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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：
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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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Book cover design by Bill English for On the Road by Jack Kerouac. New York: Viking Press, 1958. PS3521.E735 O5 1958
The book Nuotraukos dokumentams / Photographs for Documents contains 40 double-portraits taken by Vytautas V. Stanionis (1917–1966) in Seirijai, a small town in southern Lithuania and commissioned by the Soviet authorities in 1946. Usually two unrelated individuals were portrayed in each photograph due to shortage of materials in postwar Lithuania; portraits that were later separated. The images were found years later by Vytautas’s son, also called Vytautas, who was exploring his father’s archive.
Berlin based book designer Tom Mrazauskas created this beautiful publication, crafted with special attention to detail. He chose Soleil, by Wolfgang Homola, as the main typeface. Every image was visually cut into half by folding the pages, avoiding repetition and creating a different rhythm. The duo-tone plates were printed on thin uncoated stock. Published by Kaunas Photography Gallery in 2013 the book has received several awards.
The designer Tom Mrazauskas told us how Soleil was the perfect fit for this book. His starting point was a "geometric typeface, used all over the Soviet Union, mostly for setting text in magazines, but he wanted to have a modern version". Mrazauskas also pointed to the parallels between the cold approach of the passport photographs and the pure geometrical forms of the typeface; and how at the same time there is a personal character in the photographs and a humanistic touch in Soleil. "Everything worked together".
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
"To Infinity and Beyond!: The Story of Pixar Animation Studios", 2007. Published by Chronicle Books. Design by Tolleson.
Book cover design by Leonard Baskin , typography by Edward Gorey for From Ritual to Romance. by Jessie Laidlay Weston. Garden City, N.Y., Doubleday, 1957. PN686.G7 W45 1957
This is research we are doing to determine the style & design of our upcoming book on business model innovation...
From the introduction:
If I was to change this life I lead,
I'd be Johnny Tomato Seed.
'Cause I know what this country needs:
homegrown tomatoes in every yard you see.
— Guy Clark
Dan brought home this most excellent book from work today. It's one he designed and art-directed, and I swear it's not only because I love him that I think this pudgy little book is the best.
Just look at it! So awesome. Storey is going to sell the shit out of this book. Now, how to convince them to make it into a website...
Also -- my goodness, it's 5 PM and still a little sun in the sky!
"Deconstructing Cute" is the process book to "Design Benign", my senior thesis project. This book contains the graphics I made during my research, my sketches and thought process.
Design Benign is an ongoing research project about the role of cuteness in product design. You can read excerpts from it, as well as new material, at design-benign.blogspot.com
Nicole Peterson 2008.
Book cover design by George Maas for Plays by Jean Anouilh. New York: Hill and Wang, 1958. PQ2601.N67 A2 1958 v.2
1967 Penguin edition. Cover by Alan Aldridge.
Postcard in Postcards from Penguin.
Blog post at http://greaterthanorequalto.net/blog/2009/11/postcards-from-penguin/
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.
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：
"Deconstructing Cute" is the process book to "Design Benign", my senior thesis project. This book contains the graphics I made during my research, my sketches and thought process.
Design Benign is an ongoing research project about the role of cuteness in product design. You can read excerpts from it, as well as new material, at design-benign.blogspot.com
Nicole Peterson 2008.