Books, Design and Culture
Going Solo is a neat (not entirely safe for work) stop frame animation by South African design boutique Studio Botes sharing advice from a range of international designers on starting your own business:
(via Quipsologies)
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Picador have just posted all their Spring 2011 covers to Facebook. There’s some lovely work. Here are a few favourites:
The Fever: Cover design by LeeAnn Falciani
Watching the World Change: Cover design by Henry Sene Yee • Cover photograph by Patrick Witty
Winterland: Cover design by Keith Hayes • Cover photograph by eyespy/GettyImages
(Thanks Henry).
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The nice folks at W.W. Norton were kind enough to give me a heads up about this beautiful new cover design by Jason Booher for The Art of Immersion by Frank Rose. Stunning stuff.
Be sure to check out W. W. Norton’s Book Design Archive on Flickr if you haven’t already.
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Charlotte Strick, art director at Faber & Faber, Farrar, Straus and Giroux and The Paris Review, writes about the book design process for The Atlantic:
Even though I frequently have designs for titles from the previous season still on my plate, and just when I think I can’t possibly come up with another original idea for a cover, the creative sparks begin to fly. At the launch meetings, editors take turns presenting recent acquisitions… As the books are introduced, each of us begins to wonder: Will I solve the problem with illustration or photography? If the title is brilliant and descriptive, maybe an all-type treatment that’s bold and clever is the best solution. (These are always my favorites.) Is there even any budget for art after the copy-editing fees, production costs, and author’s advances have been tallied? No? Never mind! We’ll get out our paintbrushes and dust off our cameras and get to work.
She is also interviewed by The Atlantic’s Daniel Fromson:
Everyone has an opinion on whether or not the book publishing world as we know it is doomed. Just as the design of websites was becoming more interesting and thoughtful by the late ’90s, it’s clear that the look and feel of e-books will transform over the next decade. As a designer who makes her living creating covers for actual books, I hope to take part in this. I don’t want our work to be reproduced exclusively in black and white or viewed only at postage stamp size.
(Pictured above: sketches by Chris Silas Neal for the cover of Poser: My Life in Twenty-Three Yoga Poses, by Claire Dederer, published by FSG)
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The Book Bench interviews designer Kelly Blair about her work and her Heinrich Böll redesigns for Melville House:
There are so many amazing and striking book covers out there, yet I am most often drawn to the simplest thing on the shelf. Perhaps it’s because I am so immersed in book design day-to-day, but sometimes going into the bookstore can feel visually overwhelming, like the cereal aisle at the grocery store. To that end, David Knopka’s series design for the Melville House novellas still stands as one of my favorites. For the same reason, walking into the Persephone book shop in London feels like a breath of fresh air.
And on the subject of book covers, I’ve been loving designer Andrew Henderson‘s Lovely Book Covers Tumblr.
You can find The Casual Optimist Tumblr here.
Cabaret — Author Hanif Kureishi on the art of writing for The Independent:
There’s no connection between being able to write and being able to explain your work in a rain-swept tent to an audience staring at you like hungry animals contemplating a suspect steak. Listening and reading are different experiences. Reading, writing for a reader, and being read, are intimate acts, and there’s something about trying to articulate what you’ve done that can flatten and reduce it, horrifyingly so.
Some writers choose the written word because they find it difficult to speak directly; many writers are in love with solitude. Whichever it is, good writing should resist interpretation, summary and the need for applause.
The Information — Michael Dirda reviews Too Much To Know: Managing Scholarly Information Before the Modern Age by Ann M. Blair for The Washington Post:
Just how to present information for easy use was a constant vexation. In late antiquity, one might simply find a list of authorities cited. Gradually, though, compilers began to employ categorical headings or to arrange entries alphabetically or according to elaborate branching diagrams of knowledge. “One historian has counted nineteen different systematic orders present in early modern encyclopedic works, including the order of creation, of the Decalogue, of the biblical narrative,” and various “chronological and geographical orders,” as well as others that follow “the chain of being.”
