Posts Tagged ‘Book Design’

California Dreaming

Wednesday, December 31st, 2014
Louise Sandhaus, Earthquakes, Mudslides, Fires & Riots: California & Graphic Design 1936–1986

Louise Sandhaus, Earthquakes, Mudslides, Fires & Riots: California & Graphic Design 1936–1986

Someone wise said, “Surround yourself with people smarter than you.” I find that to be sage advice and not too difficult. The problem is spending time with my friends that are all smart. They discuss books on semiotics, who won the Rome Prize this year, essays in the New York Times about an artist at the Whitney, and so on. I nod along and hope someone asks about Battlestar Galactica or something about American history. But nobody is interested in either. However, I have learned that you can pepper your sentences with these words to sound smart: vernacular, visceral, oblique, didactic, epiphanic, and artifact.

One of my smartest friends, who mysteriously is willing to spend time with me, is Louise Sandhaus. Louise just released a book that was a true labor of love, years in the making. Earthquakes, Mudslides, Fires & Riots: California & Graphic Design 1936–1986. I’m not in it; I didn’t graduate until 1986. I’m a media hog, but I love it nevertheless.

Louise found work that was buried and forgotten. It’s remarkable and hugely inspirational. When the media center and most of the design magazines were in New York, much of California design history was dismissed as “wacky.” Even good architects like Frank Gehry were categorized in the “weird California stuff” pile. The review of the book in the New York Times is titled, “The Colorful History of California Design,” translated as “Aren’t those Californians all just “wacky?” Louise has gone back and reintroduced many of the most influential designers in the last century that you may never have known. And, most importantly, they are presented with intelligence and honesty. And the book is a beautiful artifact (see that word adds a level of intelligence).

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Frozen

Thursday, December 4th, 2014
Blake Little Preservation, Sean Adams, designer, 2014

Blake Little Preservation, Sean Adams, designer, 2014

One of my favorite clients is Blake Little. I’ve known Blake for twenty years. He’s the first call I make when I need a remarkable photographer for a project. Blake is also able to make me look halfway decent in photographs. The upside of this is that I look good in a headshot, the downside is that someone meets me in person and says, “oh, hmm.”

A few years ago, Blake asked me to design his book, Dichotomy, followed by The Company of Men, and Manifest. I’d love to say they are incredibly challenging, but this is proof that it’s hard to go wrong with great content.

Blake’s most recent book, Preservation, is about to be released and there will be an exhibition of the work at the Kopeikin Gallery in February. Blake’s work has an inherent sense of energy. Whether it’s a piercing gaze, or coiled strength, or kinetic motion, the subjects share an intensity of power. The Preservation images have the same quality, but in this case, the energy and motion is frozen. The subjects appear to be unexpectedly trapped in amber. The result is a cross between a Rodin sculpture and frozen figures from Pompeii.

I thought I was being radically alternative to create an ultra-rigid grid and system for the typography as a counterpoint to the fluid imagery. But I have a feeling it’s an instance of a designer getting caught up in the tiny details and saying, “But don’t you see, the missing cross-bar on the ‘A’ changes the meaning entirely.”

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Books on Fire

Saturday, October 25th, 2014
FHK Henrion The Complete Designer

FHK Henrion The Complete Designer

I am quite proud of my most recent project, to build a bookcase in my office at home. It still needs some trim work, but the books are in and nothing has collapsed. The most surprising aspect of the project was how many books I had. Who knew? These are only the design books, there are other bookcases in the house with more. I had quite a few duplicates that I tried donating to the Art Center library, but they didn’t need them. I didn’t want to throw the books away. I considered burning them in the driveway and telling my neighbors they were evil books: Catcher in the Rye, etc.. But I left them in a box on the curb, and they were gone in an hour.

Of course, that doesn’t stop me from buying more. One of my favorite publishers is Unit Editions. It’s a collaboration between Adrian Shaughnessy and Tony Brook in London. They focus on books with incredibly high quality and remarkable content. Rather than producing 25,000 copies of a book about business cards on cheap paper, Unit Editions publishers smaller quantities that will last for generations.

