(Shown here, clockwise from top left: early comps by Gabrielle Bordwin, Peter Mendelsund, David Shoemaker, and Lynn Buckley.)
The pencil is still the designer’s best friend. This collection of instructive pencil sketches for book covers and jackets reveals just how important precision was the to the designer of 1930 Germany...
Logo Design Love has gathered images of the Penguin logo's evolution, from the first version (Edward Young, 1935) to the latest (Angus Hyland, Pentagram, 2003).
Shown above: an investigation by Hans Schmoller into the origins and usage of Penguin devices.
Hundreds of historical punches and matrices of various typefaces and dozens of books are on view at the Grolier Club in “Printing for Kingdom, Empire & Republic: Treasures From the Archives of the Imprimerie Nationale.” (It ceased being Royale in 1789, as did everything else in France.)
This is the first time these exquisite artifacts have been shown outside France, said H. George Fletcher, a club member who is the curator of the show. Their arrival could not be more timely.
They offer a reminder, in the ethereal era of bitmapping, that type was once the tangible province of engravers and metal casters who labored in unforgiving but enduring media. To make a C with a cedilla, for example, involved a lot more effort and thought than holding down the Option key on your Mac. A comma-shaped steel appendage had to be lashed with string to the bottom of the C punch to produce a new matrix.
There's also a slide show featuring some of the work discussed in the article, but be warned: some of the images are low resolution, and don't look good in Huffington Post's default fullscreen view.
Rick Poynor's latest post on Design Observer is about one of the cover design competitions organized by John Bertram, of Venus febriculosa. Poynor writes:
There is no right or final answer with a book cover. (...) Over time a much-reprinted novel or short story collection will generate scores of different cover designs around the world. While the visual interpretation of any book's contents can be taxing, with some books the stakes are especially high."He then mentions Tadeusz Borowski's This Way for the Gas, Ladies and Gentlemen as being that kind of publication. This was the book Bertram chose for his competition in May 2010. Poynor analyzes a few of the entries, plus other covers that Bertram commissioned afterwards.
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