the making of the waitress

THE MAKING OF

THE WAITRESS

THE MAKING OF THEWAITRESS 2

THE MAKING OF THEWAITRESS3

TALES TO

CHANGE THE

WORD“We want you to use the text of The Waitress, a tale by Jack Zipes, to in-vest the book with the invention and experimentation of the magazine.”

Consider the cur-rent format, nature and pacing of a book; the half-title page, title page, dedications, colophon, chapter headings.... How might this change and develop into something new? Will your ‘novel’ remain as a single narrative, will it in-clude other stories? Are they themed or are they going to be very diverse ‘cannonballs of sur-prise’? Is it a stand alone issue or one of many?”


16.Shark Tales.

08.Thoughts and ideas.

14.Pengiun Clas-sics.

06.Initial Reading.

10.Blog.

20.Zeit Fur Die Bombe.

12.Books.

18.Sam Winston.

22.Magazines.

24.IL.

26.Little White Lies.

28.Grafffik.

40.More H.R.T.

32.Initial Ideas.

38.Hand Rendered Type.

30.Eight:48.

34.Starting Points.

36.Starting Points.

42.Jiggled & Jumped.

44.Words as Images.


62.Issue One

Spreds

66.Issue Two

Spreads

64.Issue Two

72.Work In

Progress Show

68.Issue Three

70.Issue Three

Spreads

74.Grids and

Guidelines

76.Strategy

78.

52.Chair ‘oh Chair

46.Word Play

54.Issue Covers

50.

56.Heading Font

58.Heading Font

cont...

60.Issue One

84.

80.

82.

48.Splitting up the

Story


She never knew how it had happened, but there was once a chair stuck on the back of a waitress. She jiggled, she jumped, she bucked and she kicked her heels like a wild horse in a rodeo show. But nothing she did could help poor Marie get the chair off her back. She went to the best doctors, carpen-ters, detectives, midwives, and plumbers in all of Paris, but nobody could help her. The chair stuck on her back, and every-one was afraid of tearing it off her back because she might die. After all, Marie was a small young woman, somewhat on the skinny side. You might even call her frail or fragile. Perhaps that was because she was always running from table to table in the restaurant where she worked. Perhaps it was because she never had time to eat a good meal. Marie never thought about it. She just worked as hard as she could.At first Marie thought she looked like a humpback, and she was ashamed of her chair, but the chair was light as a feather, and she could barely feel it.“Maybe something good will come of this,” Marie said to herself. “Maybe if you dressed me up, you might learn a thing or two,” the chair said to her. “You can talk!” Marie said with astonish-ment. “You can walk,” the chair said. “Of course I can,” the waitress said. “Any-one can.” “Hey, that’s not true. Not anyone can. There are a lot of old people who can’t walk. What aboutbabies? What about people who have ac-cidents? What about people who are born differently?” “All right, all right,” Marie said. “I get your point.”“Well, if you get my point,” the chair said. “Get me dressed and do something about it.” “What would you like to wear?” “Something with frills, and I like colors like aqua blue, jasmine green, fire red, and chartreuse.” “Are you a girl?”“Does it matter?”Marie said it didn’t, and off she went with the chair on her back to the nearest department store. People didn’t seem to mind that she had a chair on her back, and Marie found that strange.

Important first line.needs own pagebig & bold.

Intresting wordsplay around with spacing to makethem come “alive”.

INIAL READING, IDEAS AND THOUGHTS.

Could type run around the tables?

Big and bold. Important line.


