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Catalogue, guide and ticket of fair Design Miami / Basel 2009 designed by London office Madethought.
photographed by
Frank Dinger
BECOMING - office for visual communication
The Design Centre, part of the Council for Industrial Design, was a centre in London's Haymarket that was open to the public from 1956 until 1998. It was part of the work of the Design Council that had been set up in 1944 as the Council for Industrial Design, part of a government backed policy to improve the standard of design in the UK. Part of its public education programme included publications (such as the excellent "Design magazine produced from 1949 until 1999) that helped bring to consumers attention what was considered key exemplars of good industrial and product design and what was available that matched such standards, including products that featured in the Council's "Design Index". This is one of a series of late 1960s publications on mostly household subjects such as sound and vision. It includes TV, radio, sound recording and reproduction equipment and explains much jargon as, for example, television moved from 405 lines to 625 lines of definition and black & white to colour. The author was P E M Sharp and the book was designed by Broom Lynne MSIA. The cover photograph, of a hip suburban couple, is by Dennis Hooker and features a Ferrograph 631 tape recorder, a Relosound RB microphone, a Murphy V197U black and white television as well as a Murphy turntable and an HMV FM/AM radio set.
The Design Council still exists but one seldom if ever hears about them - such an educational and information role seems to withered in modern times.
capa do livro 'Os amores de outono'.
www.manole.com.br/loja/produto-183996-4916-os_amores_de_o...
"Until the Day" by Jakucho Setouchi
Kodansha 2022/01/13
Book design: Seiichi Suzuki Design Office
Book cover illustration: Mayako Nakamura
瀬戸内寂聴
”その日まで”
講談社 (2022/01/13)
ブックデザイン:鈴木成一デザイン室
装画:中村眞弥子
☆その日まで 情報☆
瀬戸内寂聴さん”その日まで”
お見本が届きました！
ブックデザイン:鈴木成一デザイン室
装画:中村眞弥子
◆1月13日発売です！
bookclub.kodansha.co.jp/product?item=0000360842
・・・
99歳、最期の長篇エッセイ。
切に愛し、いのちを燃やし、ペン一筋に生き抜いた。70余年にわたる作家人生の終着点。
「結局、人は、人を愛するために、愛されるために、この世に送りだされたのだ。
充分、いや、十二分に私はこの世を生き通してきた。」
三島由紀夫、萩原健一、石牟礼道子ほか、人生でめぐり逢った忘れえぬ人々、愛した男たち、そして家族の記憶。99歳まで現役作家としてペンをふるった著者が、自らの老いに向きあい、「その日」をみつめて綴りつづけた、最後の自伝的長篇エッセイ。
・本書よりーー
私は自分の「その日」を、どのような形で迎えるのであろうか。
九十九歳とは何と長い、そして何と短い時間であっただろう。
百歳近く生きつづけて、最も大切なことは、自分の生きざまの終りを見とどけることだけであった。
戦争も、引揚げも、おおよその昔、一通りの苦労は人並にしてきたが、そんな苦労は、九十九年生きた果には、たいしたこととも思えない。
生きた喜びというものもまた、身に残された資産や、受けた栄誉ではなく、心の奥深くにひとりで感得してきた、ほのかな愛の記憶だけかもしれない。
結局、人は、人を愛するために、愛されるために、この世に送り出されたのだと最期に信じる。
充分、いや、十二分に私はこの世を生き通してきた。
Design by IWANT, blog.eyemagazine.com/?p=355. See more work by them in ‘The graphic designer as illustrator’, Eye 72, and ‘Reason and rhymes’ in Eye 63.
One of the long lived Shell Guides, produced by the petrol and oil giant for many years, and this covering London is one of the 'Junior Guides'. Published in 1965 it is an idosymcratic look at the capital city for children and was compliled by Isobel Barnett and illustrated by the incomparable Ronald Searle. The latter is probably why both visitors and inhabitants bear more than a passing relationship to St. Custard's and St. Trinians! The book is designed by Bruce Robertson (d.2014) who went on to found the design partneship "Diagram".
