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複島出現在最後一期的設計美力。
這跟我分發四技二專吊車尾一樣的的意思嘛……。
不知道怎麼出現在專欄上的，應該是出版社跟聰威帶來的好運吧。而看他的暱稱不知出現幾次「複島XXX書店完售！」字眼，想必應該.....
Surruralism is a photography coffe table book design based upon and influenced by surrealism and other painting movements, such as pittura metafisica, etc., and consist of landscape, dreams, randomness and hidden worlds. The photographs of Stephen Anderson were taken over a period of several years and touch upon the cycles of time, birth, life, death, joy and sorrow.
snow white book. studio fall 2007.
the book is on the duality of fairy tales, mean to be part of a set, each book criticizing certain aspects and poking fun of classic fairy tales. commentary and criticism on classic fairy tales and how they are interpreted (or misinterpreted) in today's time.
french folding is used to create a hidden layer within the book. at first glance the book seems to just tell the version of snow white (the disney-fied version) that most people are familiar with, but hidden through the pages are commentary and criticism of this tale.
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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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AIGA/NY International Perspective series. Irma Boom in conversation with Debbie Millman.
1/29/2014
Tishman Auditorium, Parsons
Photos by Karen Vanderbilt
Book: Faber and Faber: Eighty Years of Book Cover Design
Author: Joseph Connolly
Publisher: Faber and Faber
Year: 2009
Giovanni and Martino Mardersteig.
Book and Type Designers and Printers in Verona/Italy.
Exhibition celebrating 60 Years of the Printing House ‘Stamperia Valdonega’
Cover of the book "Looking for Janis" by Lucie Baratte
©Lucie Baratte / Looking for Janis
The book is now available worldwide in French on www.lookingforjanis.com
Le livre est maintenant disponible en français partout dans le monde sur www.lookingforjanis.com
Book: Faber and Faber: Eighty Years of Book Cover Design
Author: Joseph Connolly
Publisher: Faber and Faber
Year: 2009
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The Wolf Book, designed in 1990
____
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.
____
We created a small publication called 'The Little Black Book' for the Rose Street Artist Market, showcasing Artists and craft available at the markets.