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.
�h� th�� ��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 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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�o�� St�tion�r�
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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.
�nowfl�k�
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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#6�nowfl�k�
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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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4
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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