The catalogue to an exhibition held by Shell-Mex and BP Ltd of their advertising posters, brochures and other publicity materials that was held at the New Burlington Gallery in London. For the occasion the company commissioned one of the foremost poster artists of the day, Edward McKnight Kauffer, to design the covers to the catalogue booklet. This he did with his usual bold style - the artist and palette superimposed on a scene of industry and technology, symbolic of Shell-Mex and BP's apparent patronage of 'commercial art'.
As the introduction, by Frank Rutter, notes the company came into the the field of using graphic design as the basis of their corporate identity following the example of London's Underground and that organisation's Commercial Manager, Frank Pick. It was Pick who, arguably, helped McKnight Kauffer on to the ladder of success with his early post-WW1 posters for the Underground Group. McKnight Kauffer went on to design Shell publicity, alongside a roll call of now famous graphic designers and artists under the patronage of Jack Beddington. Beddington joined Shell in 1928 and after the formation of the joint marketing concern Shell-Mex and BP in 1932 he rose to become Director of Publicity for the company.
The book is printed by Lund, Humphries of the County Press in Bradford and the typography and layout are 'very' Lund, Humphries for that date.
The company organised a second such exhibition in 1938.
Designed by Coralie Bickford-Smith
For more information:
www.penguin.co.uk/static/cs/uk/0/pubsetpages/fscott_fitzg...
See a video about the set at:
One of the splendidly designed and produced Shell-Mex and BP books describing the working of 'modern' machines and that included cars and, as here, light aircraft. The book has a series of colour plates with cutaway drawings that allow the inner working to be shown and described in some detail along with lubrication points so as to promote the appropriate Shell-Mex or BP fuel or lubricating oils. This book notes that it is not intended to replace the various instruction manuals that are issued by manufacturers but it shows details of a 'standard' 4-cylinder in line engine and small plane that looks like a De Havilland Moth. It has that marvellous feel of not only dealing with something new and modern but also as if nipping out in one's aeroplane was simply the done thing!
The book, to a large format, has striking covers in photomontage that are the work of Maurice Beck (1886 - 1960). Beck was a noted photographer in London, working for example for British Vogue magazine, and he also undertook wider designs for clients such as London Transport, for whom he produced posters, and here, Shell-Mex & BP. Shell were noted for their high standards of press advertising and publicity as displayed here.
The covers show a phootgraphic study of a pilot with, for the front cover, added angled text.
Earlier this year I illustrated the cover of Looking for Transwonderland - Travels in Nigeria, Noo Saro-Wiwa’s tongue-in-cheek Nigerian travel guide to be published by Granta Books in early 2012. Noo Saro-Wiwa, the daughter of the Nigerian writer and activist Ken Saro-Wiwa, has written on Africa for both Lonely Planet and Rough Guide travel guides. Art Direction by Michael Salu.
© Rod Hunt 2011
View Rod Hunt's full portfolio here
One of the rarer of the publcity booklets issued by the advertising savvy London Underground Group (that after 1912 included the London General Omnibus Company) is this absolute gem; Whose Land? or some account of the original inhabitants of London. Its fifteen pages are covered in the trademark illustrations of one of the most influential Scottish artists of the early Twentieth Century, member of the Glasgow Girls, Jessie M King (1875 - 1949). It is superby produced and printed at the Baynard Press in London and is undated but, given the style of this and the depiction of buses, I'd say it is likely to be mid-1920s. the use of the "Traffic Advertising Agent" tends to be of this date and earlier and the address is given simply as "Broadway", not the "55 Broadway" expected after 1929.
The UERL Group, under the direction of the effective Publicity Manager Frank Pick, was at this time already noted as being amongst the most influential in terms of corporate brand and identity, and various such booklets on diverse subjects were produced but this is surely one of the finest if most esoteric of them all.
The fine drawings and paintings by Stanley Roy Badmin (1906 - 1989) have rather come to epitomise "England's landscapes" and he was exceptional gifted when it came to the illustration of natural scenes and trees in particular. His work encompassed paintings, commissioned works for adverts and posters, as well as illustrations for many books. This is a particularly luscious example of his art from a 1952 book of "Famous Trees" by Richard St Barbe Baker and published by the private Dropmore Press. The frontispiece is of The Panshanger Oak in Hertfordshire that still stands with a girth of 7.6m and was recorded as being a fine tree as far back as 1789 by Gilbert White. It sttod in the grounds of Panshanger House that was demolished soon after this sketch (between 1952 and 1954) and the grounds are now used for gravel extraction.
