Typography, an epic tale of yahoo! / boo-hoo!
The Hook title treatment not used in the motion picture but used for promotion in 1991
Foil treatment suggested would obscure all intricacies of the title and frame created in photoshop.
TITLE: Treasure Island
ROLE: ART DIRECTION, DESIGn, project management
Published: 2010
Treasure Island was title 2 in the series following on from King Arthur. The typeblock was inspired by my love of the 1991 fantasy/ adventure film Hook by Steven Spielberg. The title always captivated me. The ‘H’ in Hook was shaped like a hook! I thought this was a great use of the word and how it interplayed with the antagonist’s weapon. I drew it again and again. 17 years later during a briefing for this fiction title cover it came back to me! I found the comics where it was used and used it as a basis for the book’s title treatment. We had no artist yet, I wanted to create a teaser of what was to come and what is more evocative than the title treated and fully realised in photoshop.
Though we did not have the ‘hook’ we did have drop cap design that would work as a strong holding device and the ‘T’ I designed as a shape that could convey the swashbuckling aspect of the book. With this and an existing artwork by the artist of a Spanish galleon we had enough to excite sales/marketing .
At the time the we were to ride a wave created by a possible film which was to be released in 2010 named ‘Flint and Silver’ which would serve as a prequel to TI following Long John Silver and Captain Flint. As is normal with films in work at major studios, the production was pulled while we were creating the book. Those who were committed to it suddenly became non-committal as the co-edition interest began to stagnate.
RISK
The typography was revised to fit with the cover briefing and was voiced as one of the best aspects of the cover. It interacted with the main character and really conveyed the feel of the book. It was described by the Creative Director as ‘cinematic’ and boosted in size by the request of the Design Director. My concept did have one issue. 20% foil coverage was costed and the team were expecting foil to fully cover the intricate modulation design which was a shame and caused debate and uproar!
FUEL TO THE FIRE!
I had a solution which created more polarised views and caused dissent on my part… Broken foil! Strategically selective in its broken areas. I was ‘dragged in chains’ to a meeting which was my request to finalise the approved cover. Solid foil was the view as the cover must make full use of it and broken foil would look like a ‘mistake’ and may be rejected by any one of the 5 co-editions. To support my case I spoke to the Production director, the production manager, I used £100 of the budget to test a sample with a foil rubdown by a company called Pawprint. I had the amazing jackets Manager on my side. My proof of the cover came in and I applied the broken foil carefully using the burnisher. This would swing everyone except my superior the Design Director. He agreed that it looks great but formally made it clear that if a co-edition, possibly the German co-eds who were very strict on quality, were to reject the book as the broken foil would be perceived as an error and it may shift on the press cover to cover, it would land firmly on my desk and be my failure as the Art Director. I accepted this and charged ahead with the design with my contemporaries suggesting that I follow the advice of not questioning the management thought process by ‘rocking the boat’.
YAY!
The risk paid off, the treatment was praised and the final effect of the typography was lauded as it was conceptually strong, technically well crafted and the use of foil was complimentary to all of that. My steadfast belief in it did not go un-noticed and the MD congratulated me for my spunk in my new role. The designer who I art directed was also pleased.
NAY!
Sadly, the theatrical release was delayed then put on hold so the release of the book did not come with the added interest that would have been created around the book. Though it had a life on the backlist it was not the thumping success we all hoped for.
This project stands as a great achievement of art direction, typography and also serves as an example to my art editors as an example of standing ones ground if you believe in an idea. Standing alone against superiors who I believed to be wrong. When I was promoted it was given as an example of taking pride and ownership of ones projects. I still see the treatment used by the publisher to this day.
Illustrator: Carlos Fonseca
Art direction: Jake da’Costa
Cover: Jake da’Costa and Mark Walker
Publisher: Carlton