Jane Austen Skateboard AKA The Darcy Deck
While looking for ideas as to what to make for the Jane Austen crafting exchange for the bicentenary of Pride and Prejudice I had with Miss Jessica my eye wandered to this skateboard deck I had had for many years. You might at this time be asking why I had a random skateboard deck just in my office, well, I'll tell you how that came about. A handful of years earlier when I had just started as the secretary of Madison College's Art Club the board thought it would be fun to have a screen printing workshop run by an acquaintance of the club's president. One of his specialties was doing skateboard decks and he offered to sell anyone who wanted one a deck at cost. I couldn't come up with a reason not to get a deck because there were so many interesting designs I saw people doing and I thought it would be fun. It became a fixture in my office that often fell on my foot, usually when I wasn't wearing shoes and as time moved on, more and more of an annoyance that was just taking up space. But then when the crafting exchange came about I knew that the time had comes to use this deck.
One of the first things I remember about Miss Jessica when I met her was that she was a skater. There was a time when I visited her in New York and she was getting back into it and I actually went shopping with her for a new helmet at this way trendy store in Times Square. Why it took this crafting exchange for me to connect my blank deck with a present for her is beyond me. Originally I had this idea of just having her favorite Austen quote done up in fancy hand-lettering that a friend and fellow Madison College student was doing for me but in the end, what with the squareness of the workable area, I decided to go for a more graphic old time advertisement approach similar to a design I had submitted to Madison's Frosty Dog Jog a few years earlier. I already had many of the icons I ended up using from doing The Jane Austen Centre brochure redesign for a class assignment. What I added was not just a story of Jane's life, but many of the recurring jokes that Miss Jessica and I over the years shared about Jane Austen and the various adaptations her work had spawned. This finished design has such jokes as Mr. Hurst's nickname being Fatty Fat Buckle. Seriously, just watch how he "sits" on a couch in the 1995 miniseries and you'll understand why. As for the "Dancing" and "British" you must shout the former when they say it on screen and the latter when a particularly British male dancer appears! The key is usually their teeth.
Originally I was going to do this all by wood burning, and even bought a nifty wood burning kit. The thing is I had never actually done any wood burning up to this point and I was on a tight deadline as I was seeing Miss Jessica in a few weeks and I really didn't have time to master it. Because, to say that my first attempt was dreadful is an understatement. I quickly saw there would be no way to maintain the thin lines and the delicacy of the type. What was interesting though is that the process for transferring the design onto the wood actually looked really good. You print an inversion of your design and then get it photocopied. The key is that it has to be a photocopy because it needs the static and the heat set on the paper which you will then transfer onto the board using the wood burning kit you have not bought in vain. And this looked really cool. Of course because of the wood burning snafu I had had to sand some sections and this distressing that resulted looked even cooler. Therefore I decided to just go with it, distressing some sections, emphasizing others. And yes, I did add gesso. Because, if you haven't guessed by now gesso is one of my most favorite things in the world and can literally be used for and on anything. After the gesso had dried I then sealed the deck and now it hangs proudly on Miss Jessica's wall, showcasing her love of Austen and her love of skateboarding. Two things that you'd think would cancel each other out but just make her that much cooler.
The Alchemy of Masques and Mirrors by Curtis Craddock
Wonder Woman: Warbringer by Leigh Bardugo
The Dazzling Heights by Katherine McGee
Glass Houses by Louise Penny
Further Associates of Sherlock Holmes edited by George Mann
Victoria and Abdul by Shrabni Basu
What's interesting about certain projects is what do you do when you're asked to take them further. I remember in undergrad I hated going back and having to re-conceptualize The Cherry Orchard yet again, this time for film instead of stage. Yet I think that was just my underlying hated of that Chekhov play. In fact I think it might be a hatred of Chekhov overall, stupid Three Sisters. But taking something I loved working on to the next level? Well, that's a fun challenge. Here I had to take my paper brochure and repurpose the content as an interactive pdf. Like a "brochure" you could download and watch from the Jane Austen Centre's website. Yes, I had to embrace the digital age while thinking of Austen! I was also required to add new photographic imagery that would be sourced from Getty Images, one that would be rights managed and one that would be royalty free so that I'd learn how to purchase and use the different kinds of stock imagery. But the one thing I was certain of when taking my brochure to the next level was that I still wanted to maintain that special feeling of reading a letter.
