The Metamorphosis: Yesterday, Today, Tomorrow
For this book design project, I produced three book designs for Franz Kafka's the Metamorphosis: classic, modern, and experimental. With the prompt "yesterday, today, tomorrow" in mind, I laid out the text in three ways, while ensuring that these designs all convey the text's theme of alienation.
The Metamorphosis by Franz Kafka.
Translated by David Wyllie.
The edition of the Metamorphosis used in this project was copied from Project Gutenberg:
"Yesterday" Classic Layout
"Yesterday" is a prompt that follows the conventional layout of a novel -- all text printed in black, serif typeface for body text, title page center-aligned, and so on.
Typefaces used: Borgia Pro, Raleway
Book cover. The front cover follows a pictorial modernist style, with the image being incorporated as the main element of the cover.
Title Page
Copyright Page and Table of Contents
Sample of Inside Pages. Upper margins were set to be wider than the other margins, to reflect on Gregor's transformation into a bug. I imagined that he would have been unable to stand upright, thus having a lower eye level than a regular human.
"Today" Modern Layout
The modern layout somewhat bends the rules of conventional book design -- body text set in sans serif typeface, use of color for texts and pages, wider margins on one side of the body, dedicated chapter pages, and the like. The colors used are inspired by the flag of Bohemia, Franz Kafka's birthplace.
Typefaces used: Open Sans, Proxima Nova
Book cover. Unlike with the classic layout, this cover does not adhere to the pictorial modernist style, as more emphasis is placed on its typographic elements (particularly the title).
Title Pages. As mentioned, the use of color is much more liberal for the modern layout, compared to the classic layout. Additionally, an entire spread is used, rather than a single page.
Copyright Page and Table of Contents
Chapter pages. Each spread features an illustration of a prominent object described in its respective chapter: the door to Gregor's room, the apple that injures him, and Grete's violin.
Sample of Inside Pages. The margins on the sides of the pages create distance between the paragraphs, which is meant to communicate Gregor's sense of alienation from his family and surroundings.
Inside Pages from Chapters 2 and 3. The color of the Drop Cap and footers corresponds to the color used in their respective chapter pages.
"Tomorrow": Experimental Layout
"Tomorrow" completely breaks book design conventions, and prioritizes "style over substance". Every element is set in a manner that is completely dedicated to conveying the themes of the text: alienation, change, dehumanization, transformation, and so on. Simply put, readability doesn't really matter.
Typefaces used: Aller, Orator Std, Frente H1
Book cover. Purely typographic.
Title Pages.
Copyright Page and Table of Contents
Sample of Inside Pages, from chapters 1,2, and 3 respectively. The changes in color and typesetting after every chapter reflect on Gregor's worsening transformation and sense of alienation. The use of display typefaces also helps communicate said themes by making the text harder to read.
EXCEPTION TO THE RULE. This spread contains part of the conclusion of chapter 3, after Gregor's death. Using Aller as typeface for the body text and laid out in a more conventional style, these last few pages reflect the sense of relief and renewal felt by Gregor's family.
