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Tag: chip kidd

Book Covers of Note, May 2021

Here’s this month’s look at the book covers that have caught my attention recently. Lots of fiery orange for some reason. Perhaps it is a thing?

An American Tragedy by Theodore Dreiser; design by Mark Abrams (Vintage / May 2021)

Ariadne by Jennifer Saint; design by Joanne O’Neill (Flatiron Books / May 2021)

The don’t look that similar side by side, by I was reminded of Will Staehle‘s 2018 cover for Circe by Madeline Miller, and the UK cover of the more recent Sistersong by Lucy Holland, designed by Melissa Four (I’m fairly sure I’ve seen an orange/red version of the Sistersong cover. Perhaps it was an ARC?).

The Art of Wearing a Trench Coat by Sergi Pàmies; design by Arsh Raziuddin and Oliver Munday (Other Press / March 2021)

The Atmospherians by Alex McElroy; design by Laywan Kwan (Atria / May 2021)

Dead Souls by Sam Riviere; design by Jamie Keenan; paper engineering and photography by Gina Rudd (Weidenfeld & Nicholson / May 2021)

I thought David Drummond had maybe done a cover similar to this, but I couldn’t find one. David does like neutral backgrounds and cutting type though!

Double Trio by Nathaniel Mackey; design by Rodrigo Corral and Boyang Xia (New Directions / April 2021)

This is a 3 volume box set and all of the covers are spectacular…

Fault Lines by Emily Itami; design by Holly Ovenden (Orion Books / May 2021)

The cover of the US edition of Fault Lines, available this fall, was designed by Mumtaz Mustafa using a photograph by Tsuguaki Abe.

Featherweight by Mick Kitson; design by Helen Crawford-White (Canongate / May 2021)

Living in Data by Jer Thorp; design by Rodrigo Corral; art by Andrew Kuo (MCD / May 2021)

When I first saw this cover I immediately thought there was some kind of link to Josef Albers ‘Homage a Square’ series, but nobody else seems to have mentioned it, so perhaps it is coincidental? Is that possible? I should probably pick up the book!

The Mission House by Carys Davies; design by Lauren Peters-Collaer (Scribner / February 2021)

Mona by Pola Oloixarac; design by Thomas Colligan (Farrar, Straus and Giroux / March 2021)

Monsters by Alison Croggon; design by Daniel New (Scribe / March 2021)

Nectarine by Chad Campbell; design by David Drummond (Signal Editions / May 2021)

The Plot by Jean Hanff Korelitz; design by Anne Twomey (Celadon Books / May 2021)

A Tall History of Sugar by Curdella Forbes; design by Gill Heeley (Canongate / February 2021)

Gill Heeley also designed the cover of the UK hardback edition of the book published last year…

Things We Lost to the Water by Eric Nguyen; design by Chip Kidd (Knopf / May 2021)

It’s been a while since I’ve posted a Chip Kidd cover on the blog. This guy has promise!

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Chip Kidd: Why Books Are Here to Stay

Here’s designer Chip Kidd talking about the enduring appeal of books for TED’s Small Thing Big Idea series:

I posted Chip’s 2012 TED Talk on book design here. But apparently he also did a talk on “the art of first impressions” in 2015 that I missed somehow:

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Masters of Letters

albertus-opara

Sartorial site Mr Porter asks five designers — Mat Maitland, Eddie Opara, Sagi Haviv, Edwin Van Gelder, and Chip Kidd — about their favourite typeface. Here’s Eddie Opara of Pentagram on Berthold Wolpe’s Albertus, the typeface used for the street signs of the City of London:

I didn’t know what the font was until I got to design school. And I was so fascinated by it because of the way it’s cut. It’s based on metal engraving techniques, the effect being that it has is these acute angles, almost 45 degree angles in each letter. It’s also insanely hard to use. I’ve tried to use it and I’ve not been able to. Why is it my favourite font, then? I think that your favourite is always what you can’t have.

