When it comes to decorative/ fun or “gimmicky” typefaces I am not very knowledgeable! In my work I mostly use Sans-Serif which is why I have made my specimen book “Sans heavy”! For this section of my specimen book I had to do my research and look into different typefaces that I could use for pixelated/fixed width fonts. I started by looking at Adobe fonts on Typekit. I found one called Lo-Res which gave me the most ideas for my design. It is also designed by Zuzana Licko which is interesting because she very successfully designed Mrs Eaves but this typeface in my opinion seems a far cry from that! I cannot say I am a fan of this typeface at all; in fact, I am not a fan of this category at all and I shall probably never use this typeface or any in this particular category ever again unless the brief directly states it! It did however still give me good ideas for my design…
I follow an Instagram account called “Designer humour” and it is full of funny memes relating to the design industry and stupid things clients ask or say, this typeface made me instantly think of one of those memes that I read;
“I am just sending you the Hi- res logo… It’s in Word is that OK?“
Lo-Res is a very pixelated, hard to read typeface and it lends itself well to the quote above! I decided to create the whole layout in the style of an email from a non-designer sending a designer their “high res” files!
Digital Development
I had the idea in my head of making the whole double page spread look like the screen of a computer with the emails open and for there to be an email on there from the “non-designer” with a Microsoft Word attachment which I would then link back to Lo-Res.
I firstly needed an email with a fake Word document to then edit in Photoshop. I got my boyfriend to send me a fake email with a word attachment on it so that I could use this as a base for my design.
I deleted Chris’s name and information and replaced it with a fake name. I then started designing different layouts around this. I found that using the whole screen on my layout was too much to look at. I needed to strip it down to its bare minimum. I started to delete elements down to it’s essential to see if it made the overall design better.
Once I deleted elements it did make the overall design better.. I then decided to move around what was left on my page for better hierarchy. The eye needed to flow and skim over the content better. What I ended up with was a lot of negative space with elements thoughtfully placed across the spread. I added there are 2 main focal points on the design and that is the Word attachment and the Lo-Res quote. It needs to be clear almost straight away what the pages are all about.
When it comes to decorative/ fun or “gimmicky” typefaces I am not very knowledgeable! In my work I mostly use Sans-Serif which is why I have made my specimen book “Sans heavy”! For this section of my specimen book I had to do my research and look into different typefaces that I could use for decorative fonts. I started by looking at Adobe fonts on Typekit. I found this one called Chantal which from first sight gave me lots of idea what I could do for the design for it in my specimen book!
Chantal was designed by Rian Hughes in England, other than the designer there is limited other information about the typeface so I designed the layout for the pages how I thought the typeface should be used and interpreted the typeface in my own way.
From first sight looking at Chantal it instantly made me think of a Louis Vuitton design that was used on handbags a few years back and also on some of their shop displays, I thought I could recreate a similar thing for my design. As well as reminding me of the Louis Vuitton designs it also reminded me of some Chanel bottle designs that I have seen and pinned on Pinterest, luckily Chantal is a play on words with Chanel so I chose to do a fun, gimmicky play on Chanel with Chantal!
Chantal seems to me to be a typeface that doesn’t take itself too seriously! It looks like it has a lot of fun! I really enjoyed designing these pages for Chantal, it is probably one of y favourite layouts and it is definitely a typeface I shall use in my future designs!
Images from my Pinterest account
Digital Development
I designed and created most of my design for this using Illustrator and Photoshop. I started off by designing the left side page first. The first page was inspired by the Louis Vuitton design and I had the vision of the first page filled with pure type. I typed out my text how I wanted it (I used the words Fresh, energetic, youthful, fun and lively as this is how the typeface was described on Adobe Fonts) and I repeated the words across the page, I converted them all into shapes so that I could adjust the colours further and move elements if I needed to. Using a black background and a vivid hot pink gave the design contrast and made it look really modern and eye catching. This design is clearly going to be aimed at women, I am not sure that the typeface is aimed at Females specifically but that is how I have interpreted it.
The next stage was to design the “Chanel” play on words part of the design. I decided to draw out one of the famous Chanel No5 perfume bottles in Illustrator but change the name to “Chantal no5”, London (where the typeface was made) and Eau de Type. I really liked how it came out! I then added some effects to the bottle; I used the paint brush tool to create like bubbles of the perfume spraying out and I used part of the type and lowered the opacity to place it behind the perfume bottle to look like the bottle is filled with type. I am really pleased with how it all turned out!
