I took these two pictures quite accidentally on a late Saturday night. It was the product of phone lights and partially filled water bottles. Out of pure curiosity, I tried projecting my phone’s light onto the water bottles, and the effect left me astounded by one question: “Why hadn’t I done this earlier?” This illusion got me thinking, and after a while, I found a way to describe it. The dimmest lights are in fact most perceptible in the darkness. Knowing this, I could deduce that everything – and I mean everything – can shine if given the chance. This conclusion is, of course, to be generalised to people as well. Everyone deserves to be given a chance to prove what they are able to do. This coincidentally enabled me to work with the concept of connotation and denotation (semiotics).
This was my first ever experience with magazine-making. I started by picking a picture I had taken in Montreal sometime in the summer. Everything else (colors, fonts) was chosen in accordance with the photograph on the cover. I got inspired by pictures I found on Pinterest and in Google searches, and tried to keep my work within what I perceived as being the norm: the masthead standing out, the eye-catching and mentally appealing smaller titles for the minor articles, matching colors… I learned how to integrate pictures and to modify their sizes, as well as to integrate shapes in the favour of aesthetics (the rectangles on the cover page).
I’m happy with how the cover page turned out, although I wish I could say the same about the double spread. What I would have changed but lacked the time to do were: the body copy (making the background transparent but still visible, changing the font to match the theme), the integration of the elements in a better manner (choosing a more appropriate background, cropping out and photoshopping the letters that spell out “Montreal”).
Overall, this experience has shed light on the basic functioning of InDesign, and I’ve learned from it.
The cover page