(via Theo Inglis)

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Memento Mori

Book of Skulls cover

The threat of death… A warning… A memento mori…

A comprehensive visual history of the human skull is surely an entire Steven Heller book in the making (I guess we’ll just have to make do with a Wikipedia page for now). But as Faye Dowling’s contemporary compendium The Book of Skulls1 makes plain, what was once taboo — terrifying even — has become a pop culture phenomenon. Images of skulls now appear in art, design, fashion, and illustration. Apparently we like to be reminded we are all going to die. Even book covers are not immune. Here are a few recent examples that caught my eye:


Actors Anonymous by James Franco; design by Lynn Buckley (New Harvest October 2013)

darkmans
Darkmans by Nicola Barker; design by Leo Nickolls (Fourth Estate March 2008)

dark-stranger

A Dark Stranger by Julien Gracq; design by David Pearson (Pushkin Press December 2013)

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Everyone Loves a Good Train Wreck by Eric G. Wilson; design by  Rodrigo Corrall, hand-lettering by Jennifer Carrow, photograph by Simon Lee (FSG March 2012)

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Fiend by Peter Stenson; design by Christopher Brand (Crown July 2013)

Hamlet Doctrine
The Hamlet Doctrine by Simon Critchley & Jamieson Webster; design by David A. Gee (Verso September 2013)

How_the_Dead_Live
How the Dead Live by Derek Raymond; design by Christopher King (Melville House October 2011)

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La Isla del Tesoro (Treasure Island) by Robert Louis Stevenson; design by Raúl Arias (Bolchiro February 2013)

interns-handbook
The Intern’s Handbook by Shane Kuhn; design by Roberto de Vicq de Cumptich (Simon & Schuster April 2014)

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The Invention of Murder by Judith Flanders; design by Ervin Serrano (Thomas Dunne July 2013)

junky
Junky by William Burroughs; artwork by Martha Rich (Penguin April 2012)

mr-peanut
Mr. Peanut by Adam Ross; design by Peter Mendelsund (Knopf June 2010)

piratas-de-lo-publico
Piratas de lo público by Antón Losada; design by Javier Jaén (Deusto November 2013)

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A Questionable Shape by Bennett Sims; design by Holly MacDonald (Oneworld June 2014)

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The Return by Michael Gruber; design by Chris Sergio (Henry Holt & Co. September 2013)


Royauté by Alexie Morin design by Catherine D’Amours (Le Quartanier October 2013)

scarborough
The Scarborough by Michael Lista; design by David Drummond (Véhicule Press September 2014)

SETE
Sete by Albero Riva; design by Manuele Scalia (Mondadori May 2011)

Shovel-Ready
Shovel Ready by Adam Sternbergh; design by Will Staehle (Random House February 2014)


The Sisters Brothers by Patrick Dewitt, design by Dan Stiles (Ecco May 2011)

slaughterhouse
Slaughterhouse Five by Kurt Vonnegut; design by Lynn Buckley; illustrations and hand-lettering by Kurt Vonnegut (Dial Press 2009)

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Tequila Sunset by Sam Hawken; design by Tony Lyons at Estuary English (Serpent’s Tail December 2013)

Trainspotting
Trainspotting by Irvine Welsh; design by Sarah-Jane Smith (Vintage March 2013)

viva-la-muerte

¡Viva La Muerte! by Rafael Núñez and Elena Núñez González ; design by Manuel Estrada (Marcial Pons Historia March 2014).

Engulfed-in-Flames-chip-kidd
When You Are Engulfed in Flames by David Sedaris; design by Chip Kidd (Little Brown & Co. July 2008)

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Design Matters with Chip Kidd

Kicking off a new season Design Matters, designer and art director Chip Kidd in conversation with Debbie Millman:

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Chip Kidd: Obsessed with Batman


In this interview from the AGI Open in London earlier this year, Chip Kidd talks about his work designing books covers, his involvement with comics and, of course, his obsession with Batman:


You can read recent interviews with Chip discussing his new book Go: A Kidd’s Guide to Graphic Design at Publishers Weekly and The New York Times.

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Chip Kidd: What the Stories Look Like


Penn State alumnus Chip Kidd discusses his career at length in a recent interview conducted at the university by host Patty Satalia:

Kidd’s novel The Cheese Monkeys is  loosely based on his time at Penn State.

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Inside Random House: “The Art of Cover Design”


Part a series of videos about the workings of Random House, The Art of Cover Design features interviews with an impressive roster of designers: Marysarah Quinn, Robbin Schiff, Chip Kidd, Peter Mendelsund and Christopher Brand…

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Monday Miscellany

“The Bat-Man” by Chip Kidd and Tony Millionaire from Bizarro Comics #1. I can’t quite believe I haven’t seen this before… (via Martin Klasch)

Could Have Been Something — José da Silva interviews Billy Childish for The White Review:

Critics want you to get in your box and shut up. That’s why they don’t like it that I’m a writer, musician and painter. That’s totally unacceptable to their small minds… I’m looking for freedom from being categorised or identified with aspects of myself. But at the same time I use this very strong biographical information to negotiate a world – a world which I find quite mental, by the way. So I still refuse to identify myself as Billy Childish the artist,  painter, writer or musician, because in my estimation only an idiot would want to be something.