“Can they see you?” she asked the chair. “People see only what they want to see,” the chair replied.Once they found the interior decoration department, Marie thought she could feel the chair smile. “What now?” she asked. “Well, let’s choose some material,” the chair said, and choose they did. There were all types oflinen, silk, and cloth, and the chair nudged her to pick out pink, yellow, and blue flow-er patterns and then an intricate diamond shaped red, black, and green roll of wool, and finally she had to pick out soft feather pillows in different colors. The bill came to $500, and Marie told the chair there was no way she could pay for all the materials.“Look into your purse,” the chair demand-ed. Marie stuck her hand inside and pulled out ten one hundred dollar bills. “Oh!” she almost fainted. “Stop that,” the chair said, “and pay.” “But what if somebody lost this money? What if it was stolen?” “I told you, good things happen in strange ways,” the chair said. Marie hesitated still, but finally she paid and rushed home as fast as she could. As she entered her one-room apartment, she almost stumbled over a sewing machine. “What’s this?” she exclaimed. “How do you think you’re go-ing to make my outfits if you don’t have a sewing machine?”“But I can’t sew.” “You can now. Try it.” At first Marie was afraid of hurting herself with the needle, but the instructions were easy to read,and once the machine began humming, it was as if she were playing a violin sonata. She was carried away in rhapsody, and when she had finished, she had produced seven marvelously colored chair covers.“Hey, let’s do a fashion show!” the chair proposed, and Marie could feel the arms of the chair picking up one of the outfits and slipping it on. When the chair gave a sign that it was ready, Marie strolled over to the bathroom and turned around and around so she could see the chair in the mirror.“Oh, you look beautiful!” Marie said. “Thanks, but it was all you, and now we’ve got to get to work.”


“To do what?”“Well, you don’t think I’m going to let my looks and your talents go to waste. We’re going to start a restaurant service for people who have trouble walking.”“What do you mean?”“Well, you know all those people who sit at home and can’t get out because they’re sick or disabled or old. We’re going to pick them up, and you’ll carry them in me to the restaurant. Then they can be with other people for a while and have a meal on the house. We’ll call ourselves the Walking Wizards!”“But I can’t carry anyone on my back,” Marie responded. “You’re carrying me.” “That’s different. You’re light. Or, at least I can’t feel you.” “Trust me,” the chair said firmly,Well, Marie had no other choice, and she carried the chair to Marcel, the owner of the restaurant where she worked.“Marcel,” the chair said, “We’re going to expand your business.” “Hey, you’re pretty cute,” Marcel replied, for the chair was dressed in flaming red and yellow. “Now’s not the time for flirting,” the chair answered. “Here’s what we propose.” No sooner did the three finish their conversa-tion than Marie set out and arrived at the apartmentof an old woman named Natalie. She was eighty-five years old, tiny like a mouse, and she rarely left her apartment because she had difficulty walking without a cane.Marie knocked. The door opened. “Ma-dame Natalie,” Marie said. “We’ve come to invite you to lunch.” No sooner said than Marie stooped down. The old woman sat down in the chair. And in a flashthey were at Marcel’s. “Madame, it’s a pleasure. We shall be expecting you for lunch every day.” The next stop for Marie and the chair was Fat Pierre’s home. He weighed lose to four hundredpounds. He was a young man, not more than thirty-five, but when his wife died suddenly, he went into a deep depression, stayed at home all day, watched tv and ate junk food.When Marie knocked, the door opened. “Monsieur Pierre,” Marie said. “We’ve come to invite you to lunch.”No sooner said than Marie stooped down. Somehow Pierre managed to fit himself into the chair. And in a flash they were at


Marcel’s.“Monsieur, it’s a pleasure. Take a seat next to Madame Natalie. We shall be expecting you for lunch every day.”Off went Marie with the chair. This time they went to visit Liliane, who had been the brightest student in her class, but she had been hit by car and had lost the use of one of her legs and refused to go to school anymore. Her mother tried every-thing from bribes to psychologists, but Liliane refused to move from her room.When Marie knocked, the door opened, and Liliane’s mother showed her to her daughter’s room. “Mademoiselle Liliane,” Marie said, “we’ve come to invite you to lunch.” Liliane’s eyes opened wide when she saw Marie with a chair stuck on her back, and she giggled.In fact, she continued to giggle when she jumped into the chair and sped to Marcel’s restaurant. Throughout the morning Marie and her chair sped through the neighbor-hood until twenty-one people were gath-ered at Marcel’s for lunch. He had set up a special banquet room for his guests, and he cooked the most delicious specialities of the house. There was laughter and chat-ter. Almost all the people knew each other somewhat, but they were discovering they had so much in common that they made plans to do things with each other. They kept toasting Marcel and praising his cooking.“There’s nothing like French cooking!” they cried. And Marcel replied, It’s all on the house! You are my guests forever.” The next day Marie and her chair did not arrive at the restaurant, nor did they go knocking onpeople’s doors. Nevertheless, all the peo-ple managed to show up at Marcel’s res-taurant, and they enjoyed themselves and kept meeting until the end of their days. As for Marie and her chair, it is difficult to remember what happened to them. Some say they never existed. But I for one don’t believe them.


www.talestochangetheword.tumblr.comPassword: gpi


“ “BOOKS

“Books (the good ones) usually provide a deep level of understanding on a given topic.”

