Illustration
Identity
Little Attic: a content-driven book publisher identity
illustrated edition of John Cheever’s The Swimmer
skills: identity design · illustration · editorial design · narrative analysis · system building · bookbinding
Little Attic, an independent publishing identity built around short‑form literature, experimental formats and a content‑driven visual system.The project draws inspiration from early 20th‑century American little magazines, embracing small but impactful publishing, handcrafted approaches, and artistic vision rather than commercial priorities.
From the beginning, The Swimmer by John Cheever served as the backbone of the identity. The story’s shifting time, emotion, and environment shaped decisions in pacing, illustration, color transitions, and typographic structure.
Developing the Visual Language:
This was my first illustration project, and the process became a deep exploration of how narrative can drive visual form. I alternated between building Little Attic’s identity (logo, concept, typography system) and developing the book itself.
Two to three months of research, literary analysis, and experimentation were dedicated to establishing the visual language:
- identifying narrative patterns,
- mapping emotional and environmental shifts,
- testing pacing and page division,
- and refining a system that could be used to design the illustrations.
Once the system was solidified, the illustration phase accelerated dramatically. After completing the first seven illustrations, the remaining fifty‑seven were created in one continuous flow — a sign that the conceptual foundation was strong enough to support rapid, coherent execution. Only minor refinements were needed afterward.
The illustration system is highly symbolic: every spread carries meaning tied directly to Cheever’s narrative. Each time Neddy dives, the illustration changes slightly to signal his aging — one of many subtle cues woven throughout the book.
A Self‑Taught Illustration Process:
Because this was my first time illustrating, the project became a personal challenge and a proof of adaptability. I taught myself the illustration techniques, narrative visualization methods, and pacing strategies needed to translate a 12‑page short story into a 64‑illustration book.
The fact that The Swimmer expanded so naturally into a large visual system demonstrates how rich short‑form literature can be — and how much potential it has when treated as a design object rather than a neutral carrier of text.
Craft, Production, and Bookbinding:
The final book was hand‑bound, reinforcing the tactile, intimate nature of Little Attic. It reflects the project’s goals: small, crafted, personal, and rooted in the joy of rediscovering stories.
A Personal Connection to Short Stories:
I came from Little Attic’s third target group: people who don’t read much (yet). Short‑form literature sparked curiosity in me because it felt accessible, complete, and emotionally rewarding. That curiosity became the driving force behind the project.
Visualizing The Swimmer was not just a design exercise — it was a way of understanding literature differently. Turning a short story into a full visual system made me realize how much depth can exist in small formats, and why they deserve a dedicated publishing identity.
slides 2-6
research and concept
slides 7-12
logo development, brand identity system/assets
slides 13-16
The Swimmer summarized and analysis
slides 17-27
visual language, all illustrations
slides 28-30
typography of the book
slides 31-45
applications