While people during the Middle Ages and later drew much of their learning from dictionaries and digests, the more ambitious also took extensive notes from whatever classics came their way. By the Renaissance one could even purchase the equivalent of “Reading for Dummies”: Francesco Sacchini’s 1614 “De ratione libros cum profectu legendi libellus,” i.e.,”A Little Book on How to Read With Profit.”
The Science of Making Decisions — Sharon Begley on how too much information impairs our ability to make decisions:
The problem has been creeping up on us for a long time. In the 17th century Leibniz bemoaned the “horrible mass of books which keeps on growing,” and in 1729 Alexander Pope warned of “a deluge of authors cover[ing] the land,” as James Gleick describes in his new book, The Information. But the consequences were thought to be emotional and psychological, chiefly anxiety about being unable to absorb even a small fraction of what’s out there. Indeed, the Oxford English Dictionary added “information fatigue” in 2009. But as information finds more ways to reach us, more often, more insistently than ever before, another consequence is becoming alarmingly clear: trying to drink from a firehose of information has harmful cognitive effects. And nowhere are those effects clearer, and more worrying, than in our ability to make smart, creative, successful decisions.
And related… Jonah Lehrer, contributing editor at Wired and the author of How We Decide and Proust Was a Neuroscientist, on why easy decisions seem so hard:
Comments closedThe problem, of course, is that the modern marketplace is a conspiracy to confuse, to trick the mind into believing that our most banal choices are actually extremely significant. Companies spend a fortune trying to convince us that only their toothpaste will clean our teeth, or that only their detergent will remove the stains from our clothes, or that every other cereal tastes like cardboard. And then there is the surreal abundance of the store shelf… While all these products are designed to cater to particular consumer niches, they end up duping the brain into believing that picking a floss is a high-stakes game, since it’s so damn hard. And so we get mired in decision-making quicksand.
Richard Grefé, executive director of AIGA, has announced that the 50 Books/50 Covers competition will continue:
In seeking to balance AIGA’s celebration of design in all its dimensions, we recently merged the historic AIGA competition for books and covers… into the broader competition, “365: Design Effectiveness,” which includes interactive, cross-media and print design. Book designers, publishers and admirers reacted strongly to this news with a public petition to “Save 50/50,” gaining more than a thousand signatures in mere days.
We have listened to these passionate voices in the design community, and we have reinstated “50 Books/50 Covers” as a distinct competition. Our intention was not to reduce our support for book designers, but to present AIGA as representative of—and respectful toward—all design disciplines equally. We apologize to those who construed the original decision as a reduction in AIGA’s commitment to the importance of book and cover design; that was not the intention, although it was clearly the impression. We also apologize for tinkering with something that is held so dear by so many; and we were remiss in how we vetted and communicated this change.
Thank you Christopher Sergio and Catherine Casalino for organizing the petition to save 50/50, and thank you AIGA for listening. YAY.
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Books published in both the US and UK will often have different covers in each country. The UK and the US are, after all, two nations divided by a common language. Even so, I was still quite surprised by just how different the cover of UK paperback edition The Breaking of Eggs by Jim Powell (forthcoming from Orion, above right) was from the cover US edition of the same book (published by Penguin, above left).
It was Dan Mogford the designer of the UK paperback who pointed me in the direction of the original US cover, designed by Gregg Kulick. I had, it turned out, seen Gregg’s cover before — it had caught my eye in Paul Buckley’s book Penguin 75 — I just hadn’t realized it was the same book that Dan had just designed the cover for!
As Dan and Gregg’s treatments were so different, I thought it might be informative to ask them both about their designs. In the process, I came across Nathan Burton’s design for the UK hardcover edition of The Breaking of Eggs (published by Weidenfeld & Nicolson, above middle) — another, altogether different, interpretation of the same story. I thought it would be interesting to ask Nathan what he remembered from his design brief as well.
I’m grateful to all three designers for sharing their thoughts on their very different directions…
The Breaking of Eggs is the story of an old curmudgeon who learns to take down all of the walls he built around himself and really enjoy life. As a child, he flees Poland to escape the war and settles in France. As an adult he becomes a travel writer who focuses on the old communist block and is very much a communist himself. The rest of the world and its excesses annoy him and he shuts himself out. Slowly he breaks down the walls and visits his lost brother in America.