Beyond that they’re static. Other than new editions every few years, the infor-mation stays exactly the same.

“Beautiful covers”

Books are a reminder of formal learning.Books have a certain target audience ( you either love reading or you dont)

Longevity

Books are kept, given as gifts and treasured posession

“They require full concentration.”

“Black and white”

“ “


THE RAWSHARK TEXTS

SAM WINSTON


ZEIT FUR DIE BOMBE


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“MAGAZINES!“

Full of the newest ideas on a wide range of topics

Can easaly skim through a magazine

Visually apealing

Magazines provide more surface level information that is constantly updated.

Quick-hit articles that I can layer on top of the foundations I’ve built through other reading.

The topics are new every month so I know I’m getting the most up-to-date insight on that idea (apart from blogs)

Wide range of audiences

Large use of photographs, colours and images.

{{{ {{{ {{

{ {{ { {{ { {{{{ { { { {

{{ {{ {{ {{


This magazine is a right beaut! I love it, I found it whilst remerging around on the internet Intelligence in Lifestyle or IL is a relatively young Italian magazine about contemporary passions and consumptions. It premiered in September of 2008, IL is the supplement to the Italian newspaper Il Sole 24 ORE. The design takes inspiration from Swiss formalism, fashion magazines, and popular Italian & Northern European periodicals from the 70s. As for the content, I only wish I could read Italian. For now, I’ll just pore over the layout, typography, and infographics—oh my, the info graphics—I’m a huge fan of Feltron—but egad, these ones are amazing.things I love about IL:

Cover design consistencyThe cutout of the IL logotype on the coverThe perfect combination of serif and sans serif typeThe use of color as part of a theme, complementary to the contentI just want to dismantle the whole thing and hang the pages up as framed art.

INTELLIGENCE IN LIFESTYLE


What I love about this magazine is that every issue is different; everything is de-voted to the feature film. Layout, typog-raphy even the images they use honor the film. For example ‘The Black Swan’ issue includes very delicate handmade type including inspiration from feathers and bird bones and skulls. The ‘Attack the Block’ however has a very organised, bold and blocky feel, also features a glow in the dark cover to enthuses the Alien feel.


The magazine focuses on contemporary graphic design. Regular features include reviews of notable design events and ex-hibitions, showcases of emerging and es-tablished talent, critical viewpoints and special reports, often covering a piece of design history with a particular relevance for today. There are also regular features on logoforms and letterforms, and copi-ous book reviews of both graphic design books and those of a more general inter-est to the creative community.

GRAFIK


Nice layouts from Eight:48 Magazine, which covers a different design-related theme in each issue. I love the layouts and the form of the magazine, its size is great and I think the ‘broad sheet’ paper style really works.

EIGHT:48


INITIAL IDEAS


J DLGIGJ DEMPU

B DEKCUK KCI DE

E


I will be trying to do this with the language in “the Waitress.”


?“Well, you know all those people who sit at home and can’t get out because they’re sick or disabled or old. We’re going to pick them up, and you’ll carry them in me to the restaurant. Then they can be with other people for a while and have a meal on the house.”

?“What do you mean”



Here I use a simple question-mark and turn it upside down as it looks similar to a disabled badge.


SO THE PLAN IS...

So ive spent alot of time playing around with type but I need to established the form of this magazine/book.

A3

A3 A2

I want to split the magazine into three issues, I want a lot of space so I’m going to have my page size at A3 and double page spread at A2. Each issue will have 10 double page spreads, a front cover and a back cover (of course)


