View allAll Photos Tagged BookDesign
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.
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.
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
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
Giovanni and Martino Mardersteig.
Book and Type Designers and Printers in Verona/Italy.
Exhibition celebrating 60 Years of the Printing House ‘Stamperia Valdonega’
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
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....
Book cover design by Robert Vickrey for Pasteur and Modern Science by René J. Dubos. Garden City, N.Y., Anchor Books, 1960. Q143.P2 D79
Even before seeing this book, I figured that the cuts should be used atop a rule. The figures are obviously supported by something.
We created a small publication called 'The Little Black Book' for the Rose Street Artist Market, showcasing Artists and craft available at the markets.
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：
____
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.
____
Book cover design by Bill English for On the Road by Jack Kerouac. New York: Viking Press, 1958. PS3521.E735 O5 1958
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