S T R E E T C A R N A M E D D E S I R E / / 6 0 + B O O K C O V E R S

CHARACTER // STANLEY KOWALSKI

IMPASSIONED

TEMPESTUOUS

STORMY

AGGRESSIVE

FIERY

Kowalski, the design exudes a bold, strong sense, energized with strong graphics. The imagery de-scribes Kowalski through masculine visuals and strong, powerful designs.

STORY BEHIND CHARACTER DESIGNS: With this series of book covers, I tried to express a strong, passionate tone. Majority of these de-signs, I used a limited color palette and focused on the articulation of power and dominance.

Blurb:

IN ORDER TO SHOW THE FIERY, IMPASSIONED PERSONALITY OF STANLEY

CHARACTER // STANLEY KOWALSKI // TYPE 1/20

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STREETCARNAMED

desire

Tennessee Williams

CHARACTER // STANLEY KOWALSKI // TYPE 2/20

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CHARACTER // STANLEY KOWALSKI // TYPE 3/20

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CHARACTER // STANLEY KOWALSKI // TYPE 4/20

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CHARACTER // STANLEY KOWALSKI // TYPE 5/20

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FIERY1. I think this is an iconic quote that is very recognizable. I think the type speaks the emotional tone of the scene and creates movement throughout the composition. It’s also a slighty modern/fresh take to this book which is what Williams has been needing for quite some time.

CHARACTER // STANLEY KOWALSKI // TYPE 6/20

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CHARACTER // STANLEY KOWALSKI // TYPE 7/20

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FIERY2. I think this accurately articulates Stanley’s dominating role throughout this play. It’s clear, concise, and expresses a strong and powerful tone. I think I might reverse it and do a black background.

CHARACTER // STANLEY KOWALSKI // TYPE 8/20

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CHARACTER // STANLEY KOWALSKI // TYPE 9/20

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FIERY3. Overall, I think the character covers are the most successful typographically. Although it has some revising to do, I think the broken heart in the eye of the R is very poignant to the plot.

CHARACTER // STANLEY KOWALSKI // IMAGE 10/20

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TEMPESTUOUS

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AGGRESSIVE

FIERY

CHARACTER // STANLEY KOWALSKI // IMAGE 11/20

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FIERY

CHARACTER // STANLEY KOWALSKI // IMAGE 12/20

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CHARACTER // STANLEY KOWALSKI // IMAGE 13/20

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CHARACTER // STANLEY KOWALSKI // IMAGE 14/20

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CHARACTER // STANLEY KOWALSKI // NON-COMPUTER 16/20

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poker chips

poker hand

4. I think this idea is pretty strong in articulating the basic plot and scenes of the book. I think it would be a creative way to create type but I think it would lack intellectual depth within the imagery relating back to the theme. Within the confines of poker though, I think it would give me a lot of interesting opportunities to create an eye-catching book cover.

IMPASSIONED

TEMPESTUOUS

STORMY

AGGRESSIVE

FIERY

CHARACTER // STANLEY KOWALSKI // NON-COMPUTER 17/20

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CHARACTER // STANLEY KOWALSKI // NON-COMPUTER 18/20

5. This idea, if it goes how it would in my head, would be pretty difficult to render within the confines of a book jacket. I think it would be a great challenge to try and create type out of something as abstract as broken mirror pieces. The reflective surface would also give me the opportunity to incorporate further the dark, powerful mood of the book.

IMPASSIONED

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FIERY

CHARACTER // STANLEY KOWALSKI // NON-COMPUTER 19/20

IMPASSIONED

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STORMY

AGGRESSIVE

FIERY

CHARACTER // STANLEY KOWALSKI // NON-COMPUTER 20/20

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FIERY

CHARACTER // STANLEY KOWALSKI // NON-COMPUTER 21/20

6. These silk pajamas that Stanley wears in the stories’ climax, are crucial to his character as well as the mood and tone of the entire story. I think this non-computer embroidered text would be a great way to step back from the computer and flex some other typographic muscles. I also think it would accurately speak to the dim and dark tone that I’m aiming for.

the design will portray a deep sense of rich cul-ture infiltrated with the sounds of soft, soulful jazz. The imagery will exude deep colors, rich im-agery and textures. The tune of the “blue piano” will be forever humming in the background.

Blurb:

IN ORDER TO SHOW THE RAFFISH CHARM OF THE POORER ELYSIAN FIELDS

LOCATION // NEW ORLEANS

WEATHERED

RICKETY

COSMOPOLITAN

POOR

RAFFISH CHARM

STORY BEHIND LOCATION DESIGNS: In this se-ries, I aimed to address the ruggedness of the area while still clearly articulating it’s soulful charm and strong music influences. I used a lot of dark and dim color palettes to address the uncertain and mysterious tone.

LOCATION // NEW ORLEANS // IMAGE 1/20

WEATHERED

RICKETY

COSMOPOLITAN

POOR

RAFFISH CHARM

LOCATION // NEW ORLEANS // IMAGE 2/20

WEATHERED

RICKETY

COSMOPOLITAN

POOR

RAFFISH CHARM

LOCATION // NEW ORLEANS // IMAGE 3/20

WEATHERED

RICKETY

COSMOPOLITAN

POOR

RAFFISH CHARM

LOCATION // NEW ORLEANS // IMAGE 4/20

WEATHERED

RICKETY

COSMOPOLITAN

POOR

RAFFISH CHARM

LOCATION // NEW ORLEANS // IMAGE 5/20

WEATHERED

RICKETY

COSMOPOLITAN

POOR

RAFFISH CHARM

LOCATION // NEW ORLEANS // IMAGE 6/20

WEATHERED

RICKETY

COSMOPOLITAN

POOR

RAFFISH CHARM

1. I really like the color palette within this image and I think it clearly articulates the people living in this area at the time. I also think the type is unique and offset enough to administer to the off beat-ness of the imagery. Smart, soulful, and jive’n. That’s what I was going for here.