Therefore the opening shot was setting the scene of the Regency corespondent. Ink bottles, wax seals, letters, quills, and don't tell anyone that book on the left is actually Cranford. It's our secret OK? This tableaux I created from what I had lying about my office, and yes I'm so OCD that the wax seal is the letter 'A.' While you're not getting the animation here with my static imagery I can easily walk you through it, because the animation is almost secondary to the design and information, just a little something something for fun. If you compare this photo to the one above you'll notice there's now a letter unopened on the desk! It actually flies in from the upper right and lands on the desk and you click on it to turn it over and open it.
And at the click of a button the letter opens and if you're not one of those people who constantly leave their speakers off you will be surrounded by the theme music by Carl Davis to the 1995 miniseries adaptation of Pride and Prejudice. This was to get you in the Regency mood. Because seriously, what fan of Austen can hear that music and NOT get excited? In fact even though my DVD set has the option to watch all the episodes strung together as one I still prefer to watch them as they were originally broadcast and then distributed on VHS with the theme music playing every hour! 
Once past the desk space the design becomes more utilitarian. There's a hyperlink on the lower left to the centre's website and in the lower right a 'previous' and a 'next' button. I still maintain the language of correspondence with the cordial invitation, but again, this is a far more straightforward design. The large section in the center is actually the centre's welcome video which I embedded in the design but which can also be viewed on their website for the curious. 
The next few pages are just the information from the previous paper brochure in a new format with added imagery. What I had the most fun with though was the little hidden gems. When you role over the icon of Jane she gets a little speech bubble quoting the opening line of Pride and Prejudice, and yes, it was spoken too! The teacup had the sound of tea being poured. On the following pages the reticule icon had coins jingling and the teapot whistled as it came to a boil, and yes, I know it's a decorative kettle, but it was fun. As for the umbrella icon? That open and closed with the sound of rain. Yes, I fully admit to being a design dork. But I embrace it heartily. 
Again this design all came down to the map. Here I could do so much more now that it was interactive! In fact I started to call this my interactive masterpiece because I took Jane Austen sightseeing in Bath to a whole new level! Not only can you click on a dot and bring up facts you can click them all on or off as well as turning the highways on and off to highlight just one route. The details, the facts, the facets, everything about Jane's life and her novels as they are in Bath. The only thing that makes me sad is that between going from CS5.5 to CS6 Adobe really did away with all their interactive content, and they're even now phasing out Flash, which is good in the long run, but that means I can't really view this project anymore as the technology has changed. Therefore it's more a project in memory. Which kind of brings me around to the fact that while this was the culmination of this brochure project it's the first iteration that will have longevity. Technology changes, but paper and ink? Well, they stand the test of time as Austen herself would attest. 
I am a brochure hoarder. Anywhere I go I grab one. The problem is what to do with them later? What's their purpose? They just take up space and yet you don't want to part with them. Unless they have a place in a photo album or have a secondary function they are a waste of space and right now I'm all about downsizing. Therefore a brochure redesign is like a dream project for me. Because I can take it to the next level, making it functional and collectible. Though this assignment for school had two requirements, I had to use all the existing text in a current brochure while also using an interesting and unique fold. So I worked backwards. Whose brochure would I love to redesign and the answer quickly came to me, obviously The Jane Austen Centre in Bath. The next question was, what kind of fold? Well, for anyone like me who spends way too much time watching Jane Austen adaptations they covet getting a letter like Austen's characters, getting to crack the seal and unfold the paper. Therefore the fold became obvious, I would use a typical Regency letter fold. 
