Books, Design and Culture
Tom Gauld for The Guardian.
For some reason the Samuel Beckett Advent Calendar reminds me of the Half Man Half Biscuit song Joy Division Oven Gloves.
Tom has a new postcard book The Snooty Bookshop out now.
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“Any colour, so long as it’s grey” — New typographic covers for the Faber editions of Samuel Beckett, designed by London-based studio A2/SW/HK. You can see more from the series at Faber’s Flickr photostream.
The Publishers’ Dilemma — Tobias Schirmer on publishing’s digital future:
[D]igitalization is not about a product moving from its analogue to a digital form. It is a revolution that changes everything. The old business models don’t work the way they used to. Inevitably, publishing needs to think about how it can still inject value somewhere in between the creation of content and its distribution. Not transition but change management is needed. Acknowledging this is the first step in getting out of the publishers dilemma.
Now is the Winter of our Discontent — Peter Olson, the former chairman and CEO of Random House, is feeling gloomy in Publishers Weekly. I wonder how much of this only applies to bloated multinationals?:
With the recession accelerating changes that are already taking place in the market, the world after 2009 will likely begin to look very different for book publishers, and a likely return to the relative security of the last decade may be wishful thinking.
Tintin and the Broken Records — 600 lots associated with the cartoonist Hergé were sold at auction at the weekend:
The sale in Namur, southern Belgium, dominated by five large hand-drawn pages of original cartoon strips, raised 1,172,000 euros (1.57 million dollars), including charges, — a world record for Herge-associated items and a cartoon strip book record in Belgium, said Thibaut Van Houtte, an expert on hand for the Rops auction house sale.
Titles Designed by Saul Bass — A collection of Bass’ incredible film credit sequences at Not Coming To A Theater Near You (via Grain Edit on Twitter):
Comments closedOne is pressed to cite an example of an active, self-contained, and characteristic credits sequence in film prior to the work of Saul Bass. And… in regard to innovation, renown, and influence, Bass’ impact in credits design remains virtually unparalleled, even to this day.