Pierre Cardin: Booklet

Initial Sketches

To start off the project, we created 5 different sketches for the book. I found this process to be pretty helpful because I saw how we were able to focus on the story a bit more, and less on the exact elements of each page. My design hero has a very complex history and legacy, and I think it will be helpful to have a whole book to lay out that story.

Feedback from Langston and group:

  • Branching out on style a bit → try to incorporate a few more elements that are not the flat vector style just to push it a bit more
  • Shapes and spaces make it cohesive: make a motive to create consistency
  • Bring shapes — more cohesive 3–4 elements
  • Maybe shift the page before the end and the third page to show 2 different sides of him
  • First cover and table of contents to work with
  • Have a table of contents show all the shapes together, and then sparse them out between the pages.

2 Sketches & Story

I spent a lot of time trying to come up with an adequate story for my book. I felt like when I was going through the sketches, it was more about getting all the info into the booklet, but not as much about organizing it.

Feedback from Alice and group:

  • Cut out the space and show movement into space
  • When things aren't framed by a circle, or there isn’t a circle present it changes the vibe → could use this for the end of the book
  • Like the spiral timeline more than the circular one

Typesetting & Fonts

Type System — STORY

The story I want to tell is based on the fact that Pierre Cardin has been a bit forgotten in the design world, and is mainly known for his work in putting his label on cheaper quality goods. The heading system repeats the phrase “the man who” in a lighter weight. The text underneath

Feedback Brett Office hours:

  • Play a bit more with the type in the heading → and break it away from the paragraph being attached to the essay — changing the scale a bit
  • like the story
  • putting the person and label as more centered and significant across the page would be a bit more powerful in its meaning
  • during the timeline, moment try to break away from those black lines a bit more

Covers Initial Version

Cover and inside table of contents

Feedback Brett Office Hours:

When I met with Brett, he mainly said to not focus on the cover or table of contents and solely focus on getting my pages to be where I’d like them to be for right now. He also said to not go in the cutout route because I may be biting off a bit more than I can chew in terms of work. Also, the portrait may be a bit confusing to start with, this portrait might be good to end with rather than begin with. In terms of my spreads, he gave me feedback on how to structure my captions a bit more, maybe focusing on more vertical orientation of the captions. Also, he mentioned how the titles are working right now and require a bit more subtle in the timeline spread.

Physical Manipulation- Sewing

First attempt on the left — thinner on the right

Iteration 1 of Booklet

  • There is a lack of consistency throughout the pages. Every page seems like its extremely different from the last. I think I need to try and make each
  • Right now there are 3D, thread, and cursive elements that are all completely separate from one another and are not really linked into each page. I think developing each page a bit more will help this out a lot more.

Progression of Pages

Cover Progress:

First Page

In Process images

Timeline Progress

I found this page to be the hardest to complete. Every other page seemed to have a very distinct theme to it, however, this one never really had that in my mind. What ended up driving the page was the circular balance I decided to have on the page. I thought that this referenced ideas I had from my initial sketches in which the timeline was not linear but more circular.

In Progress

Centerfold Foldout Progress

This page was the most straightforward when it came to working out the process. I had an idea of doing this page and how it was going to be laid out from the beginning. The main work just went into making sure that each object was placed in the correct space and that there was an adequate amount of designed objects on the page.

In Process

Space Page

Similar to the centerfold page, for this spread I found the process associated with this page to be pretty seamless and straightforward. This page was very similar to the original thumbnail ideas that I had, so it was mainly fleshing out that idea and then refining bits and pieces.

In Process

Label Page

This was the page that I had the most trouble with.

Final Iteration Overview


I am very happy with the end result of this project. I think that it ended up being pretty cohesive and a very interesting story. There seemed to be a nice arc throughout the book which made it a nice page turner! Looking back through the process I learned a lot about what helps me at the beginning of the process. I really enjoyed doing a lot of rough sketches and using rough sketches as a brainstorm rather than sketching to propose ideas. Having higher fiedilty helps me talk about my ideas whereas having lower fidelity helps me think of all the possibilites I can work with.



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