3426.
The year after my triumphant debut as OryCon publications, I managed to finagle another go at it. OryCon 31's Guests of Honor included urban fantasy author Patricia Briggs and mononomial artist Lubov. Lubov specializes in fantasy and SF painting and illustration but seems to have a heavy accent on the whimsical, softer side of fantasy. Her paintings were a fresh revelation to me and seemed to call for a similarly whimsical typeface. I found one which I loved, a font which looked sketched and chaotic yet compelling called 'karabinE.' And, as the whimsy got itself into the thinking, it asked that I arrange the type vertically, like so:
This is the full wraparound of the cover, of course; the front cover to the right of center, back cover to the left. Doesn't the idea of a parade with flying sharks make you feel king of antic inside? It did, me. Fanciful, whimsical, romantic, fun. The use of a gradient on the right and left gave me the space I needed to make the type readable but also to bridge the gap between the white space and the illustration, unifying all the parts.
This spread demonstrates how the type announcing the GoH's names allows more than one GoH's bio and info to spread across the spread and live together while still remaining separate:
The type dominating near the artist head-shot sets up a strong relationship, even when it appears, contra-expectation, to the right of the artist's info, rather than the left.
The above gelled, of course, after the cover and the TOC page (below) were hammered out, suggesting again how the them developed organically, like roots finding their way in the soil. Even now I remember how satisfying it was to watch it develop front of me, almost like a living thing that had something of a mind of its own.
This is the full wraparound of the cover, of course; the front cover to the right of center, back cover to the left. Doesn't the idea of a parade with flying sharks make you feel king of antic inside? It did, me. Fanciful, whimsical, romantic, fun. The use of a gradient on the right and left gave me the space I needed to make the type readable but also to bridge the gap between the white space and the illustration, unifying all the parts.
This spread demonstrates how the type announcing the GoH's names allows more than one GoH's bio and info to spread across the spread and live together while still remaining separate:
The type dominating near the artist head-shot sets up a strong relationship, even when it appears, contra-expectation, to the right of the artist's info, rather than the left.
The above gelled, of course, after the cover and the TOC page (below) were hammered out, suggesting again how the them developed organically, like roots finding their way in the soil. Even now I remember how satisfying it was to watch it develop front of me, almost like a living thing that had something of a mind of its own.
