THE BOOK
An innovative take on George Orwell's classic novel Nineteen Eighty-Four, this project offers a typographic solution crafted in response to the 2022 ISTD brief by underlining the novel's influence in shaping worldviews.
The designed publication serves as a reinterpretation of the novel, utilising typography to vividly illustrate how language can shape one's understanding of truth and reality by dictating how the reader reads the text. The primary audience is composed of individuals who are familiar with the novel and are open to experimental interpretations of its intricate concepts.
ROLES:
Typography
Publication Design
Research Strategy
Book Binding
Typography
Publication Design
Research Strategy
Book Binding
TOOLS:
InDesign, Photoshop
InDesign, Photoshop
Video submitted to the ISTD competition outlining the scope of the project
As a result of this project, I was honoured with a Merit Award and granted membership in the esteemed International Society of Typographic Designers (ISTD).
Initial visual directions
Significance of handwriting as a sign of individuality and hence nonconformity and rebellion
Translucent vellum stock used to depict the act of altering history
Overlapping type and transparencies are employed in spreads that explore the concept of ‘doublethink’ and how it coincides with the constant fabrication of reality and history within the novel.
The reader turns the pages to see the past (represented by the traditional serif typeface) physically transition to the sans serif typeface that embodies the Party’s control.
Part Three of 'THE BOOK'
Part Three takes place in the Ministry of Love, which is described as “the place where there is no darkness”. As such, the pages are dominated with white space. The spreads are read vertically to simulate the long and torturous brainwashing O’Brien puts Winston through.
Coptic binding process
Hand-torn edges
