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Verena Stössinger, «Bäume fliehen nicht», Roman/novel, Verlag Martin Wallimann August 2012. Hardcover, 192 pages. Historical novel based on an authentic wartime story and originally researched documentation.
Cover image © Michael Kenna / Art Department
Typefaces used: Satyr and Octane by Sindre Bremnes, (Satyr with my spacing and kerning,) both soon to be released.
Dante Alighieri: La Commedia
Vol. 1: Inferno
Vol. 2: Purgatorio
Vol. 3: Paradiso
Print run: 425 copies. 32×46 cm
2004. Art’è, Bologna
Largest order in the history of Stamperia Valdonega. Typesetting 24 pt Bembo took 8 months (letters haven’t been casted from the 24 pt matrices for such a long time before). Printing (two-tone, register) took another 8 months.
Giovanni and Martino Mardersteig.
Book and Type Designers and Printers in Verona/Italy.
Exhibition celebrating 60 Years of the Printing House ‘Stamperia Valdonega’
Clementine Ford and Allen & Unwin held a competition for people to submit designs for the front cover of her upcoming book, Fight Like A Girl. This was my submission, using my original photography featuring the fearsome Alice Cavanagh!
I’ll also be posting more images from this shoot soon.
From Henry Cohen’s series of inventive photographic covers for Gallimard's Idées series in the 1960s and early 70s.
See Rick Poynor’s ‘Bright Idées’ on the Eye blog, and his article ‘The shape of a pocket’ in Eye 81.
A book designed as part of my Final Major Project, to promote British Food Fortnight. The aim is to break traditional British food combinations, to mix things up and try something new!
Best viewed small, it would seem...!
Willem Sandberg
Experimenta Typografica 1
Lectura sub aqua
Designed during World War 2
published by the Galerie der Spiegel, Köln, 1969
Composition No. 1 by Marc Saporta looking mighty fine in the gorgeous Hermès store on the Left Bank in Paris.
2011 © Visual Editions
This is a screenshot of a book cover design i am working on for a Uni assignment. The brief is to create a series of book covers for an author, the book covers need to work as a set.
装幀を担当しました。表面はトランスタバック加工でキラキラ光ります。まさに映像的に動くカバーデザインを目指しました。後ろの3色（RGB）のグラデーションとの相性も楽しいです。
HD映像素材集 無料で使える高品質ムービー
FREE HD MOVIE COLLECTION
| 発 行：ソーテック社
| 著 者：山口良介・Mz
| 版 型：B5判
| 総 数：144ページ・オールカラー・二層式DVD-ROM付属
David Pearson photographed in his Clerkenwell studio, August 2010. See ‘David Pearson: inside out’ in Eye 77.
This is research we are doing to determine the style & design of our upcoming book on business model innovation...
This poster provides a matrix overview. See also the revised version.
Both editions are out of print. If you are interested in purchasing a copy of the poster, please get in contact with me, and I will notify you as soon as a new version is available.
[exhibition in Leipzig, March 2008 | more information on the project]
This is research we are doing to determine the style & design of our upcoming book on business model innovation...
find out more about this lecture and watch the video in the kd-lounge archive.
photo: moritz profitlich
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The Wolf Book, designed in 1990
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In first grade, our teacher assigned us a project. Each student was assigned an animal, and our task was to research that animal. We compiled our research into a short, ten page book. The animal I chose was the Mongolian wild horse, and the experience was a blast. I absolutely loved the process of researching, drawing pictures and maps, and ending up with a designed object.
A few months later, during the summer of 1990, I decided to make another book about one of my favorite animals, the wolf. I spent several weeks photocopying pages from National Geographic World magazine, redrawing maps and diagrams, filling pages with some very bizarre editorial drawings, and typing paragraphs on an ancient word processor. The finished pages were then comb-bound at my father's office.
While designing my recent book, Forgetting Oildorado, I recalled the process of making The Wolf Book. I travelled to my parents house where the book resided, and flipped through it for the first time in well over a decade. It's fascinating to revisit something that was once so cherished, and to see the striking parallels between something that was designed at the age of 7 and the work that I'm currently producing.
When I made this book, I had no idea that I'd end up a graphic designer. But it seems that from a very early age, I was -- unknowingly -- well on my way.
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Unbeknownst to many, Los Angeles has served as one of the most important oil provinces on the planet. From the initial discoveries near the turn of the 20th century, through the roaring 1920s, and into the present, oil has often guided and defined the development of the city. What's interesting, however, is that this fact is so often eclipsed by Los Angeles' well-documented histories as a center of film, entertainment, boosterism and agriculture. Forgetting Oildorado excavates the city's rich oil history, examines the slow decline of the local industry, and uncovers many of the active oil fields that lie hidden in plain sight, in the very midst of this teeming city.
This 120-page book includes text based upon Frank Ruchala Jr.'s monumental examination of Los Angeles' oil history, oiLA, with historical imagery sourced from Early California Oil by Kenny Franks and Paul Lambert. All other photography was shot by me, using a combination of Digital SLR, 35mm SLR, Medium Format Holga, and 35mm Lomo cameras.
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This is research we are doing to determine the style & design of our upcoming book on business model innovation...
Salzburg • Vienna • Prague is a travel book created for our clients who toured these cities on their recent vacation abroad. We compiled the pictures from everyone in the group to create a beautiful photographic essay of their trip. The book was designed as a surprise gift for the upcoming holidays.