This is a book cover I did for John Walters’s book, Sunflower.\n\n\n\nHere’s John’s blurb for the book:\n\n
\n In early 1970 a new era, the Age of Aquarius, is dawning. Penny, who adopted the name of Sunflower on the way to the Woodstock Music and Arts Festival, attends another rock concert touted as Woodstock West, at Altamont Speedway near San Francisco. Seeking to enhance the transcendent experience, she instead comes away covered in the blood of a man brutally stabbed to death in front of the stage.\n \n Has the new youth experience descended from idealism to anarchy? Confused and disillusioned, Sunflower embarks upon an odyssey across an America torn by violent anti-Vietnam War protests, racial tension, and gangs of hard drug dealers. From a search for a shared social experience it becomes a personal quest for fulfillment that leads her on a journey across continents.\n
\n\nI wanted to invoke a 1970 road trip starting in California, the blood the main character (Sunflower) sees, her name in flower form, and the out-of-control way her trip unfolds. I also wanted to invoke a vintage feel and the look, via textures, that the cover was actual paper.\n\nCredits:\n\nVW bus, direct link to image: by Caroline Gutman\n\nSunflower: by Deirdre Saoirse Moen aka me.\n\nAll of the following were purchased through now-expired Design Cuts bundles.\n\nFont: DIY Time Brush and DIY Time Hand from Latino Type.\n\nYellow brush stroke and Spatter brush from Robyn Gough\n\nTextures by 2 Lil Owls: Effervescent 26, Grandeur 10, and Through the Glass 12.
When I first saw Yellow Design’s new Lulo font family, I didn’t really understand how it was put together.\n\nHere you go.\n\nStart with Lulo One (I used the bold version for this demo):\n\n\n\nThen duplicate the layer, changing the top layer to Lulo two (and a different color):\n\n\n\nDuplicate again, but change the top to Lulo three so you have three layers:\n\n\n\nDuplicate again, but change the top to Lulo four so you have four layers (the fourth is the drop shadow):\n\n\n\nDuplicate again, but change the top to Lulo outline for the final touch:\n\n\n\nAs is often the case, I picked this up in a (now expired) Design Cuts deal.
One of the things that I love is finding a great OpenType font with lots of alternate swashes or letterforms to make a design work better.\n\n\n\nThis particular face is Alek from Fenotype. Love it to pieces.
After some random comment at TypeCon, I got to wondering about the origins of Comic Sans.\n\nImagine my surprise when I read this quotation from its designer, Vincent Connare:\n\n
\n Comic Sans was NOT designed as a typeface but as a solution to a problem with the often overlooked part of a computer program’s interface, the typeface used to communicate the message.\n \n There was no intention to include the font in other applications other than those designed for children when I designed Comic Sans. The inspiration came at the shock of seeing Times New Roman used in an inappropriate way.\n
\n\nHe has more to say here.\n\nFascinating, really.\n\nOn a related note, I have always wondered why Times New Roman wasn’t on the hate list right along with Comic Sans. One of my very least favorite fonts.
\n\nNow available on Redbubble: prints, posters, t-shirts, pillows, totes, phone cases, iPad cases, and greeting cards.\n\nI love this E.B. White quotation.\n\n
\n I get up every day determined to both change the world and have one hell of a good time.\n \n Sometimes this makes planning my day difficult.\n
Design element credits
\n\nPolygon background: Justin Thanks, Justin!\n\nPattern overlay layers: two from 2 Lil Owls (from a Design Cuts bundle) plus 2 from Joyful Heart Designs.\n\nFont: Brave from Nicky Laatz. Post-processed with Ian Barnard’s Inkwell.
I wanted a border that looked like a picture frame. After searching gazillions of entries on Creative Market (and resorting to other places), I found the perfect solution.\n\nLaura Worthington has two beautiful pattern fonts that are perfect for borders and wallpapers.\n\nI used the “b” character.\n\n
- Make a column of them. I used 66 points with 34 point line height.\n
(optional) Duplicate both type layers, then hide them. That way, if you ever want to start over, it’s a little easier.
Rasterize both type layers. Control-click on the layers, and select Rasterize Type.
Merge the type laters. Layer -> Merge Layers
Create a new layer, drag it to the bottom of the list. Fill with any color (I used orange). Apply a different gold layer style to this layer.
¡Voila!\n\n\n\nFor the gilt layer styles, I used two of John Forsythe’s (though they are less expensive through this Mighty Deals deal), toning down the drop shadow so the top layer looks like it’s actually sitting on the bottom layer.\n\nNote that I didn’t try to make this tileable: the layer styles have patterns applied, and that might cause issues. Instead, I made a border that’s 300px wide by 3000 px high, making it 1″ x 10″ for print. Probably I’ll never need anything that large.\n\nNow I have a unique border for a forthcoming book series.\n\nHere are a few more I created in a few minutes with different layer styles and letters.\n\n\n\n\n\n
I found this beer bottle mockup last night, and thought I’d have fun with it.\n\nCatch is, this particular product would probably be better vended in something stranger—like a Klein bottle. Oh well.\n\nClick for full size:\n\n\n\nIt’s an homage to a Tom Smith song of the same title:\n\n
\n There’s many drinks you’ll drink, me lads, but this one beats them all.\n One hundred fifty-three and one-half percent alcohol,\n A beer brewed in a tesseract, it’ll shoot you through the roof,\n And if you don’t believe me, I’ve got lots and lots of proof.\n
Graphic Element Credits
\n\nFont: Veneer by Yellow Design Studio I love this font, use it all the time.\n\nLogo font: Trend Handmade by LatinoType\n\n(Both of the above via Design Cuts, as usual.)\n\nBeer Mockup: Original Mockups\n\nLogo: 12 Sci-Fi Badges from VoxelFlux
When I went to the Odyssey Writing Workshop, Jeanne Cavelos, the workshop’s founder, said, “You get ten exclamation marks for your entire life.”\n\nSomeone had overused their lifetime quota on a single story.\n\nI’d curbed back on my own use sometime before that, but pared back even further. Though: ten? That’s harsh.\n\nSo when Tiffany Reisz said this on Twitter the other day, I had to make a design featuring the quote.\n\n
\n\nWhen I was at the World Domination Summit in Portland recently, speaker Michael Hyatt said this during his talk. I was goofing around with some halftone textures after the talk and made up this poster.\n\nThe font is Ruba from RodrigoTypo. (Yes, purchased as a part of a Design Cuts deal.)\n\nThe halftone textures are from Rob Brink, purchased as a part of an (expired) My Design Deals bundle.