1 2

3 4 5

6 7 8

9 10

She never knew how it had happened, but there was once a chair stuck on the back of a waitress. She jiggled, she jumped, she bucked and she kicked her heels like a wild horse in a rodeo show. But nothing she did could help poor Marie get the chair off her back. She went to the best doctors, carpenters, detectives, midwives, and plumbers in all of Paris, but nobody could help her. The chair stuck on her back, and everyone was afraid of tearing it off her back because she might die. After all, Marie was a small young woman, somewhat on the skinny side. You might even call her frail or frag-ile. Perhaps that was because she was always running from table to table in the restaurant where she worked. Perhaps it was because she never had time to eat a good meal. Marie never thought about it. She just worked as hard as she could.At first Marie thought she looked like a humpback, and she was ashamed of her chair, but the chair was light as a feather, and she could barely feel it.“Maybe something good will come of this,” Marie said to herself. “Maybe if you dressed me up, you might learn a thing or two,” the chair said to her. “You can talk!” Marie said with astonish-ment. “You can walk,” the chair said. “Of course I can,” the waitress said. “Any-one can.” “Hey, that’s not true. Not anyone can. There are a lot of old people who can’t walk. What aboutbabies? What about people who have ac-cidents? What about people who are born differently?” “All right, all right,” Marie said. “I get your point.”“Well, if you get my point,” the chair said. “Get me dressed and do something about it.” “What would you like to wear?” “Something with frills, and I like colors like aqua blue, jasmine green, fire red, and chartreuse.” “Are you a girl?”“Does it matter?”Marie said it didn’t, and off she went with the chair on her back to the nearest de-partment store. People didn’t seem to mind that she had a chair on her back, and Marie found that strange.“Can they see you?” she asked the chair. “People see only what they want to see,” the chair replied.Once they found the interior decoration department, Marie thought she could feel the chair smile. “What now?” she asked.

“Well, let’s choose some material,” the chair said, and choose they did. There were all types oflinen, silk, and cloth, and the chair nudged her to pick out pink, yellow, and blue flower pat-terns and then an intricate diamond shaped red, black, and green roll of wool, and finally she had to pick out soft feather pillows in different colors. The bill came to $500, and Marie told the chair there was no way she could pay for all the materials.“Look into your purse,” the chair demanded. Marie stuck her hand inside and pulled out ten one hundred dollar bills. “Oh!” she almost fainted. “Stop that,” the chair said, “and pay.” “But what if somebody lost this money? What if it was stolen?” “I told you, good things happen in strange ways,” the chair said. Marie hesitated still, but finally she paid and rushed home as fast as she could. As she entered her one-room apartment, she almost stumbled over a sew-ing machine. “What’s this?” she exclaimed. “How do you think you’re going to make my outfits if you don’t have a sewing machine?”“But I can’t sew.” “You can now. Try it.” At first Marie was afraid of hurting herself with the needle, but the instructions were easy to read,and once the machine began humming, it was as if she were playing a vio-lin sonata. She was carried away in rhapsody, and when she had finished, she had produced seven marvelously colored chair covers.“Hey, let’s do a fashion show!” the chair pro-posed, and Marie could feel the arms of the chair picking up one of the outfits and slip-ping it on. When the chair gave a sign that it was ready, Marie strolled over to the bath-room and turned around and around so she could see the chair in the mirror.“Oh, you look beautiful!” Marie said. “Thanks, but it was all you, and now we’ve got to get to work.” “To do what?”“Well, you don’t think I’m going to let my looks and your talents go to waste. We’re going to start a restaurant service for people who have trouble walking.”“What do you mean?”“Well, you know all those people who sit at home and can’t get out because they’re sick or disabled or old. We’re going to pick them up, and you’ll carry them in me to the restau-rant. Then they can be with other people for a while and have a meal on the house. We’ll call ourselves the Walking Wizards!”“But I can’t carry anyone on my back,” Ma-rie responded. “You’re carrying me.” “That’s different. You’re light. Or, at least I can’t feel you.” “Trust me,” the chair said firmly,