I only came across one problem while creating this design (one that I was able to sort out easily). I accidentally created my Illustrator document in RGB which was good because it gave really vibrant colours but it is not suitable for print; my InDesign document was set to “Print” which meant that when I imported the Illustrator document over to InDesign it came out really dull. I changed the settings over and it soon fixed itself and the colours came out looking lovely again!
When I had created the pages in Illustrator I then exported them and imported them into InDesign to create the final layout. I added the text in white on the right hand side which gives information about the type and the designer.
When it comes to decorative/ fun or “gimmicky” typefaces I am not very knowledgeable! In my work I mostly use Sans-Serif which is why I have made my specimen book “Sans heavy”! For this section of my specimen book I had to do my research and look into different typefaces that I could use for Script fonts. I started by looking at Adobe fonts on Typekit. I found one called Lust which attracted me the most and the name of the typeface gave me scope to use that in my design.
Lust was designed by Neil Summerour in the USA. There is limited information on this typeface other than letting the look and name of it do the talking!
The typeface is very modern and looks very feminine to me, just like its name though it manages to lure you in with its swirls and curls and fancy serifs. I wanted to design around “lust” and my first thoughts were of a seductive image or an intimate couple. To help give me a better idea I searched Pexels.com for any relevant images I could use on my layout. I actually searched for the image I used on my final piece in my work time on my work laptop.. the image download was called “Erotic shower” (**shocked face!! – just hope my workplace does not check internet history!!) LOL!
The original “Lust” (Erotica shower.. **embarrased face!) photograph! Downloaded from Pexels.com courtesy of Tim Samuel
This design surprisingly was the most developed piece I have done; I seemed to trial many versions of this before I got to the final piece! The piece was originally in Black and White until I realised it looked very cold considering it should be about love and lust and all things warm and fuzzy! – I took the original photograph and put a reddy- pink filter on it and that improved it greatly!
I also had the idea again to use a phrase or quote instead of “The Quick Brown Fox….” for some reason when I see this image and read “Lust” it reminds me of a Lana Del Rey song called Burning Desire, I used the chorus from that song in my early development to replace “The Quick Brown Fox” but it looked too busy, eventually I settled on having it in small inside the photograph. It seems like a little thought bubble or moment between the 2 people now with the location I have put it. It adds just another little bit of interest to the piece.
The last Serif typeface I chose was Mrs Eaves. I like the story behind this typeface and it also ties in nicely with Baskerville.
Mrs Eaves was designed in 2006 by Zuzana Licko in 1996. It is a variant of Baskerville. Baskerville is known for being absolutely perfect, stark and sometimes hard to read and Licko went out to create a version that was softer and more feminine in approach.
Mrs Eaves was named after Sarah Eaves; Baskervilles live in housekeeper who would later become his mistress and eventual wife. It was the story that drew me in to this typeface.. Sarah Eaves was John Baskervilles live in house keeper whose husband went on to leave her and her 5 children. Sarah in time became Baskervilles creative assistant and mistress and then when Sarah’s estranged husband died, they were married. Sarah Eaves was very much the woman forgotten in typography.
I wanted to bring an element of this story into the design; again, similar to Baskerville I had the idea to create a book design for the layout and tell the story of Mrs Eaves but then I saw that Mrs Eaves has the most beautiful ligatures and I wanted to do something with this. At college when I was 17 we had a project (similarly worded to this exercise actually!) called “create a type-FACE” or something similar where I had to create an actual face out of typefaces. I thought about creating a similar thing on my layout using just ligatures. I had the idea of a very feminine pattern and then possibly repeat printing it across the page. What I ended up with though was slightly different; I am a little bit disappointed because this is one of my least favourites looking back on it and it seemed to have so much more potential at the beginning but time was very much against me in this exercise.
I created a very similar layout to Baskerville as the 2 are related back to each other and then started messing around with the ligatures to make a feminine looking pattern. The pattern I created looks a bit like a Celtic cross, it reminds me of something that would appear in a stained glass window. It has a traditional yet modern feel to it. I tried to turn the opacity down on the design as I still think it looks a bit harsh but tuning it down just made it disappear into the backdrop.
Futura is the last Sans-Serif typeface in my collection! I chose this one because again it is a classic and it also ties in well with the Bauhaus era along with the other Sans-Serif typefaces that I have chosen.
