TYPE SPECIMEN“The art of papercraft”

Monica Giunchi

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ContentStrategy

Margins

Basic Grid

Variety of Grid

Imagery

Typography

Expressive Typography

Colour

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Strategy

After looking at different types of book about papercraft, I realized that the majority of them were either only about tutorials in a childish and badly designed way, or only about artists’ work, with a more efficient 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 offer 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 different 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 different 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 different elements to include, from the illustrative pictures, to the step-by-step text, to the final artwork image. Finally for the inspirational 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 ones throughout 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 effective 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 mm2. Bottom Margin 12.7 mm3. Inside Margin 17 mm4. Outside Margin13 mm

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Basic Grid

9 column grid gutter 15 ptBaseline Grid 15 ptColumn width 11,519 mm

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Examples of grid variety

1. Introduction and text sections

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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.

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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 also

aims 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.

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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 wasn’t 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 b��e� h��tor�Different 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 medium

to 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 foldsor drops of glue,the basic sheet morphsfrom flat plane into an actual bodythat represents and defines its occupied space”

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2. Tutorial sections

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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.

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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.

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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, they’re 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.

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3. Artists’ work sections

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Robert J. Lang is recognized as one of the

world’s 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

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"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-type

brother. 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 of

the medium."

Nadiah Almahdaly, "KAMI"

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Colour

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C: 41,96M: 0Y: 12K:0

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

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

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Imagery

For the imagery, there are two main types of it, the first 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 the photographic 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 used the sans serif typeface Aller with its different variations.

ALLERDesigned by: Dalton Maag LtdClassification: Sans serifAbout: 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 PRODesigned by: UnderwareClassification: ScriptAbout: 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 have chosen the font Liza Text Pro, a live script typeface by the Dutch company Underware, because its style fit very well with the idea of handmade.

A B C D E FGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz

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

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Expressive Typography

For the chapter pages, the subchapter ones and for the cover I have tried to use a more expresssive typography, combining

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

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03.02Paper Cutting

Artist'swork

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03Papercutting

Chapter page Subchapter page

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CLARENDON

BREE SERIF

Designed by: Robert Besley, 1845Classification: 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: TypeTogetherClassification: Slab serifAbout: This friendly upright italic is the serif cousin of TypeTogether’s award winning font Bree. Designed by Veronika Burian and José 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

abcdefghijklmnopqrstuvwxyz0123456789!?#%&$@*{(/|\)}

0123456789

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