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Book design of AOI Images 33: Best of British Illustration 2009.
This year I worked together with Adrian Shaughnessy on the design of the Images Book and exhibition graphics. In the book we created a tighter grid with a more contemporary feel and rather than just selecting an illustration from the book to use on the cover we created a typographic design that didn't favour any one illustration style or individual and that could be experimented with in the future. We then followed these principles through to the exhibition and awards. Here we used the icon as a label for the award winners.
Art Direction: Adrian Shaughnessy
Design & Artwork: Simon Sharville
Illustrations: Jonas Bergstrand / Chris Thornley / Greg McLeod
© 2009 SImon Sharville / AOI
View Simon Sharville's portfolio at
Book design of AOI Images 33: Best of British Illustration 2009.
This year I worked together with Adrian Shaughnessy on the design of the Images Book and exhibition graphics. In the book we created a tighter grid with a more contemporary feel and rather than just selecting an illustration from the book to use on the cover we created a typographic design that didn't favour any one illustration style or individual and that could be experimented with in the future. We then followed these principles through to the exhibition and awards.
Art Direction: Adrian Shaughnessy
Design & Artwork: Simon Sharville
© 2009 SImon Sharville / AOI
View Simon Sharville's portfolio at
my final book design project: unwanted photos, found messages, insect and bird bodies.
a collection that celebrates the beauty of the things we leave behind.
TEATRIP JAPAN is an invitation to immerse in the fascinating world of Japanese green tea. In Japan, tea is much more than just a beverage—it is a living expression of culture. For centuries, the tea ceremony has been practiced in Zen temples—a meditative moment of silence, mindfulness, and deep respect that once brought not only monks, but even samurai a sense of inner peace.
The editors take readers on a captivating journey to the roots of this cultural tradition. Along the way, they meet tea farmers, merchants, and ceramic artists—individuals whose passion for tea began in childhood and continues to shape their lives. The book offers insights into the tea ceremony and the intricate hand-rolling technique known as temomi, all accompanied by atmospheric photography from the tea-growing regions of Kagoshima, Uji, and Shizuoka. Green tea enthusiasts will discover fascinating facts about different varieties, production methods, and preparation techniques.
Japanese green tea delights with its gentle sweetness and refreshingly fruity notes—a true sensory experience. TEATRIP JAPAN is a visual and cultural celebration—a heartfelt homage to an ancient tradition.
AIGA/NY International Perspective series. Irma Boom in conversation with Debbie Millman.
1/29/2014
Tishman Auditorium, Parsons
Photos by Karen Vanderbilt
Angkor Wat II, is the fifth coffee table book we have designed for German photographer Hellmut Issels. In this 100+ page 13 x 11 book, we incorporated some beautiful layering techniques to give the pages depth and aged the photographs somewhat to make them feel like they were taken in a different era. Hellmut has traveled the world taking photographs that often appear in trade magazines and newspapers.
A bespoke headline typeface designed for Page Tsou's exhibition identity and book titled 'The And, Never End' at Agora Arts in Taipei, Taiwan.
The Typeface is inspired by a Barbershop (helix) Pole. Barbershops are a recurring theme in Page's work.
Alexander fighting dragons, Le livre et la vraye hystoire du bon roy Alixandre, Paris, c. 1420–25, Royal 20 B. xx, ff. 49v-50 © British Library
From:
11 November 2011 > 13 March 2012
Royal Manuscripts: the Genius of Illumination
British Library
96 Euston Road
London NW1 2DB
For more events, see blog.eyemagazine.com/?page_id=158
This is research we are doing to determine the style & design of our upcoming book on business model innovation...
Tina Roth Eisenberg alias Swiss-Miss is moderating the panel about book design in St. Gallen with Jost Hochuli and Roland Stieger
Phil Reith has been the well-known and well-loved golf pro at the Woodhill Country Club from 1965 to 2010. For his upcoming retirement party, the members wanted to give him a very special gift – a collection of great memories and images spanning the last 40 years. The members provide photos and anecdotes to be included and we restored a majority of the images for this 120 page, 13 x 11 book. We hope he will be surprised and pleased with this wonderful keepsake.
再見、再 見，好讀。
記得大學的時候，曾經有段時間好讀是大開本的，好像才三十塊還是多少，手邊還留了一些。
看著大尺寸的好讀，深刻具有重量的版面編排風格、具深度的文學導讀及專題，在那段學設計的期間像是一種有別於Ray Gun的另一端的、象徵性的指標，安靜地影響著一群人。
老實說在我的觀感裡，商業永遠是凌駕文化(還有政治)，所以說銷售不佳、長期虧損等原因不得不停刊，那像是必然的等式之類的。
縱使它有深度、內容、觀點、甚至是美學的影響力，賣不好，就是bye bye，就是kind of failure....
Even before seeing this book, I figured that the cuts should be used atop a rule. The figures are obviously supported by something.
Soseki NATSUME's "Sorekara"
Soseki NATSUME(1867-1916) is a Japanese author.
this is a facsimile of the first edition printed in 1910.
designed by Goyo HASHIGUCHI.
facsimile edition was printed in 2005.
夏目漱石《それから》初版復刻版
装幀：橋口五葉
初版1910年、復刻2005年
most of the binding process is done by hands of craftsmen.
多くの工程は職人による手作業。
or a bit of further information, please see:
もう少し詳しいことはこちらに：
Giovanni and Martino Mardersteig.
Book and Type Designers and Printers in Verona/Italy.
Exhibition celebrating 60 Years of the Printing House ‘Stamperia Valdonega’
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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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