I did take a more modern approach when designing this layout though; instead of staying with traditional Bauhaus colours (Red, Yellow, Black, White) I was inspired by a German slogan “die Schrift unserer Zeit” (“the typeface of our time”) It gave me futuristic/modern vibes and I decided to play off this when designing my layout!
Futura reminds me of “future” and the future is modern and a mystery to us yet… I designed Futura around the theme of modern, futuristic space vibes with vibrant colours and an interesting layout.
“The Futura is now“
I had the idea to create planet-like orbs using Photoshop by using my brush tool and layer masks. I used this technique on one of my posters that I did for the “365 a poster a day challenge” I started a few years back. I masked the orb area out and making my paintbrush big, airbrushed different colours over each other to create a planet effect. I then copied it twice more create 2 in both corners. I really like the effect it gave. The bright colours contrast against the black to really make the design stand out. I also created contrast between small and big text.
Design Development – The stages of reaching my final design and layout!
Following on from Univers, I chose to do another famous typeface by Adrian Frutiger.
Frutiger is a Sans-Serif and was designed to be legible at any size. It was originally commissioned by Roissy Airport in Paris, (Charles De Gaulle) when it was first built to design all the signage in the airport. The airport wanted a new directional sign system. It was going to be named “Roissy” in 1972 after its success but was then Frutiger was approached to make the typeface suitable for print and it was then named after the designer himself.
The way forward for this layout design seemed quite obvious; to base it around signage and CDG airport. The first idea I had was to make the layout look like a baggage tag or boarding pass with the barcodes and airport names etc.. taking a little bit of inspiration from my Casetify Pangram phone case… My idea was to scan some barcodes in and then create another “swiss grit” style design.
I did ask my boyfriend if he had any boarding passes kicking around from his visit to Dubai a few years back (I haven’t travelled abroad in a few years now!) and he did have one boarding pass that I managed to take a QR code from and import into my design;
I also keep a bag full of different cardboard and paper textures and barcodes and anything interesting I could potentially use in my designs; I found a relevant barcode that I could use.
I felt like I needed some images of airport signage next. I did not want to take images from the internet because they would be very low resolution and would ruin my clean, legible design. The only way I could use airport images in my work was to import a web image of a sign and then trace around it in Illustrator to produce a high quality vector image. I did this for a plane and an arrow.
After I had collected these bits I decided to just take it straight into Adobe to try and make into a layout for the typeface. As you can see from the design development, It took me several attempts to get to the final piece! I had a lot of design elements to cram onto one page and I wanted to keep it as clean and as minimal as I could so it was a case of moving elements around the page to see what worked the best. I wanted the design to flow and to not be “too busy”. I think the version I decided on works the best.
Design Development – stages to the final design!
These are all the development stages I had to go through before I reached the final design.
Another typeface I chose for my Sans-Serif collection was Univers. I have already used Helvetica and Akzidenz Grotesk and this is the third typeface that relates to all those; they are all based upon Akzidenz Grotesk. Univers again played a crucial role in Swiss style. I did worry that by doing all three of these typefaces that they would be too similar as they are often mistaken for each other but if I am creating a specimen book for my own personal use I would use all 3 of the typefaces in my work.
I tried to make the design for this slightly different to the others that I completed to date; Univers referenced the periodic table and Adrian Frutiger took a different approach to designing it then anyone ever had before. He wanted a table system that showed the different typeface weights and variations as numbers instead of names. Frutiger has since used this method in more of his type designs.
55 was crucial in the design of Univers; how Frutiger designed the whole typeface was to design “55 Roman” first and then base the other variations and weights around that. I decided to use this as the main design in my typeface book. I tried to be more experimental with this layout, using the 55 as part of the negative space in my design. I did want to bring in the periodic table element but struggled to keep it looking clean and simplistic. In the end I used blocks of colour to represent the periodic table influence on the typeface and I think this worked well.
Design Development – The stages of reaching my final design and layout!
I wanted to carry on down a similar path for my next typeface, Akzidenz Grotesk was the next best Sans-Serif to choose. Akzidenz Grotesk’s history goes back further than Helvetica’s but despite this, they are still closely related. Akzidenz Grotesk was the inspiration behind the design of Helvetica.