Found at The 55th Chicago Book & Paper Fair
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Tobacco. Its history, varieties, culture, manufacture and commerce, with an account of its various modes of use, from its first discovery until now, 1875 ... archive.org/details/tobaccoitshistor00billrich
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Knots Untied or, Ways and By-Ways in the Hidden Life of American Detectives by George S. McWatters, 1871 ... www.royalbooks.com/pages/books/121570/george-s-mcwatters/...
The front cover of the booklet issued by the Netherlands Railways in 1958 to celebrate the 50th anniversary of the operation of electrified railways in the country - the first section, that of the line between Rotterdam and Den Haag (The Hague) came into service on the 1 October 1908. The booklet looks at the extension and development of electrification in terms of both trains and infrastructure, including rolling stock, power supply and signalling. The cover shows one of the more iconic Dutch train designs this being one of the "Benelux" cross-frontier EMUs of a style that was to be associated with Dutch rolling stock for many decades!
The design is credited to N.V. Kunstdrukkerij Mercurius, Wormerveer.
From the 1962 book, Books! by Murray McCain and illustrated & designed by John Alcorn who once worked at Push Pin Studios in the late 1950s.
Blogged at letterology.blogspot.com/2011/08/books-and-more.html
The catalogue to an exhibition held by Shell-Mex and BP Ltd of their advertising posters, brochures and other publicity materials that was held at the New Burlington Gallery in London. For the occasion the company commissioned one of the foremost poster artists of the day, Edward McKnight Kauffer, to design the covers to the catalogue booklet. This he did with his usual bold style - the artist and palette superimposed on a scene of industry and technology, symbolic of Shell-Mex and BP's apparent patronage of 'commercial art'.
As the introduction, by Frank Rutter, notes the company came into the the field of using graphic design as the basis of their corporate identity following the example of London's Underground and that organisation's Commercial Manager, Frank Pick. It was Pick who, arguably, helped McKnight Kauffer on to the ladder of success with his early post-WW1 posters for the Underground Group. McKnight Kauffer went on to design Shell publicity, alongside a roll call of now famous graphic designers and artists under the patronage of Jack Beddington. Beddington joined Shell in 1928 and after the formation of the joint marketing concern Shell-Mex and BP in 1932 he rose to become Director of Publicity for the company.
The book is printed by Lund, Humphries of the County Press in Bradford and the typography and layout are 'very' Lund, Humphries for that date.
The company organised a second such exhibition in 1938.
Published in around 1946 this is an English text booklet describing the destruction wrought on the Dutch railway system following the call from the Government-in-Exile for a general strike of the Netherlands railway staff in support of the Allied invasion of the country that occurred on 17 September 1944. The Germans capitulated on 5 May 1945 and by that date a "systematic destruction of the Netherlands Railways" had occurred.
The Railways estimated that 84% of its locomotives were destroyed or stolen as was 94% of passenger carriages - the figures for electric trains ran to 99% and diesel electric trains, 100%. For freight wagons the figure was 98% and in terms of infrastructure 18% of stations were destroyed, 68% of signal boxes along with 62% of the railbed itself. Across the system 70% of the nation's railway bridges lay in ruins. It was an almost devastating blow to what was one of Europe's most modern railways; the '30s had seen a massive investment in electrification and modernisation of services and infrastructure.
The booklet finishes with the comments that the NS was running again - but that travel "is not yet particularly comfortable". An understatement. As noted below, the booklet does not, needless to say, mention one aspect of NS's wartime history - it was complicit in the transportation of many hundreds of thousands of people to Nazi concentration and work camps, a fact it apologised for in 2005 and only fully accepted with a compensation offer in 2019.
The booklet notes it was published by NS at its headoffices in Utrecht but no designer is given - a shame as it has some interesting graphics, typefaces and layout as the back cover shows. Many of the illustrations, including that on the cover, are by "Gol".
The catalogue to an exhibition held by Shell-Mex and BP Ltd of their advertising posters, brochures and other publicity materials that was held at the New Burlington Gallery in London. For the occasion the company commissioned one of the foremost poster artists of the day, Edward McKnight Kauffer, to design the covers to the catalogue booklet. This he did with his usual bold style - the artist and palette superimposed on a scene of industry and technology, symbolic of Shell-Mex and BP's apparent patronage of 'commercial art'.
