Issue link: https://digital.copcomm.com/i/1480624
covers from around 1880-1920. I picked out a few and sent photos to Stefan as inspiration for the cover. Zemeckis wanted it to be a "young student" book, so I designed it for maximum readability and beauty, putting in simple tools and the beautiful trees that were the source of the wood. A title page was also done so Geppetto could open the book as he begins reading to Pinocchio. Pleasure Island Later in the film, Pinocchio is picked up by the coachman and his posse of young thugs and taken to the epitome of a degenerate amusement park—Pleasure Island. I first worked with Stefan on ideas, then transitioned to working with Doug Chiang when he became available. The signage for the rides I would need to design were the huge fireworks stand, where there was no limit to the explosives that could be detonated; "Clock Stoppers," where children could smash elaborate wooden clocks similar to the ones Geppetto makes; "Sugar Mountain," where visitors could get super- wired—eating sweets to their hearts' content; "Shop N Lift," where visitors could steal anything they see without consequences; "Vanity at the Fair," where a hall of mirrors makes patrons look especially beautiful; and "Camera Obscura," the ultimate selfie station. First, the production had to decide how the light in the amusement park would be sourced. The bright lights in the Illustrator's concept drawings seemed to indicate that the rides were lit by neon. But that seemed too modern, so we decided to just use A. THE FINAL COVER DESIGN FOR GEPPETTO'S CHILDHOOD WOOD WORKING BOOK. B. THE TITLE PAGE FOR GEPPETTO'S CHILDHOOD WOOD WORKING BOOK. A B C D E F