Well, Marie had no other choice, and she carried the chair to Marcel, the owner of the restaurant where she worked.“Marcel,” the chair said, “We’re going to ex-pand your business.” “Hey, you’re pretty cute,” Marcel replied, for the chair was dressed in flaming red and yellow. “Now’s not the time for flirting,” the chair answered. “Here’s what we propose.” No sooner did the three finish their conversation than Marie set out and ar-rived at the apartmentof an old woman named Natalie. She was eighty-five years old, tiny like a mouse, and she rarely left her apartment because she had difficulty walking without a cane.Marie knocked. The door opened. “Madame Natalie,” Marie said. “We’ve come to invite you to lunch.” No sooner said than Marie stooped down. The old woman sat down in the chair. And in a flashthey were at Marcel’s. “Madame, it’s a plea-sure. We shall be expecting you for lunch every day.” The next stop for Marie and the chair was Fat Pierre’s home. He weighed lose to four hundredpounds. He was a young man, not more than thirty-five, but when his wife died suddenly, he went into a deep depression, stayed at home all day, watched tv and ate junk food.When Marie knocked, the door opened. “Monsieur Pierre,” Marie said. “We’ve come to invite you to lunch.”No sooner said than Marie stooped down. Somehow Pierre managed to fit himself into the chair. And in a flash they were atMarcel’s.“Monsieur, it’s a pleasure. Take a seat next to Madame Natalie. We shall be expecting you for lunch every day.”Off went Marie with the chair. This time they went to visit Liliane, who had been the brightest student in her class, but she had been hit by car and had lost the use of one of her legs and refused to go to school anymore. Her mother tried everything from bribes to psychologists, but Liliane refused to move from her room.When Marie knocked, the door opened, and Liliane’s mother showed her to her daughter’s room. “Mademoiselle Liliane,” Marie said, “we’ve come to invite you to lunch.” Liliane’s eyes opened wide when she saw Marie with a chair stuck on her back, and she giggled.In fact, she continued to giggle when she jumped into the chair and sped to Marcel’s restaurant. Throughout the morning Marie and her chair sped through the neighbor-hood until twenty-one people were gathered at Marcel’s for lunch. He had set up a special banquet room for his guests, and he cooked the most delicious specialities of the house. There was laughter and chatter. Almost all the people knew each other somewhat, but they were discovering they had so much in com-mon that they made plans to do things with each other. They kept toasting Marcel and praising his cooking.“There’s nothing like French cooking!” they cried. And Marcel replied, It’s all on the house! You are my guests forever.” The next day Ma-rie and her chair did not arrive at the restau-rant, nor did they go knocking onpeople’s doors. Nevertheless, all the people managed to show up at Marcel’s restaurant, and they enjoyed themselves and kept meet-ing until the end of their days. As for Marie and her chair, it is difficult to remember what happened to them. Some say they never existed. But I for one don’t believe them.



Splitting up the text was easy; I tried to end each Issue on a ‘cliffhanger’ leaving the reader wanting more. Also I managed to split it up on the story. The first sec-tion is mainly about Marie meeting the chair and their initial steps together. The second I named the ‘fashion issue’ is predominantly about the fashion show. The last issue is about Marcel and his restaurant. As you can see this is the longest is-sue and caused me the biggest amount of stress, trying to fit all the text onto the allocated spreads. I ended up having one or two spreads per “person” depend-ing on importance if the story. This issue does have a slightly different look to the fist just because there is a bigger quantity of words.

CHAIR OH CHAIR?!


ISSUE ONE ISSUE TWO


ISSUE THREE

Finding images for the covers was quite easy I wanted simple linear drawings to represent each Issue. The first Issue is about the relationship be-tween the chair and Marie so I decided to use a simple line drawing of a chair. The second issue is mainly about Marie and the chair and them preparing the fashion show. So I used an image of an old singer sewing machine, as this is what I envisioned when I first read though the text. The last image I struggled with, at first I thought of using something that reflects Marcel, his chef hat, his mustache but none of these personal items worked with the first and second Issue. Then I de-cided to used pots and pans finally I used simple images of cutlery. I really feel these work best and work well with the two other issues.


THE WAITRESS

THE WAITRESS

THE WAITRESSTHE WAITRESS

THE WAITRESSThe WaitressTHE WAITRESS

THE WAITRESSThe WaitressTHE WAITRESS

THE WAITRESSThe Waitress


Franchiselobstster 1.3QUICKSAND BOLDQUICKSAND BOOKQUICKSAND LIGHTQUICKSAD DASH


These are the three main fonts I use through out my magazine. I decided to use these fonts because they are different from the fonts I usally pick. Quicksand has been used for mostly standard text. Lobster 1.3 is mainly used in Issue 3 for Marcel and Franchise is perect for the bold and brash lins that need to stand out. I still have not decided which type will adorn the front cover.