Akzidenz Grotesk was known as the “jobbing” typeface; what this means is that it was heavily used in trade printing, advertising and forms that were made at the time. The typeface was designed to be seen from a distance. “Akzidenz” comes from the German language and means trade printing for an occasion or event. The latin term refers to it as “that which happens, a casual event, a chance”. I liked this saying and used it further in my design (I will come to that later!)
Keeping in mind that Akzidenz Grotesk was used predominantly in advertising and posters I decided to base my design around this, researching further I also found that Josef Muller Brockmann heavily used Akzidenz Grotesk in his poster designs.
Josef Muller Brockmann
Brockmann was a Swiss Graphic Designer but also the pioneer of the International Typographic Style which tied in brilliantly with this typeface. He was recognised for his clean use of typography, shapes and colours in his designs. His work mainly consisted of poster design. I bought a book about him and studied his posters to see how I could get a similar style for my own design. I also did some in depth research on Pinterest again to get some ideas and a feel for his style.
I found an image on Pinterest which caught my attention and gave me an idea for my design:
Composition 5 by Eduardo Seco
I liked the way the colours pop and contrast each other and the different styles/weights and sizes of the text also work together to create contrast. I felt I could create something like this using Akzidenz Grotesk, the Bauhaus colours and make it look like “trade printing or advertising with the modern influence of “Swiss Grit”.
I wanted to create the poster layout for my type specimen pages but just didn’t know how to do it…yet.
Using the image from Pinterest to vaguely copy, I knew I had to layer up and collage different posters to recreate that torn and ripped look. I decided to create a poster with a made up event (A typography exhibition in honour of Josef Muller Brockmann) then layer up behind it contrasting colours and different type relating to Akzidenz Grotesk. The only implication was that I wanted to actually create my poster on a real wall and photograph it and then import it into Photoshop to do any adjustments etc.. The issue was where would I find an urban wall when I live in the country? and how would I even get out to photograph one during lockdown?.. I then looked no further than home because we are currently renovating our house and the upstairs second bedroom wall is being ripped out and is covered in plaster, paint ripped off.. ideal for the urban look! I created a few A3 pages with different colours and pages filled with Akzidenz Grotesk type and then printed them off to later PVA glue onto the wall with a roller which I hoped would give a wrinkled, worn feel.
I enlisted my boyfriend with the roller to help glue them on! I needed someone who (no offence to Chris because he is super talented with cars and a brilliant Motor Vehicle Teacher! :p) has no creative flair or direction and would just stick random pieces anywhere without overthinking it! I procrastinate too much and am too regimental in my approach which is something I did not really want! I wanted it to look random and “rough” . At the end of the evening after doing these posters I decided I needed to go away and have another go printing off more sheets and make further alterations. The blue that I used was too much and it wasn’t layered how I wanted it to be. We just ripped pieces of paper and layered them on top of each other, what I needed to do was to print 4/5 pages and stick them all on top of each other and rip into them to reveal a page at a time.
The next day in my lunchbreak at work I decided to trial a test piece on some card I ripped off a cardboard box; it was rough in texture so I thought it would have the same similar feel to a wall. It turned out to be perfect! I scrapped the wall idea totally and used this as my final piece for my design.
I then imported it into Photoshop and made some minor adjustments like changing the brightness/contrast etc. I also added the type point sizes onto the side of it to show what the type looks like at different sizes. I created 2 more pages on my Indesign document below my Helvetica pages and imported my collage poster into Indesign to start my final layout!
Digital Development
Again, I wanted a layout that was minimalistic and clean with lots of negative space. I decided to place the poster on the right hand side page and place the character alphabet of Akzidenz Grotesk on the left side.
I wanted to use Red as a predominant colour again as it represents Swiss design and also the Bauhaus influence. I wanted to be in keeping with the “Swiss Grit” style of the poster though with the “Akzidenz Grotesk” heading and decided to try something experimental and different… I watched an interview with Chris Ashworth about a year ago where he explained what sort of experimental “grit” typography he does such as sticking type to the bottom of his twin girls school shoes so that when they return back from school in the evening the type is all ragged to give that worn down texture. He then uses this in his pieces rather than using digital textures. I wanted to do something similar for the type on my page. I decided though to try the cellotape method… I made friends with a Graphic Design student on Instagram who is also into Swiss Grit and he did a demo on his page of how he created his “gritty” type. He printed his type out using a laser/inkjet printer and then covered the text with cellotape and gradually pulled away at it to rip the ink off the page onto the cellotape. It worked! It gave a great gritty texture to my type which I then imported in and tweaked to become part of my layout.
