TYPE SPECIMEN

Monica Giunchi

The art of papercraft

Content
#1 Strategy #2 Margins #3 Basic Grid #4 Variety of Grid #5 Colour #6 Imagery #7 Typography #8 Expressive Typography
2 4
5 6 10 11 14 16

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.

 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.

Margins
Page size: 176 x 250 mm 1. Head Margin 13 mm 2. Bottom Margin 12.7 mm 3. Inside Margin 17 mm 4. Outside Margin13 mm

1 4 3

2
4

Basic Grid
9 column grid gutter 15 pt Baseline Grid 15 pt Column width 11,519 mm

Examples of grid variety

1. Introduction and text sections

A be htor
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 rst Japanease oragami dates from the 6th century A.D.

Dierent cultures have originated dierent 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 dierent tradition in which we can nd 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 multisensory properties, the moment itself gains renewed importance. Paper is very versatile, its uses are innite. 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 denes its occupied space

10

11

h th o
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.

I have recently been exploring dierent 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 innite: from origami to boxes, beautiful paper lamps or decorations for your house, even little handmade books. My book is therefore an exploration of these dierent 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.

2. Tutorial sections

o Sttionr
Leafy vegetables make great-tasting salads, and sumptuous oral-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 Cut off stem end with a sharp knife. #2 Stand the stem on a paper towel, cut-side down, for 5 minutes to dry.

#3 Press cut side onto a large stamp pad the onto cards, stationery, and more, blotting on paper towel between presses.

26

27

nowflk
The garland in the previous page is made with origami paper, dental oss, and tape. The second and third akes in that garland are based on a 5-pointed star. You can nd the directions for a it here, theyre easier to cut since there are fewer paper layers. The rst, fourth, and fth akes in the garland are based on 8 points. Material: Origami Paper, Dental Floss, Tape #1 Place a square of paper pretty side down. Fold the bottom point up to the top to form a triangle. #2 Bring the left corner over to the right corner and mark the midpoint by pressing a small crease into the paper. Open the triangle. #3 Bring the right corner up to the top and mark the midpoint by pressing a small crease into the paper. Open the triangle again. #4 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. #5 The paper should now have three points marked with creases. #6

#6 Fold the right corner upward so the bottom edge of the triangle meets the upper crease. #7 Fold the left corner upward so the bottom edge of the triangle

aligns with the opposite side. #8 Fold the resulting shape in half so the right edge aligns with the opposite side. #9 Cut your design and open.

#7

#8

#9 #1 #2 #3

#4

#5

36

37

3. Artists work sections

Robert J. Lang
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.

82

83

Nadiah Almahdaly, "KAMI"

"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 dierent styles of imagination and personality. Origami for the sporty, Action Hero-type brother and Quilling represents the more adventurous, Fantasy Hero-type brother. The lm jumps from one style to the other as each brother ghts 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 exibility of the medium."

94

95

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

1 4

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

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

10

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

11

1.2 Tutorials, Photographic images

12

2 Artists Work, Images and Screenshots

13

Typography
For the main body text I have used the sans serif typeface Aller with its different variations.

ALLER
Designed by: Dalton Maag Ltd Classification: 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.

14

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.

LIZA TEXT PRO

Designed by: Underware Classification: Script About: Designed by Underware, Liza Text Pro, thanks to its extremely intelligent OpenType architecture, approaches human hand lettering as close as technically possible.

A B C D E FGHIJKLM NOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789!?# %&$@*{(/|\)}

15

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.

Chapter page

Subchapter page

03
Paper cutting
29

03.02
Paper Cutting
47

Artist's work

16

CLARENDON
Designed by: Robert Besley, 1845 Classification: Slab Serif About: 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.

0123456789
BREE SERIF
Designed by: TypeTogether Classification: 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 FGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 0123456789!?# %&$@*{(/|\)}

17

18