Dawn DeVries Sokol


{1000 AJP Continued}

So I sorted through submissions until about July. It took a while to download all the jpegs from the Yahoo e-mail, organize them into their own folders and keep track of everyone's info. In the meantime, the publisher wanted a dummy, which is an 18-page mock-up for the sales and marketing team. This is also the stage where the designer gets to lay out interior pages of the book to get approval from editorial on design direction. For this, I wrote an introduction and also had to decide how I wanted to section the book. Originally, the idea was to split the book into categories of pages, and to possibly feature one artist for each opener of those sections. But I began to quickly realize upon selecting journal pages for the dummy that I couldn't categorize them in any way. There were so many pages that crossed over into different categories. Out went the category idea.

1000AJPSmallWe were also working on a cover and I sent some journals to Rockport so they could shoot them for the dummy. Once my art director saw those journals, she e-mailed me to ask what I thought of shooting them in various ways for the cover. I thought it was a great idea and told her to run with it. She decided how to shoot them and gave me such a great array of shots. There were about four shots that were recommended I try. I mocked up three covers with three various shots and sent them over to my art director. I think the decision of which one to run was pretty unanimous and it happened to be my favorite, too, even though I try not to marry myself to anything I design or tell the client ahead of their decision which one I favor. The publisher's only stipulation about the cover was that the "1000" in the title be large enough and the type be appropriate to allow the die-cut, which enables you to see through the cover to the endsheet, the paper that runs in a book before the title pages. The "1000" series had started with Rockport's graphic design books and had carried over to their crafts books with 1000 Artist Trading Cards. All of these books have the die-cut in the cover. With this mock-up, Rockport could then drop it into their catalog they were designing for that season. Covers are usually the most important part of the book to determine...The cover design allows me to move on to the interior knowing how the design should look. A book really should be consistent in it's use of type, color palette, etc. What you see on the cover should give you a hint as to what's inside.

I felt the design of the book interior should be kept minimal. The type I used for the title is conservative and classic and doesn't overpower any elements. The journal pages were the star of this book, and NOTHING should compete with them. I felt it was important to credit each journal page with it's artist's name and country. That would display the internationality that is represented in the book. I chose pages for the dummy that not only showed the range of the submissions' geography, but also diversity of styles and mediums. I selected pages from Brazil's Claudio Gil, United States' Renee Plains, Kathy Welsh, Lenna Andrews, Nancy Baumiller, and Lydia Velarde, Japan's Joei Lau, Scotland's Judy Scott, Israel's Andi Arnovitz and New Zealand's Diane Bahler.

More to come tomorrow!

Dawn Sokol3 Comments