versatile, its uses are infinite.The only way to get it known is to explore it

deeply and try out.

With just a few folds

or drops of glue,

the basic sheet morphs

from flat plane into an actual

body

that represents and defines its

occupied space


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2. Tutorial sections

26 27

Cut off stem end with a

sharp knife.

Stand the stem on a paper

towel, cut-side down, for 5

minutes to dry.

Press cut side onto a large

stamp pad the onto cards,

stationery, and more,

blotting on paper towel

between presses.

Leafy vegetables make great-tasting salads, and sumptuous floral-shaped stamps,

too. Here, the end of a head of Treviso radicchio yields a roselike print. You can vary

stamp shapes with other vegetables, such as romaine lettuce stems or even brussels

sprouts cut in half.

Material:Stamp pad, Treviso radicchio, knife, Card.

#1

#2

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o Stir

36 37

Place a square of paper pretty

side down. Fold the bottom point

up to the top to form a triangle.

Bring the left corner over to the

right corner and mark the midpoint

by pressing a small crease into the

paper. Open the triangle.

Bring the right corner up to the

top and mark the midpoint by

Bring the top corner down to the

crease you just made and mark

the midpoint by pressing a small

crease into the paper. Open the

triangle again.

pressing a small crease into the

paper. Open the triangle again.

nwfk

The paper should now have three

points marked with creases.

Fold the right corner upward so

the bottom edge of the triangle

The garland in the previous page is made with origami paper, dental floss, and tape.

The second and third flakes in that garland are based on a 5-pointed star. You can find

the directions for a it here, theyre easier to cut since there are fewer paper layers.

The first, fourth, and fifth flakes in the garland are based on 8 points.

Material:Origami Paper, Dental Floss, Tape

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meets the upper crease.

Fold the left corner upward so

the bottom edge of the triangle

Fold the resulting shape in half

so the right edge aligns with the

opposite side.

aligns with the opposite side.

Cut your design and open.

#7

#8

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#3

#6nwfk

#9


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3. Artists work sections

82 83

Robert J. Lang is recognized as one of the

worlds leading masters of the art, with over

500 designs catalogued and diagrammed.

He is noted for designs of great detail and

realism, and includes in his repertoire some

of the most complex origami designs ever

created. His work combines aspects of the

Western school of mathematical origami

design with the Eastern emphasis upon line

and form to yield models that are at once

distinctive, elegant, and challenging to fold.

Dr. Lang is one of the pioneers of the

cross-disciplinary marriage of origami

with mathematics. He has consulted on

applications of origami to engineering

problems ranging from air-bag design to

expandable space telescopes.

Robert J. Lang

94 95

"Inspired by my 2 youngest brothers,

my animation talks about 2 brothers

squabbling over who gets imaginative

control of their playtime.The use of 2 types

of paper craft represents each brothers

different styles of imagination and

personality. Origami for the sporty, Action

Hero-type brother and Quilling represents

the more adventurous, Fantasy Hero-typebrother. The film jumps from one style to

the other as each brother fights for control.

I started animating about 2 years ago

when I was doing my second degree. I

was particularly interested in Stop Motion

animation and initially decided to use

papers as a medium because it was cheap.

After much research into the kinds of

paper craft however, I got more and more

attracted by the simplicity and flexibility ofthe medium."

Nadiah Almahdaly, "KAMI"


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Colour

1

4

C: 41,96M: 0

Y: 12K:0

C: 0M: 90,98Y: 96,47K:0

There are two main colour throughout the book, although sometimesthere are also variations.


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Imagery

For the imagery, there are two maintypes of it, the rst is the one for the

tutorial sections, consisting on one hand

of vectorial drawings for the origami

diagrams, and images mainly inspired by

the Things Organized Neatly blog for thephotographic illustrations.

For the artists sections I have mainly

downloaded images of their work from the

web, or taken screenshots from their video.

1.1 Tutorials, Vectorial diagrams


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1.2 Tutorials, Photographic images


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2 Artists Work, Images and Screenshots


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Typography

For the main body text I have usedthe sans serif typeface Aller with its

dierent variations.

ALLER

Designed by: Dalton Maag Ltd

Classifcation: Sans serif

About: The Aller font family was created in 2008 for the Danish School

of Media and Journalism, with the kind sponsorship of publisher Aller.


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LIZA TEXT PRO

Designed by: Underware

Classifcation: Script

About: Designed by Underware, Liza Text Pro, thanks to its extremely

intelligent OpenType architecture, approaches human hand lettering

as close as technically possible.

Paragraphs Titles

For the paragraphs titles I havechosen the font Liza Text Pro, a live

script typeface by the Dutch company

Underware, because its style t very

well with the idea of handmade.

A B D E FGHIJKLMNOPQRSTUVWXYZabcdefhijklmnpqrstuvwxyz

0123456789!?#%&$@*{(/|\)}


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Expressive Typography

For the chapter pages, the subchapterones and for the cover I have tried to use a

more expresssive typography, combining

the numbers of Clarendon typeface andthe Bree typeface for the text.

47

03.02Paper Cutting

Artist'swork

29

03Papercutting

Chapter page Subchapter page


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CLARENDON

BREE SERIF

Designed by: Robert Besley, 1845

Classifcation: Slab SerifAbout: Clarendon typefaces hey have been made with great care, so

that while they are distinct and striking, they possess a very graceful

outline, avoiding on one hand the clumsy inelegance of the Antique or

Egyptian character, hitherto in use among printers, and on the other,

the appearance of an ordinary Roman letter thickened by long use

under the machine.

Designed by: TypeTogether

Classifcation: Slab serif

About: This friendly upright italic is the serif cousin of TypeTogethers

award winning font Bree. Designed by Veronika Burian and Jos

Scaglione, Bree was originally released in 2008 and it became an

immediate success because of its originality, charming appearance and

versatility. Bree Serif was initiated with the help of Google webfonts.

A B C D E FGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz

0123456789!?#%&$@*{(/|\)}

0123456789


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