When I hear people ramble on about sustainable practices and how they used recycled paper for their brochure I nod approvingly. But, in the end, isn’t the truly sustainable action to create an artifact that will be used, saved, and not thrown in the trash?

As Lou Danziger told us as students, “Stop buying drugs. Buy books instead.” Very good advice, although as a student, I was spending my money on Cup o’ Noodles not drugs.

After

After

Manuals 1 Design & Identity Guidelines

Manuals 1 Design & Identity Guidelines

Total Design and its pioneering role in graphic design

Total Design and its pioneering role in graphic design

Supergraphics — Transforming Space

Supergraphics — Transforming Space

Supergraphics — Transforming Space

Supergraphics — Transforming Space

Supergraphics — Transforming Space

Supergraphics — Transforming Space

FHK Henrion The Complete Designer

FHK Henrion The Complete Designer

Herb Lubalin American Graphic Designer

Herb Lubalin American Graphic Designer

Manuals 1 Design & Identity Guidelines

Manuals 1 Design & Identity Guidelines

Manuals 1 Design & Identity Guidelines

Manuals 1 Design & Identity Guidelines

Jurriaan Schrofer (1926-90) Restless typographer

Jurriaan Schrofer (1926-90) Restless typographer

Jurriaan Schrofer (1926-90) Restless typographer

Jurriaan Schrofer (1926-90)
Restless typographer

Essays: Scratching the Surface Adrian Shaughnessy

Essays: Scratching the Surface
Adrian Shaughnessy

Ken Garland  Structure and Substance

Ken Garland
Structure and Substance

Ken Garland  Structure and Substance

Ken Garland
Structure and Substance

Supernew Supergraphics

Supernew Supergraphics

Type Only

Type Only

Franklin Mint

Friday, June 13th, 2014
51st Annual of Advertising, Editorial and Television Art & Design

51st Annual of Advertising, Editorial and Television Art & Design

I’ve been asked if I have a favorite typeface. I’d like to consider myself type-tolerant, but I’m actually rather a type snob. Most projects begin with me trying something outlandish such as Behemoth. But, as time passes, I slowly migrate back to Franklin Gothic. When I found the 51st Annual of Advertising and Editorial Design for The Art Director’s Club of New York, I found a gold mine. Giant Franklin Gothic and my favorite shades of orange and yellow. The book was designed by Dennis Mazzella. In the credits, its states: with the help of Kurt Weihs, my friend. I don’t know what that means, so I’ll include it to give credit to all parties. I also love that this book is stamped by my friend Doug Boyd. It’s a double treasure.

I am in love with the unashamed enormous Franklin Gothic slipcase and cover. So much in love that I considered not sharing this so I could file it in my memory bank of possible solutions. And the spine, showing the inductees into the Hall of Fame is wonderful. Everybody gets so hung up on spines having all the information, but really, in this case on a designer’s bookshelf, is anyone going to say, “Well, I dunno. What the hell is that thing?” And how many times have I spent designing countless covers for an annual report because every tiny detail means something to someone in the room. This cover solves that problem. “All we want are the facts. Just the facts, ma’am.”

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Liberty and Freedom in Grids

Thursday, November 8th, 2012

The World of Franklin & Jefferson, cover, 1976

I like odd grids. How’s that for a catchy opening at a cocktail party? Probably not too good. Nevertheless, complicated and unexpected grids are wonderful. One of my favorite examples is the structure for the book, The World of Franklin and Jefferson, created for the exhibition of the same name. United States Information Agency and the American Revolution Bicentennial Administration proposed the exhibition with funding from IBM. The exhibit toured New York, Paris, Warsaw, London, Mexico City, Chicago, and Los Angeles and was one of the last major works completed by the Eames Office. The accompanying book’s structure is, let’s be honest, bizarre. There are almost no margins. The italic captions have their own column in the center of the page. The images seem to invade the text like wild animals. Clearly, there is a structure under here I do not understand. But I love it. It’s a world of wackadoodle grids. Now, that’s a good title for a new design book.

The World of Franklin & Jefferson, spread, 1976

 

The World of Franklin & Jefferson, spread, 1976

 

The World of Franklin & Jefferson, spread, 1976

 

The World of Franklin & Jefferson, spread, 1976