The title refers to a Joseph Stalin quote “You can’t make an omelet without breaking eggs” and could be used as a metaphor for his own life. Or he as a child, he could also have been one of the broken eggs. Regardless, it was his mind that needed to be broken in order to live a truly full life. Which, is why I chose that imagery. The giant exclamation point was a homage to Rodchenko, who was a huge influence on my design as a student and who often used them in his design.
The map in the background just represents some of the places he wrote about as a travel writer. This was more of a request from editorial to show “place” on the cover and I think it was a very nice suggestion.
The publisher had tried a photographic route previously to commissioning me which hadn’t worked so they wanted an alternative approach. Buzz words they came up with were: cafe, espresso, napkin, beer, handwritten notes, cigarette smoke, a guide book on a table, a train. It was a case of combining this with a nod toward an Eastern European aesthetic to come up with the final design.
1 CommentThe previous incarnations of the jacket – on both sides of the Atlantic – had all been fairly quirky and lighthearted and the publishers were keen to open this book up to a different audience. Orion were quite specific about the direction they wanted to go with this – the phrase ‘traditional, sophisticated literary fiction’ was mentioned a few times!
The focus for this version of the jacket was to be the protagonist’s early year’s in Lodz, Poland around 1939 when he was abandoned by his mother. The brief asked for ‘a lonely looking boy in an urban Polish setting ideally with a woman walking away from him’ – this highly specific request meant I was looking at a composite image from the start, it was really a case of finding the right elements within a variety of period photographs then assembling them to tell the story you see in the final composition.
Book designers Christopher Sergio and Catherine Casalino have created an website and online petition asking AIGA to reconsider its recent decision to end its annual design competition 50 Books / 50 Covers:
This year—after nine-decades—AIGA has decided to quietly discontinue the 50/50 competition.
Their decision was made without public announcement or explanation, and implemented without fanfare. The usual 50/50 deadline came and went, but the “Call For Entries” never went out. The presumption seemed to be that no one would notice its loss.
But people have noticed. And as it turns out, many of us care. In the few short days since the design community first realized what was going on, people have expressed the desire to preserve a competition dedicated solely to excellence in book design. There has been a common consensus that even in the digital age celebrating the physical book is important.
That is why we have created this website and online petition—to help spread the word even further, to give voice to a larger audience, and to perhaps see if enough momentum might be built to save the 50 Books / 50 Covers competition.
If you are a fan of design in any medium, or of reading in any format, we ask you to help us take a stand for the combination of both forms of expression.
50 Books/50 Covers is one of only a few design competitions dedicated to excellence in book design. It is important that it continues.
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The Creative Review has an early look at three of the covers for Penguin’s Great Food paperback series to be released in April.
Designed by the wonderful Coralie Bickford-Smith, each cover draws on a decorative ceramic style relevant to the period of the writing.
Meanwhile, in new article for Fast Company Coralie talks about the inspiration behind her book covers:
“I want these books to be cherished like the literature inside,” says Bickford-Smith of her obsessive attention to detail. “If something is well considered, it will entice. People want to explore it, feel it. That design shines through and connects.”
And, if you missed it, my Q & A with Coralie from 2009 is here.
2 CommentsThis week’s Q & A with The Heads of State is my last interview of 2010. There are more Q & A’s with book designers and other book folk planned for 2011, but in the meantime, here’s a round-up of this past year’s interviews:
Jason Kernevich (left) and Dustin Summers (right), known together as award-winning design shop The Heads of State, met in the design program at Tyler School of Art, Philadelphia. Shortly after graduating, the duo began producing screen-print posters for the local independent music scene. The simple, bold graphic style of their work quickly garnered international attention and acclaim, and their clients now include the likes of R.E.M., Wilco, The National, The New York Times and The Guardian, as well as publishers Penguin, HarperCollins, and Random House.