Design Development – The stages of reaching my final design and layout!
The final layouts were received VERY well when I uploaded them onto Instagram. It got the most likes my page has ever got and everyone seemed to love it! I felt very proud of this piece when it was done!
My Instagram screenshots
The final design pages and final mock up
The final mock up!
Responding to Tutor feedback…
“The sketchbooks evidence in between stages, idea development and layout/mark making: do you have any evidence of the planning for the laying for the Aksidenz poster? Is this a place where you could experiment with textures and layering with surfaces and drawing media?“
I have sketches in my sketchbook and images that I found on Pinterest that inspire the collage that I did for the Akzidenz Grotesk poster:
Work by Eduardo Seco
I agree with the feedback that I didn’t document the Akzidenz Grotesk collage all too well… but it was created entirely how it is pronounced!.. a complete happy AKZIDENT!
I had no idea really how to put the collage together for Akzidenz Grotesk. I tried first on the wall of my house PVA glueing different sheets of coloured paper that I printed out from my printer at work and this just did not work. I tried rubbing Letraset on the walls too, My plan originally was to create the poster on the wall using Letraset letters or printed type on sheets of paper that I would dampen and then rub off onto the wall!
Another thing that inspired me was a few photographs I took of the side of my old cooker… When I moved house in October 2020 I rented my house and inside it I had an awful, old cooker (possibly from the 1970s!!) when I moved it out to clean it I noticed some markings on the side of it. It was quite cool and I took the photos to bank in my resources for any future projects:
I knew I wanted to create this kind of effect but I was struggling as to know how…I then had the idea of photographing some different textures and then importing them into Photoshop to play around with for my poster. These were some of the textures I found, (again, they were all from the upstairs of my house which is currently now only starting to be renovated!)
The textures idea just wasn’t gritty enough for me though… This is where I went to work the next day feeling really frustrated at the fact that I didn’t know how best to create the idea I had in my head!!
I have a very rigid “Neat” approach to my work, everything I do is very structured and organised and I couldn’t quite get myself to create something “messy” enough!- I needed to switch off and just become careless and wreckless to see what I could create!! I had another go on my lunch break when I had the classroom to myself; I filled a paint palette up with PVA, found a screen printing roller to layer it on smooth and what I ended up with was the unexpected, perfect finished piece! I have photos that I have found in my design archive of me creating this final piece but other than me being really inspired by some collage work I found on Pinterest it happened without any prior planning or any planned sketchbook experimental work.. it was completely by accident! A really happy accident! I literally just created pages in Microsoft Word (my work laptop did not have Adobe at the time!) of block coloured pages and pages with some type using Akzidenz Grotesk, I printed them out using the laser printer and then layered them up on top of each other using PVA glue. Carelessly I just ripped sections away to reveal layers underneath. The idea was to create the feel of a really old billboard that has had hundreds of posters ripped off and layered on in its time in a really rural area of a city..
The final piece was perfect for me! In fact it seems such a shame to pack it away with all my Core Concepts work that I have thought about framing it as a showpiece!
When you think of Sans-Serif there is only one typeface that comes to mind immediately and that is Helvetica. Helvetica is possibly a designers all time favourite. It was designed in 1957 in a new world after the war where the need for function over beauty prevailed. There was a need for clarity, function, cleanliness and for text to be readable, legible and straight forward communicating. The mantra was “less is more” and “form follows function”. The focus became on the content rather than the design and any ornate detailing. The designs of the time were very mathematical; Designers of the time designed religiously around the grid. Bauhaus at the time was also a massive influence.
For this design I wanted to represent everything that this typeface stands for; minimalism, cleanliness, Swiss designed and legible. I started off by doing some intensive research into the typeface; I used Pinterest as I always do to look at lots of type specimen books that already exist for Helvetica. I watched the film Helvetica again, I bought a book all about the history of Helvetica.. I really went deep with the research!