LOCATION // NEW ORLEANS // IMAGE 7/20

WEATHERED

RICKETY

COSMOPOLITAN

POOR

RAFFISH CHARM

LOCATION // NEW ORLEANS // IMAGE 8/20

WEATHERED

RICKETY

COSMOPOLITAN

POOR

RAFFISH CHARM

LOCATION // NEW ORLEANS // TYPE 9/20

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RICKETY

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POOR

RAFFISH CHARM

LOCATION // NEW ORLEANS // TYPE 10/20

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RICKETY

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RAFFISH CHARM

2. I’m not sure what it is (and maybe you think it’s boring and lacking creativity) but I think there is something to clean, sans serif type. I don’t think this is quite within the context I’m aiming for, but I like the start of it and I think I can take it further.

LOCATION // NEW ORLEANS // TYPE 11/20

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RICKETY

COSMOPOLITAN

POOR

RAFFISH CHARM

LOCATION // NEW ORLEANS // NON-COMPUTER 12/20

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RICKETY

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RAFFISH CHARM

LOCATION // NEW ORLEANS // NON-COMPUTER 13/20

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RICKETY

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RAFFISH CHARM

LOCATION // NEW ORLEANS // NON-COMPUTER 14/20

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RICKETY

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RAFFISH CHARM

3. Williams uses the motif of music to articulate the solemn and dim mood of this book’s setting that I think it could be successfully integrated into a book cover. I think this would give me the opportunity to try something new (I’m always looking to do that) while duplicating the emo-tional impact from the plot onto the cover.

LOCATION // NEW ORLEANS // NON-COMPUTER 15/20

WEATHERED

RICKETY

COSMOPOLITAN

POOR

RAFFISH CHARM

4. I think this idea could utilize textures and patterns as a tool to identify different characters and locations. It also could open up drawing opportunities for me which I always jump at. And this staircase is such an important aspect in the book that I think I could utilize it in articu-lating the mood of Wiliams’ play.

LOCATION // NEW ORLEANS // TYPE 16/20

WEATHERED

RICKETY

COSMOPOLITAN

POOR

RAFFISH CHARM

LOCATION // NEW ORLEANS // TYPE 17/20

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RICKETY

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RAFFISH CHARM

LOCATION // NEW ORLEANS // TYPE 18/20

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RAFFISH CHARM

LOCATION // NEW ORLEANS // TYPE 19/20

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RAFFISH CHARM

LOCATION // NEW ORLEANS // TYPE 20/20

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RICKETY

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RAFFISH CHARM

and her symbolic connection to a moth and a pa-per lantern, the design portrays a dark and grim reality of tragedy and torment with a vintage tone drawing from its 1950’s culture. The imagery symbolize the both figurative and literal shade that Blanche blankets over her life.

Blurb:

IN ORDER TO SHOW THE FALSE REALITIES OF BLANCHE DUBOIS’ LIFE

ADJECTIVES:

- Timid- Blanketed- Eerie- Solemn/Dim (in both sense of the word)- Masked (from the light)

STORY BEHIND LOCATION DESIGNS: With the object studies, I’m aiming for a soft, melancholy tone. Utilizing soft glows from paper lanterns/light bulbs and tattered moth wings, my goal is to have the potential reader understand the plight of Blanche before opening the cover. She is what makes the story so powerful and I want to articulate that in my designs.

OBJECT // MOTH/LANTERN // TYPE 1/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // TYPE 2/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED1. Obviously this has a ways to go, but I really liked the idea of taking type and molding it into imagery in addition to type. Having it play mutliple roles to articulate the dark, dim, fragile tone.

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // TYPE 3/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // TYPE 4/20

OBJECT // MOTH/LANTERN // TYPE 5/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // IMAGE 6/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // IMAGE 7/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED2. Although this concept needs to be taken further, I think out of the original 17 that I did for the last class, this was the design that drew the most reac-tion from the class. I just need to change it so that it clearly articulates Blanche with this lightbulb imagery.

OBJECT // MOTH/LANTERN // IMAGE 8/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // IMAGE 9/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // IMAGE 10/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // NON-COMPUTER 11/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // NON-COMPUTER 12/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // NON-COMPUTER 13/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // NON-COMPUTER 14/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED3. I think that this idea of utilizing the paper lantern as a vehicle for type could create a strong visual as well as message. Overall, the tone of this is go-ing to be kept dim (not a whole lot of light will be resonating from the bulb itself) but I think this object speaks so much to Blanche as a character that it should not go to waste.

OBJECT // MOTH/LANTERN // NON-COMPUTER 15/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED4. I think experimenting with shadows would also be a challenging yet creative solution to this design problem. It would also directly relate back to the book and the dim, melancholy tone of the play.

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // NON-COMPUTER 16/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // NON-COMPUTER 17/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // NON-COMPUTER 18/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // NON-COMPUTER 18/20

5. Again with the shadows, I think it could turn out to make a really cool cover. This is another interpretation of light vs. shadows.

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // NON-COMPUTER 19/20

TIMID

BLANKETED

EERIE

SOLEMN/DIM

MASKED

OBJECT // MOTH/LANTERN // NON-COMPUTER 20/20

6. After watching and looking at Jessica Hische’s work, I think it would be a unique experience to do cut paper. I think watercolor as a medium also mimics Blanche’s character well and so incoroporating that would also make for a successful book cover.

S T R E E T C A R N A M E D D E S I R E