For the new edition of Ever Dundas’ novel, Goblin, Saraband wanted to use a full wraparound cover. This required a few tweaks to my original artwork to work with the copy, but it also allowed for the inclusion of the buried camera (a key plot point) on the spine of the book. The typeface was chosen to suit the wartime setting and underground London locations of the book – something that was present in an early tunnel book artwork I produced for the novel.
Detail of the artwork for Ever Dundas’ book, Goblin
Saraband edition: Published 06 December 2017
First Edition (Freight)
Original commission from Freight Books to design the book cover for Goblin, the debut novel from Ever Dundas, published in spring 2017.
Goblin book cover
Goblin book cover
Artwork for Ever Dundas’ book, Goblin
Detail of the artwork for Ever Dundas’ book, Goblin
Information is conveyed through colour as well as iconography to easily distinguish and reference the different monsters from adventurer and ally tokens. (With the added bonus of being as gender neutral as possible!)
Character/item tokens were replaced with mini cards that contain all the relevant stats, rules, and gameplay information on them.
Stats from the tokens were moved to mini cards (colour-coded as well as having the icons for easy reference) to simplify the tokens, to increase immersion in the game, allowing for a more elegant design, whilst introducing the possibility for new scenarios and difficulty levels to be easily introduced, by printing a single scenario card instead of a whole set of tokens.
Dungeon tiles were given a wall around the edges to make a dungeon feel constrained, entrances were given a light source from them to aid tile orientation, and the monster spawn points were changed from numbers to more thematic runes/symbols.
6 double-sided Letter/A4 printable pages for home printing.
A greeting card with cutout panel containing hand-engraved diagram of 80 consecutive radio signals from pulsar CP1919*, used in Peter Saville’s design for the 1979 album Unknown Pleasures by Joy Division. (Black card, engraved frosted acrylic sheet; 105x148mm)
* (now known as PSR B1919+21, or the more accurate PSR J1921+2153)
Stronger Families logo, designed for the Stronger Families initiative, which strives to empower parents though education and help them improve their skills and/or progress to employment.
Brief: Create a logo mark that encapsulates the initiative.
The initiative is all about the idea that stronger parents make for stronger families. This is symbolised via a stylised Venn diagram, with the parent on one side and the child in the centre. The cut-off on the central area can also be viewed as a leaf shape, symbolising growth. The custom type was chosen to be strong with its weight, but welcoming with it’s wide, round structure.
Variations were made for different display limitations, such as for monochrome printing.
You can see some of the initial design ideas below.
Design pull-up banners for the Edinburgh Fathers’ Service that are vibrant, eye-catching and in-keeping with the OPFS brand. Create a design that can be used as a template for other services so that banners can be mixed and matched at events as required.
Players create a series of imaginary exhibitions along the lines of Danto’s thought experiment competing to create the most compelling artistic ideas and narratives based on a single, simple canvas, depicted on “commission cards”.
The cards were imagined as paintings hung in a gallery complete with artwork labels (illegible, except on the card backs). The in-game currency was created to mimic the dots applied to sold artworks.
Components spread out for play.
Red Squares card game: Close-up of the commission card back
Red Squares card game print layout
A quick primer on the theory behind the game:
He proposes an exhibit of identical, yet different, paintings – each a rectangle of uniform red paint. One of these paintings is of the Israelites crossing the Red Sea. The artist’s comments note that “the Israelites had already crossed over, and the Egyptians were drowned.” Another red canvas, entitled “Kierkegaard’s Mood,” is a work of “immense psychological penetration” reflecting on Kierkegaard’s description of spiritual turmoil as “a mood, a single colour.” Another painting, entitled “Red Square,” is “a clever bit of Moscow landscape.” The last painting in the exhibition is “a still-life executed by an embittered disciple of Matisse, called ‘Red Table Cloth.’”
I was asked to come up with a solution to revamp the OPFS factsheet range to bring them inline with the branding initiative and to increase the appeal and readability.
Redesign OPFS’ factsheet range to increase the readability and visual appeal. One problem identified in the old design was the text density making information hard to read and putting service users off due to their intimidating appearance to casual readers.
Specifications & Limitations
A4 pages, to be cost-effectively printed in-house on office colour printers.
Keep the same amount of information, but making it more legible and readable, whilst limiting the number of pages to maximise cost-effectiveness.
Make each individual factsheet easily identifiable.
Make the range easy to update and easy to identify when out of date.
The expensive pre-printed factsheet shells were replaced with bespoke template layouts controlled in-house. This enabled the publications to printed on plain paper in one go, preventing stock wastage in the event of contact/information changes.
The text was reformatted to increase the font size and line height was increased, increasing readability.
The intimidating, heavy, corporate look of the old factsheets was replaced with a friendly, bold design that takes its cues from the OPFS branding guidelines.
The large feature image at the top of the front page on each publication acts as a useful identifier for each factsheet, even from a distance.
To enable the identification of out of date publications, the accent colour rotates between three of the brand colours (green, jade and purple) each year.
Requires a clean and clear publication to organise complicated information into a clear and concise manner.
For in-house printing.
Design must be sympathetic to the branding of the three organisations involved: OPFS, Fife Gingerbread, and Making It Work Fife.
The content was presented in a simple, clear and concise manner, with clearly labelled information was added on where to get more help for each action item.
The green and a slate blue were chosen to complement the branding of all three partner organisations as best as possible.
The white background enabled in-house printing on printers that cannot print to the edge of the page.
The A5 leaflet style was chosen to make the publication small enough to carry around for reference, and to enable easy printing (on A4 paper) and assembly in-house (simple folding, with no cutting required).
The checklist was made into an interactive PDF to enable people to download, fill them in, and store them completely digitally if they wished.