Church of Type is the new letterpress studio in Santa Monica, California, of veteran designer and printmaker Kevin Bradley. In this lovely short film, Bradley talks about relocating to Los Angeles, typography, the printing press, and making things by hand:
The Book Design Awards are Australia’s longest running graphic design awards, but in 2013 the Australian Publishing Association decided to discontinue them. To keep the awards running for a 62nd consecutive year, a group of Australian designers formed the ABDA as an independent, non-profit entity in March 2014.
The brilliant Jason Booher, whose cover for A History of Histories featured in my previous post, kindly just sent me his original design for the book. I think this could be the meta-cover to end all meta-covers. Sadly, the editor decided it might be a little too much of a good thing.
It started, innocently enough, with a tweet from my friend Steven Beattie, book review editor of Canada’s Quill & Quire magazine, about the cover of The Most Dangerous Book, Kevin Birmingham’s new ‘biography’ of Ulysses by James Joyce, designed by Ben Wiseman (Penguin June 2014).
What follows is an attempt to showcase some of different ways designers incorporate books into their cover designs. Along side covers from the past five years, I’ve included some earlier examples from Joe’s post, and this post about ‘meta-covers’ from HTML Giant. Many of the images of the older titles are small (and some are just not very good), but where I have been able to source a larger image, I’ve included it at full (or close to full) size. I’m indebted to the Book Cover Archive, which is still an invaluable resources after all this time, Ferran Lopez‘s (also mothballed) Jacket Museum, and all the designers and book folk who sent me cover images, and helped me in numerous other ways. Thank you. This isn’t comprehensive survey but, to be honest, I had to stop somewhere…
Front and Center
A Concise Chinese-English Dictionary for Lovers by Xiaolu Guo; design by Gabriele Wilson (Vintage, June 2008)
A History of Histories by John Burrow; design by Jason Booher (Knopf, April 2008)
The Middle Stories by Sheila Heti; design by Bill Douglas (House of Anansi, October 2002)
Off the Page edited by Carole Burns; design by Darren Haggar (W. W. Norton, December 2007)
The Paris Review Book of People with Problems; design by Henry Sene Yee (Picador, July 2005)
If you follow me at all on Twitter, you’ll know that I’m working on a post about meta-covers, or book covers with books on them. It’s proving to be a much more difficult task than I first imagined, and it’s taking a very long time to pull it all together. It is, finally, almost done, and I hope it will be on the blog in the next couple of weeks. In the meantime, however, I came across these remarkable book posters by German designer Gunter Rambow for S. Fischer Verlag from the 1970s while compiling images for the post, and I thought I would share them now while you wait.
There is also a book, Gunter Rambow: Plakate / Posters, that collects Rambow’s posters from 1962 to 2007 when the Museum fur Angewandte Kunst Frankfurt mounted a major exhibition to his work.
Next month, the fine folks at Gestalten are publishing Hello, I Am Erik, a ‘visual biography’ of typographer and designer Erik Spiekermann. In this new interview with GestaltenTV, Spiekermann talks about his 30 year career, and how working with blocks of movable type is different from designing on a screen:
In this new short film for The Creative Influence documentary series, designer Michael Bierut talks about his mentor Massimo Vignelli, what makes an enduring logo, and how the internet has changed the way we work:
Blake comes straight out of this 18th-century tradition of rococo mischief, the arabesque ride through the storyline. I ask him if he ever thought of painting full-time? He tells me that he didn’t think he could make a living as a painter and then, more importantly, that his instinct was always for the marriage of words and image, the connections that propel a tale forwards. Though everyone who loves his work will have their own laugh-out-loud moments… Blake doesn’t think of himself as a humorist.
“The humour is a by-product [of the story]. You draw the scene, what people are doing, their reaction to it, and if it’s funny, it comes out. There are certain books where you play it for laughs but it’s always more interesting in a dramatic situation.”
‘Inside Story’, an exhibition of Blake’s work, opens at the House of Illustration in London July 2, 2014.
I didn’t see this weekend’s Guardian, but I assume Tom‘s cartoon is in reference to Olivia Laing’s article about 20th century female writers who drank, a follow-up to her excellent book The Trip to Echo Spring, which examines the link between creativity and alcohol through the lives F. Scott Fitzgerald, Ernest Hemingway, Tennessee Williams, John Berryman, John Cheever, and Raymond Carver:
Female writers haven’t been immune to the lure of the bottle, nor to getting into the kinds of trouble – the fights and arrests, the humiliating escapades, the slow poisoning of friendships and familial relations – that have dogged their male colleagues. Jean Rhys was briefly in Holloway prison for assault; Elizabeth Bishop more than once drank eau de cologne, having exhausted the possibilities of the liquor cabinet. But are their reasons for drinking different? And how about society’s responses, particularly in the lubricated, tipsy 20th century; the golden age, if one can call it that, of alcohol and the writer?