Accommodating the Mess — Tim Martin on B S Johnson,  ‘Britain’s one-man literary avant-garde’, for The Telegraph:

In principle, at least, Johnson’s declared mission echoed the great Modernist cry to make it new. Politically socialist and from a working-class London background, he cultivated pithy distrust for the complacency of his novelist peers, “neo-Dickensian” writers, as he called them, who were using a 19th-century form to gratify the “primitive, vulgar and idle curiosity of the reader to know ‘what happens next’”. A truly modern novel would seek, in Beckett’s phrase, a form to accommodate the mess, stripping readers of their escapist illusions while remaining ruthlessly true to the writer’s experience.

This obsession with so-called narrative truth runs through Johnson’s work, accounting for its most unorthodox experiments as well as its greatest flaws.

See also: Juliet Jacques review of Well Done God! Selected Prose and Drama of B S Johnson for The New Statesman.

And finally…

The mild-mannered Richard Hell in the New York Times:

After running away to New York in 1967, at the age of 17, with dreams of becoming a writer, Mr. Hell collected some good editions of favorite books. Then, in the 1970s, when he became a drug addict, he traded them for cash.

“Those were pretty much my only liquid resource,” he said. “So I sold them all over the years.”

Since getting his health and career back on track in the ’80s, he has replaced most of the ones that got away. Given the number of books now neatly stacked into the East Village apartment where he has lived for the last 38 years, he has more than made up for lost time.

Hell’s memoir, I Dreamed I Was a Very Clean Tramp, is out this week. The cover was designed by Steven Attardo.

 

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Chip Kidd on the Future of Book Covers

Billy Batson Chip Kidd, associate art director at publisher Alfred A. Knopf (as if you didn’t know), talks to NPR’s Weekend Edition about the future of book cover design:

NPR WEEKEND EDITION: In the E-Book World, Are Book Covers a Dying Art?

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Chip Kidd: Designing books is no laughing matter. OK, it is.

Chip Kidd’s talk / stand-up routine on book design at TED 2012:

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Midweek Miscellany

Publisher, film distributor and rebel Barney Rosset has died aged 89. The Associated Press obituary is here:

As publisher of Grove Press, Rosset was a First Amendment crusader who helped overthrow 20th century censorship laws in the United States and profoundly expanded the American reading experience. Rosset had an FBI file that lasted for decades and he would seek out fellow rebels for much of his life.

Between Grove and the magazine Evergreen Review, which lasted from 1957 to 1973, Rosset published Samuel Beckett, Malcolm X, Che Guevara, Jean-Paul Sartre, Allen Ginsberg, Henry Miller, D.H. Lawrence and William Burroughs. He was equally daring as a film distributor, his credits including the groundbreaking erotic film “I Am Curious (Yellow),” and art-house releases by Jean-Luc Godard, Marguerite Duras and others.

Music and American History — Simon Reymolds profiles author and music critic Greil Marcus for The Guardian:

For Marcus, listening rapt at the cusp of the 60s and 70s, rock was growing up in the richest and most unexpected way. What’s more, his two great passions, music and American history, had converged. “Their music sounded like a new way to understand who you were, the fact that you weren’t just a product of your own willfulness but also a product of the past,” he says of the Band, the subject of Mystery Train‘s most compelling section (although the chapters on Sly Stone and Elvis Presley aren’t far behind). “There was this sense that they were opening a door to your own country and your own history.”

A Bunch of People in a Room — An interview with Chip Kidd at Smashing Magazine:

I very much try to downplay the jacket as a sales tool, because I think that publishers invest too much intellectually in this concept, and they can actually make my work much, much harder than it needs to be. And certainly with the advent of buying books on the Web, you’re not going to buy a book from Amazon because of the way it looks. It’s just not the nature of how that works. The problem arises when you get a bunch of people in a room looking at a jacket and determining the fate of the design based on preconceptions of how the book will sell, about how this design will help the book to sell.

And finally…

Flawed Monster Heroes — Legendary comic book artist Neal Adams on Marvel superhero Spider-Man:

A weakling kid is bitten by a radioactive spider and decides to become…a circus performer? Yes, that’s right, Peter Parker is more interested in using his “gift” to find a paycheck, not a damsel in distress. Until, with all his power, his weaknesses cause him to fail to save his Uncle Ben. Soft monsters as superheroes. Not sparkly-toothed-born heroes…but flawed monster heroes. Then came the incredible Steve Ditko… Marvel had found a… creator who got it, who totally understood the concept: Flawed monster heroes. It was a new idea, born out of a touch of coincidence, a touch of history, a massive amount of brilliance

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