If that wasn’t enough, the duo recently released a new letterpress print inspired by F. Scott Fitzgerald’s novel The Great Gatsby . The 4-colour, limited edition print (on 140 lb. French Poptone Sweet Tooth paper) shows the business cards and personal stationery of the Jazz Age VIPs that attend Gatsby’s parties in the summer of 1922. Complete with lovely touches such vintage typography and the characters’ professions and street addresses, the print is a beautiful tribute to a 2oth Century classic.
Jason, Dustin and I corresponded by Twitter and email about the Gatsby print and their unique design collaboration.
How did this project come about?
We’d been kicking around the idea of doing something with the novel for a long time. Chapter Four breaks from the plot for a moment and the narrator begins reminiscing about the folks who came to the parties that summer. The names by themselves are just incredible. There is some detail given about the characters’ background but not much. We had to make a lot of it up. But there were hints at a profession or an address here and there and that led to the idea to do business cards.
What’s the enduring appeal of The Great Gatsby for you?
Like most people, we first came across this book in high school and hated it. Rediscovering it later in life has been a joy. The time period holds endless allure. It was between the wars. The reputation of the roaring twenties and its decadence and flamboyance allows the reader to imagine so much more than what’s on the page. And there’s plenty on the page! It’s all the more poignant because of the crash that followed.
Do you think the story has particular contemporary relevance?
The lead-up to the Great Depression holds a contemporary economic relevance for sure. But it’s also a hell of a break-up story in a way with it’s jealousy, conspiracy, and doomed aspirations. That is certainly a side of the novel not fully grasped in the 9th grade.
Your work often seems inspired by New Deal era WPA illustration and mid-century modern design. Are you also inspired by the Jazz Age?
We hadn’t really looked to it for much inspiration in the past, but through our research we found that a lot of the documents of that era were much more practical and less decorative than we anticipated, which connected more with our aesthetic.
How did you recreate the vintage type?
A lot of it came from books that we scanned as well as classic typefaces that predate the era or modern decorative faces that reference it. There was also some hand lettering done.
Did you research 1920’s typefaces? Were you trying to be totally accurate?
We weren’t trying to be 100% accurate. Capturing the spirit was the most important thing. We had a few historical references for inspiration. The credits and titles for the original King Kong conveyed a sense of glamour and of old New York that was appropriate for some cards despite the film being from 1933. We found a few business cards from the early twenties for doctors, furriers, jewelers, etc. They were surprisingly modest and utilitarian. Which makes sense due to printing and lettering limitations. So we aimed for somewhere in the middle.
Do you have a favourite ‘card’ on the poster?
It changes. The “Films Par Excellence” card is a favorite. But Jordan Baker’s gets our pick. She is the only main character we did a card for and we wanted to sneak it in as a payoff to fans of the book. We like to say that her card was inspired not just by her profession (golf champion) but by her eyelashes.
What’s the appeal of manual printing processes like letterpress and silkscreen?
It a tactile, sensual thing that you feel connected to as a viewer. It’s great to be able to interact with a piece of design in that way. It also added a disguise of authenticity and age to this project. Oh, the irony.
Could you describe your creative process? How does your collaboration work?
Over the years we’ve developed quite a shorthand with one another. Our process is sometimes as simple as a conversation while sketching. We’ve hit on some of our best ideas in a matter of few minutes by just talking through the problem at hand. Sometimes it’s more labored over. In those instances we hit the books, research, sketch, and let the best and most clear idea win. We are both always in pursuit of the best idea and that helps move things along.
Who are your design heroes?
We have so many. Plenty of usual suspects from the 1950’s and 1960’s and from our early days of making silkscreen posters. We love the travel posters of David Klein. Book designers like John Gall and Paul Sahre. Leanne Shapton is a personal favorite. A lot of our artist friends never cease to amaze us with the work they churn out. Jessica Hische. Tim Gough. Matt Curtius and Gina Triplett. Martha Rich. Josh Cochran and Chris Neal and everybody else at the Pencil Factory in Brooklyn.
What’s next for The Heads of State? Will we be seeing more book covers from you soon?
We’ve got some book covers in the works. We’re also working on more self-initiated projects and products as well as a few branding projects we’ll be unveiling in the next few months that we’re pretty psyched about.