What's unique about this fold is that it's based on one of Jane's own letters, which I scanned in and used as a background, drastically toned down to not interfere with the legibility of any information I needed to convey. While any brochure is functional to an extent I love that this made it a keepsake, like getting a letter from Austen herself. As for that red seal? No, it's not wax, but a faux wax seal sticker which can be purchased in bulk and used to add
an air of authenticity. Ironically the seal in the picture is from another fandom I'm a part of. Yes, it's a seal for Hogwarts. Originally I wanted to take the wax seal further and create one in the centre's colors, but then I found out that during Jane Austen's time you could
use only red or black wax, so it stayed red. Yes, I'm a stickler for certain things, also, the more you know, right?
The information in the brochure could basically be broken down into five
categories: Jane Austen, Touring the Jane Austen Centre, the Gift Shop, the Tea Room, and Jane Austen's Bath. Using the centre's own logo as a starting point, I created
four more icons to go with the subsections, a teacup, a reticule, a teapot, and an umbrella. These categories then easily divided the
content into the sections that could correspond to the various
panels the folds created. When you first open the brochure you get this nice
little text area with all the information you could need with the headings set in a font based on Austen's own handwriting. In the smaller sections at the top I placed the valuable information of location, hours, and admission. But for me it was all about the interior of the brochure where I placed the map, where form and function combined in happy symmetry. 
The entire interior was turned over
to a map I drew in Photoshop with my Wacom. Yes. I drew a map of Bath with all the locations important to Jane Austen's life clearly marked. Why would I draw a map other than being totally OCD and always having a need to take a project to the next level? Because, to me, I find maps the most useful thing a brochure can give you. Therefore I figured I HAD to have a map. And while I haven't been to Bath I feel like I know it now. I drew out all the streets, and looked up all the names, I was not just an armchair traveler but an armchair detective, following Jane's life through the city she loathed. I hope one day to go to Bath, and before you ask, yes, I'm taking my own map. Though I also kind of want to see what would happen if I was left without a map. After this project could I find my way without any help? I have a feeling I could... 
The New Voices of Fantasy edited by Peter S. Beagle and Jacob Weisman
Y is for Yesterday by Sue Grafton
Long before Miss Jessica and I created our Jane Austen crafting exchange for the bicentenary of Pride and Prejudice I had made another Jane themed present for her. I had ordered two of the 
At least that's the joy I anticipated when The Jane Austen Centre released their first two kits. Jane and I would be connected through this task! The other kit was a portrait of Jane, and personally, it wasn't the best design. But this design? It's taken from a sampler Jane herself worked probably when she was about twelve years old but adapted here to fit an oval composition. I'd never worked a kit bought from England before, so I didn't know if this is common or not, but they use a different amount of embroidery thread. Usually when cross-stitching, at least stateside, you double the strand so that it doesn't disappear against the ground of the fabric. The kit said to use only one strand. I did try this, but just as I knew would be the case, the thread just disappeared against the background. Luckily I had ordered two kits, so I had double the thread. Which means if I ever get around to making one for myself I seriously need to do some DMC color matching or order myself two more kits, which seems a bit of a waste of money. 
But I seriously love how it turned out. I love that center of flowers and while not a religious person, knowing that Jane is the daughter of a rector growing up in parsonage the religious overtones are to be expected for various reasons. What I really love though is the use of very light yellow and cream threads that give the piece depth while at the same time not making the composition feel crowded. I had it simply but very elegantly framed by my friend Chuck at 
Lost in Austen
Hail to the Chin by Bruce Campbell
Return to Your Skin by Luz Gabás
Sleeping in the Ground by Peter Robinson
I Know a Secret by Tess Gerritsen
Donna by V.C. Andrews
Wicked Like a Wildfire by Lana Popovic
Call of Fire by Beth Cato
The Stone Sky by M.K. Jemisin
