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Book cover of Modern European Buildings by Francis Rowland Yerbury. New York: Payson and Clarke, Ltd: 1928. NA958 .Y45 1928

AIGA/NY International Perspective series. Irma Boom in conversation with Debbie Millman.

1/29/2014

Tishman Auditorium, Parsons

Photos by Karen Vanderbilt

Cover design by Joseph Ascherl for Magic, Science and Religion, and Other Essays by Bronislaw Malinowski. Garden City, N.Y., Doubleday, 1954. GN8 .M286 1954

Learn more about VFS's one-year Digital Design program at www.vfs.com/digitaldesign.

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:

www.flickr.com/photos/yama/sets/1493208/

 

A handy calendar, good through 1979.

Book design or AOI Images 32 - Best of British Illustration 2008.

This is the outer case for mailing.

 

Design & Artwork: Simon Sharville

Illustrations: Tulips by Jill Calder

© 2008 SImon Sharville / AOI

View Simon Sharville's portfolio at

www.simonsharville.co.uk

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.

Part of Penguin's Central European Classics series. Cover design by gray318.

 

ISBN: 9780141192833

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.

Learn more about VFS's one-year Digital Design program at www.vfs.com/digitaldesign.

Detail from a book cover design by Roy Kuhlman for How It Is by Samuel Beckett. New York: Grove Press, 1964. PQ2603.E378 C613 1964

Detail of a book cover design by Seymour Chwast for We by Eugene Zamiatin. Translated by Gregory Zilboorg. New York: Dutton, 1952. PG3476.Z34 M913 1952

Book cover of Flight: a Play in Eight Dreams & Four Acts by Mikhail Bulgakov New York: Grove Press, 1969. PG3476.B78 F5 1969

Book cover design for 'Design Icons.'

See 'Bells, book and blessings' – John L. Walters' account of the launch of a book celebrating life in London's Spitalfields.

 

See 'Eye Site'.

Tina Roth Eisenberg alias Swiss-Miss is moderating the panel about book design in St. Gallen with Jost Hochuli and Roland Stieger

Learn more about VFS's one-year Digital Design program at www.vfs.com/digitaldesign.

Photo that accompanied Shelf Appeal blog post January 6, 2008: Britain in pictures.

 

www.shelfappeal.com/2008/01/britain-in-pictures.html

I made this book design to a school assignment last year.

Learn more about VFS's one-year Digital Design program at www.vfs.com/digitaldesign.

Giovanni and Martino Mardersteig.

Book and Type Designers and Printers in Verona/Italy.

Exhibition celebrating 60 Years of the Printing House ‘Stamperia Valdonega

 

– at Museum für Druckkunst Leipzig

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

www.simonsharville.co.uk

Conceptualized and designed cover design.

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