Thanks!
How did this project come about?
We’d been kicking around the idea of doing something with the novel for a long time. Chapter Four breaks from the plot for a moment and the narrator begins reminiscing about the folks who came to the parties that summer. The names by themselves are just incredible. There is some detail given about the characters background but not much. We had to make a lot of it up. But there were hints at a profession or an address here and there and that led to the idea to do business cards.
What’s the enduring appeal of The Great Gatsby for you?
Like most people, we first came across this book in high school and hated it. Rediscovering it later in life has been a joy. The time period holds endless allure. It was between the wars. The reputation of the roaring twenties and its decadence and flamboyance allows the reader to imagine so much more than what’s on the page. And there’s plenty on the page! It’s all the more poignant because of the crash that followed.
Do you think the story has particular contemporary relevance?
The lead-up to the Great Depression holds a contemporary economic relevance for sure. But it’s also a hell of a break-up story in a way with it’s jealousy, conspiracy, and doomed aspirations. That is certainly a side of the novel not fully grasped in the 9th grade.
Your work often seems inspired by New Deal era WPA illustration and mid-century modern design. Are you also inspired by the Jazz Age?
We hadn’t really looked to it for much inspiration in the past, but through our research we found that a lot of the documents of that era were much more practical and less decorative than we anticipated, which connected more with our aesthetic.
How did you recreate the vintage type?
A lot of it came from books that we scanned as well as classic typefaces that predate the era or modern decorative faces that reference it. There was also some hand lettering done.
Did you research 1920’s typefaces? Were you trying to be totally accurate?
We weren’t trying to be 100% accurate. Capturing the spirit was the most important thing. We had a few historical references for inspiration. The credits and titles for the original King Kong conveyed a sense of glamour and of old New York that was appropriate for some cards despite the film being from 1933. We found a few business cards from the early twenties for doctors, furriers, jewelers, etc. They were surprisingly modest and utilitarian. Which makes sense due to printing and lettering limitations. So we aimed for somewhere in the middle.
Do you have a favourite ‘card’ on the poster?
It changes. The Films Par Excellence card is a favorite. But Jordan Baker’s gets our pick. She is the only main character we did a card for and we wanted to sneak it in as a payoff to fans of the book. We like to say that her card was inspired not just by her profession (golf champion) but by her eyelashes.
What’s the appeal of manual printing processes like letterpress and silkscreen?
It a tactile, sensual thing that you feel connected to as a viewer. It’s great to be able to interact with a piece of design in that way. It also added a disguise of authenticity and age to this project. Oh, the irony.
Could you describe your creative process? 10. How does your collaboration work?
Over the years we’ve developed quite a shorthand with one another. Our process is sometimes as simple as a conversation while sketching. We’ve hit on some of our best ideas in a matter of few minutes by just talking through the problem at hand. Sometimes it’s more labored over. In those instances we hit the books, research, sketch, and let the best and most clear idea win. We are both always in pursuit of the best idea and that helps move things along.
Who are your design heroes?
We have so many. Plenty of usual suspects from the 1950’s and 1960’s and from our early days of making silkscreen posters. We love the travel posters of David Klein. Book designers like John Gall and Paul Sahre. Leanne Shapton is a personal favorite. A lot of our artist friends never cease to amaze us with the work they churn out. Jessica Hische. Tim Gough. Matt Curtius and Gina Triplett. Martha Rich. Josh Cochran and Chris Neal and everybody else at the Pencil Factory in Brooklyn.
What’s next for The Heads of State? Will be seeing more book covers from you soon?
We’ve got some book covers in the works. We’re also working on more self-initiated projects and products as well as a few branding projects we’ll be unveiling in the next few months that we’re pretty psyched about.
Thanks! Dan
In this 2008 interview with The Atlantic, Michael Bierut, author of 79 Short Essays on Design*, talks about typography, Stanley Kubrick’s favorite font and the cover design of The Catcher in the Rye:
(via Design Observer)
*79 Short Essays on Design is distributed in Canada by my employer Raincoast Books.
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