THE WAITRESSJACK ZIPES

ISSUE THERE


ISSUE ONE

ISSUE TWO

JACK ZIPES

THE WAITRESS

THE WAITRESS

JACK ZIPES

ISSUE THERE

ISSUE TWO

JACK ZIPES

THE WAITRESS

The WaitressJACK ZIPES

ISSUE THERE

The WaitressJACK ZIPES

ISSUE ONE

ISSUE TWO

JACK ZIPES

The Waitress


JACK ZIPES

ISSUE ONE

THE WAITRESS


The Waitress

THE WAITRESS

THE WAITRESS


ISSUE ONE


ISSUE TWO

JACK ZIPES

THE WAITRESS



ISSUE THERE


This is an image from our Interim show. I had yet to comletely finish Issue three however I did show all three issues as it was a work in progress. This was the first time seeing my work on a big screen and I could already tell that some of my text was too small and needed to change.


GRIDS AND GUIDELINES

COLOUR PALETTEORANGE : C=0 M=1 Y=0 K=32PINK : C=7 M=90 Y=42 K=0BLUE : C+49 M=20 Y=24 K=0GREY: C=0 M=0 Y=0 K=78

Single Pages = A3Double Page Spread = A2

Franchiselobstster 1.3QUICKSAND BOLDQUICKSAND BOOKQUICKSAND LIGHTQUICKSAD DASH

This is an image from our Interim show. I had yet to comletely finish Issue three however I did show all three issues as it was a work in progress. This was the first time seeing my work on a big screen and I could already tell that some of my text was too small and needed to change.


RULE

RUNNING HEADLINE

FOLLO

12pt Quicksand Bookcolour : 100% Black

5mm X28mmcolour : 100% Black

12pt Quicksand Bookcolour : 100% Black

HEAD MARGIN

MARGIN

30mm

8mm


Strategy


My goal was to excite the reader with the original story, but bring into a modern format. His ‘fairy tale’ is pretty eccentric and when I first read trough it I was slightly confused and it was not what I was expecting at all. I thought that a simple book does not convey the story and doesn’t live up to the mad and quirky story.

I started researching ‘innovative’ books looking closely at the books feature on the brief. I was in-spired by the arrangement of type in The Raw Shark Texts. This got me thinking of beautiful hand rendered type and letter-press and this was the first route I wanted to go down. I also looked at oth-ers off the reading list like Sam Winston his A Dictionary Story led me into another route of aliening the text and playing with singular letters within the words. I was really impressed at how this ar-rangement really let the eye wonder and I did try to use this on a couple of my pages.

I started to get to carried away with hand rendered type and time was slipping away from me ever so quickly, I slowly started realizing that this was a much bigger project then I first thought and it began to dawn on me that I had to change my tactics. So I started to look at magazines and boy did I find some gems. These really got me thinking and I decided to regiment my book layout more.

When first getting this brief I set myself a project to try and finish it in a day, this would give me a lot of quick ideas to start, one of the ideas that had always stuck since this first initial day was to split up the book into issues. Splitting up the text was easy; I tried to end each Issue on a ‘cliffhang-er’ leaving the reader wanting more. Also I managed to split it up on the story. The first section is mainly about Marie meeting the chair and their initial steps together. The second I named the ‘fash-ion issue’ is predominantly about the fashion show. The last issue is about Marcel and his restaurant. As you can see this is the longest issue and caused me the biggest amount of stress, trying to fit all the text onto the allocated spreads. I ended up having one or two spreads per “person” depend-ing on importance if the story. This issue does have a slightly different look to the fist just because there’s a bigger quantity of words.

I wanted simple linear drawings to represent each Issue. The first Issue is about the relationship between the chair and Marie so I decided to use a simple line drawing of a chair. The second issue is mainly about Marie and the chair and them preparing the fashion show. So I used an image of an old singer sewing machine, as this is what I envisioned when I first read though the text. The last image I struggled with, at first I thought of using something that reflects Marcel, his chef hat, his mustache but none of these personal items worked with the first and second Issue. Then I decided to used pots and pans finally I used simple images of cutlery. I really feel these work best and work well with the two other issues.

My layouts, like the book is quite eccentric, as I do not stick to any particular grids or guidelines and is purely based on the words on the page and what is best suited to them. Though I have gone back at what I said in the beginning of this project by not simply taking the book and making look like a magazine. I feel if I had more time I would of like to do at least some of the book if not all in letter press but this was simply not the case in the time limit I had. Overall I think that this outcome has answered the brief and I am pleased with my final issues as this brief was completely out of my comfort zone and the first typographic project to date.

the making of the waitress

Documents

issue covers50

issue three70

issue two72

issue one84

poor marie

making of thewaitress3tales

people didnt

initial ideas