I noticed that a lot of type specimen books use “The quick brown fox jumped over the lazy dog” to showcase their typefaces with the different styles/weights/widths etc.; I did not want to do that. It just did not fit in with the feel of the typeface at all! I was really making myself nervous about completing this double page layout for the fact that I wanted to do the typeface justice and didn’t want to design something awful. I decided to refresh myself on the typeface by re-watching the film “Helvetica” for some inspiration and ideas, It was from this that I got the idea to use one of the quotes from the film;
You can say, “I love you,” in Helvetica. And you can say it with Helvetica Extra Light if you want to be really fancy. Or you can say it with the Extra Bold if it’s really intensive and passionate, you know, and it might work.
Massimo Vignelli
I decided it would be a good idea to use this on my main design to replace “The Quick Brown Fox”. I actually used Helvetica Extra Light and Extra Bold when I wrote the quote to show the different styles and weights of Helvetica on my type specimen page.
I used Red as the dominant colour and the red Swiss cross in my design to represent the origins of Helvetica.
I then started to lay everything out onto my pages and reorganise. I wanted a lot of negative space. It needed to be minimal and to not be ornate in any way.
Design Development – The stages of reaching my final design and layout!
I was really happy with how my final design and layout turned out and it was also well received on social media when I uploaded it to my college Instagram page!
I have FINALLY reached the final steps to this exercise! I have really enjoyed the design process though even though it has been a long and overdrawn one! – I always said I didn’t want to half ass it and I wanted to make sure that when it was complete that I had done the very best that I could have done with it! Putting the typography onto it and making them into book covers was a really daunting prospect! – However, I can go to bed tonight knowing that I am one step closer to making them look like the real deal! Doing this exercise has really made me also think that going into book design is something that I would want to do. I find now that whenever I go into bookshops I am scanning the shelves for the covers and not necessarily the books! Researching into Chipp Kidd and purchasing some of his books as well really interested me and made me think deeper into what really goes into the design of a good book cover!
“Never judge a book by its cover….. Unless you’re a designer!”
I started off with the 3 designs I tweaked on Photoshop (below):
I have a current obsession with textures… which is a good thing seeing as one of the suggestions in my last feedback was to add texture to my work! I watched a video by Roy Cranston on Chris Do’s @thefutur where he spoke about where and how he sourced his textures for his poster work, it was funny because I already collect random photos of interesting textures and findings but just never use them! He also mentioned how you have to scour the internet for the free ones. I thought it might be interesting to add a texture to the covers.. maybe like an old vintage paper feel? This is what I went out to try and do.
I found a texture online which resembled ripped, discoloured old vintage paper (below) I imported this into Photoshop and did an overlay of it with my designs.
The texture I found online to add an effect to my covers
I think the texture worked extremely well! (below) This is what the first cover that I designed looked like with the texture included:
I then had the problem of successfully adding text onto the cover without making it look too drab, boring and old fashioned. Although I wanted the covers to have a vintage feel I also wanted a modern feel to the design to bring the book into the 21st century and to make sure that it is still relevant for many more years.
This above is the design I toyed with; I liked the idea of Franklin Gothic as a font at first glance.. it was literally the first trial typeface I used and tried it with. In my head I knew I wanted the text to be quite prominent across the whole cover. I had the idea of turning the opacity down to make it partially see through. I thought as well I could match the colours of the type to the yellow in the hour glass (see below)
I liked this idea, the yellow worked well but it was still missing something… This is when I thought of the idea of using coloured bands across it (one for each line of the title)
I really liked this idea! The only thing I needed to work on was the typography! I spent a while (a fair time!) picking out some of the best fonts and using them on all the designs to print out and compare! I sent photos also to my Mum who using her expert opinion and eye ;p picked out Helvetica! I also shared captions on my Instagram and people replied also with Helvetica. The reasons?.. obviously with it being the font of choice for most designers and also for the fact it is strong and stands out on a cover.
These are the sheets I shared with all the different fonts! (below)
So! Helvetica was the popular opinion!… and you know what?!… There is a reason why Helvetica rules all!.. I actually really like the look of them! The type is still illegible in places but I can work on that!
I then wanted to give it a go adding the publishers name and logo. I decided to go for Penguin – The classics! I found a logo online (not the best way to do it for pixelization and plagarim… BUT the brief states to use one so!…)
This one is perfect!… I then added it to each of the designs and adjusted the layouts accordingly and this is what they look like so far! 😀 really, really chuffed with them so far!
I still have adjustments to make; the illegible type, the hyphen in Tono – Bungay, the bars so that they all line up, the spine to design, bring everything together to create the final cover and then make mockups on actual books but at the moment I am pleased!
pinkangeleno.com 