Ellen Butters

Front / Back Covers - This conceptual book was based on Andrea Codrington’s essay, “Modernist Malice,” which asserts that Hollywood movies have manipulated their audiences into associating evil with the modernist aesthetic. My book design takes the theme a step further by juxtaposing Hollywood’s negative portrayal of modernism (shown in small stills) against its converse glorification by early 20th century photographers like Margaret Bourke-White (shown in large, full-bleed reprints).

Table of Contents - The Table of Contents retains the same type treatment as the cover, dividing the page into two parts that signify the two different interpretations of Modernist architecture. The oversized page numbers celebrate the deco type design of the relevant time period

Chapter 1 - The chapter title and summary paragraph divide the page space into two halves, signifying the two different opinions of Modernist architecture involved. The pale blue is one of four spot colors used in the book that separate chapters but don't distract from the beautiful black and white photos featured on the interior spreads.

Chapter 1 Layout Example - This is a classic spread example where a large, full-bleed reprint of a machine-age photo is juxtaposed against a series of three small film stills. The former glorifies the industrial age, while the latter shuns it. Note the continuation of the chapter page's pale blue color in the first cap and footer.

Chapter 1 Layout Variation - A layout variation on the first spread. These variations add vitality and richness to the overall reader experience. Also note the oversized captions in pale blue.

Chapter 8 - This pale ochre color is another of the four spot colors used to separate chapters. The color almost appears metallic.

Chapter 8 Grid Breaker - While this spread still retains the juxtaposition of the large photo reprint against a series of film stills, the overall full bleed and lack of body copy definitely breaks the book's pattern and surprises the reader.