A book about industrially manufactured objects had to be designed in every detail. It is a collection of stories for young readers (aged 6-10). The protagonists of those stories are every day objects (a ball, a washing machine, a dishwasher, shoes, a button, a sewing needle, a drawer, a phone, string, pots, a gas cooker and a drone). Their adventures and relationships are an opportunity to create poetic imagery, but also to contemplate on the current issues, such as climate change. The illustrations were prepared with the purpose to enliven the literary still life and the choice of lettering was dictated by the desire to intrigue and help children immerse in the stories.
We aimed at composing each page of the book in such a way, that the text is harmonious with the visual narrative. Our inspiration came from picture books and graphic novels, where the story and the imagery is composed into a scrupulously directed sequence.
Bajki od rzeczy is a collection of stories, in which, unlike in a picture book, the text is the lead narration, that is every image in the book results from the deep analysis of the content. We also decided to introduce explicit typographic solutions. While working on the illustrations, we arrived at a broad selection of means of expression. From hyper-realistic representation in an unobvious selection of colour palette to very simple illustrations where only lettering was used, for example onomatopoeias providing sound with typography. Some illustrations needed scientific consultation, some play with the architecture of the book. This diversification of means serves many purposes. Once it builds tension, at other times it forces the shift in perception. It may also be the surprise element, or highlight the context of a problem that is of special importance to us.
Some of the objects used to create the illustrations were created with scanning or 3D modeling technique. They helped us acquire hyper-realistic virtual models of chosen objects – the protagonists of the stories.
Using this technique to work on the images resembles a movie plan rather than traditional illustration techniques. We generate a number of variants of one representation, adjusting the lighting, perspective or frame. We compare the results and chose those that fulfill the criteria of interests to us.
The typeface of the main text is Officina Serif (design: Erik Spiekermann), whereas on the cover and title pages we used Telerysm Mono 2 (design: Jack Usine). Both fonts are inspired by a typewriter, but in radically different ways. Officina deletes the shortcomings of the typewriter lettering and, as a result, we get an original and super-functional book face.
Jack Usine deliberately emphasizes those shortcomings in order to achieve sophisticated solutions to be used in titles (the font is available for free). Applying the styles referring to the lettering of the typewriters seemed fitting to the content of the stories. Officina supports perfecting of reading skills. Additionally, due to the even spaces between letters and identical width of the title font letters, we were able to compose the opening pages of every tale in such a way, that the spine of the book does not cut the letters in half.
The book block was printed in an offset technique on a hi-class recycled paper. It seems especially important in the context of the book’s message. It takes up the issue of daily objects and their overproduction in the real world, a serious civilization problem we are facing.
- Creative Directors –
- Art Directors –
- Designers Idalia Smyczyńska, Paweł Szarzyński, Robert Zając
- Illustrators Idalia Smyczyńska, Paweł Szarzyński, Robert Zając
- Photographers –
- Editors –
- Copywriters –