As the introduction, by Frank Rutter, notes the company came into the the field of using graphic design as the basis of their corporate identity following the example of London's Underground and that organisation's Commercial Manager, Frank Pick. It was Pick who, arguably, helped McKnight Kauffer on to the ladder of success with his early post-WW1 posters for the Underground Group. McKnight Kauffer went on to design Shell publicity, alongside a roll call of now famous graphic designers and artists under the patronage of Jack Beddington. Beddington joined Shell in 1928 and after the formation of the joint marketing concern Shell-Mex and BP in 1932 he rose to become Director of Publicity for the company.
The company organised a second such exhibition in 1938.
The book is printed by Lund, Humphries of the County Press in Bradford and the typography and layout are 'very' Lund, Humphries for that date as seen on this page. The tipped in colour plate is a reduced reproduction of one of the comapny's famous lorry bills - posters that were positioned on the fleet of vehicles that delivered Shell-Mex and BP products. This is, aptly, "Artists prefer Shell" and is by John Armstrong and was number 49 in the long series.
simple notebook decorations with our handmade paper and vintage textiles -- great fun finding the 'right' couples
“— and then he kneeled down again, kissed the ground, and taking me by the foot, set my foot upon his head.”
One of a wide series of walks and rambles booklets issued by London Transport and its predecessors, this booklet gives details of walks from Green Line country bus and coach services in the northern part of the Green Line territory. The booklet cover is, by LT standards of the day, slightly clumsy although that may well be the reproduction/printing on quite coarse paper, and no artist is given. During the next few years these booklets - both rail and 'bus - would be subsumed into the "Country Walks" series that would run for many years. Most public transport operators issued similar publications to drum up trade and publicise the often extensive links into surrounding rural areas with details of walks and rambles.
This booklet forms part 2 of the Green Line guides, dealing with rambles south of the capital.
I recently made this portfolio book for the purpose of showing my design work to potential clients and potential studios during initial meetings. It's a perfect bound, 246 page book. The front and back covers of the book is my personal identity "DA".
More photo: www.behance.net/gallery/69588991/Historical-railway-anecd...
Calligraphy: Marina Marjina
Designer: Anastasia Novik
Dolphin Publisher
Detail of back cover of Physics: Its Marvels and Mysteries, by Dr. Daniel Q. Posin (pictured), 1961.
Title page for The American Printer, 1882, by Thomas MacKeller
You can obtain your (digital) copy here:
A rather clever promotional 'book' issued by the paper manufacturers Grosvenor, Chater & Co Ltd in 1930. Entitled "An Essay on Silence" by F A Corbett it consists of nearly 30 pages of blank paper composed of the company's Basingwerk Parchment paper in boards that are bound with their Royal Cornwall Cover Papers. The rear pages give information as to the papers, their sizes and costs.
It is a shame no designer or agancy for the production of the book is shown as the typeface and vignettes are charmingly of their age. Grosvenor, Chater's history went back to the 1600s as stationers and in 1854 they purchased the Abbey Paper Mills at Holywell in North Wales. This mill, built close to the site of Basingwerk Abbey, gave the name to one of their high quality papers, products they were noted for. The mills closed in the 1980s.
Knots
Miniature Book
1" x 1"
Mixed media, paper glass, ink, acrylic
Catherine L. Mommsen
2011
In private collection, Kenya, Africa
You may see some inside pages here:
www.flickr.com/photos/imajica1817/5657898558/
www.flickr.com/photos/imajica1817/5657324611/
www.flickr.com/photos/imajica1817/5657324491/
Photo credits: Hippittee at onefortoday.blogspot.com/
One of the many books issued by the UK's then dominant chemicals concern ICI. Formed in 1926 by merger from four of the largest chemicals, explosives and dyestuffs companies, ICI was a vast organisation and even included its own in-house printing works. the noted and highly regarded Kynoch Press.
This book, that tells the story of colour dyes from antiquity to modern days, was published by the Kynoch Press of Birmingham, and designed and illustrated by Vernon Shearer and Arthur Smith for the Dyestuffs Division whose headquarters were in Manchester.