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Detail of a book cover design and typography by George Salter for Frieda Lawrence: the Memoirs and Correspondence. Edited by E. W. Tedlock, Jr. New York, Knopf, 1964. PR6023.A934 Z52 1964
The Best of Weddings Book Designs 2010-2011 is a showcase of the wedding book designs Picturia Press created this year.
Cover design of «Mamsell Iversen», German translation of this novel by young Norwegian writer, Sigmund Løvåsen. 128 pages, hardcover, published in March 2011 by Verlag Martin Wallimann, Alpnach. Text is once again set in TMF Patria by Hrant Papazian, this time together with its sister typeface Harrier and combined with Evert Bloemsma’s FF Balance.
Cover photography by Per Gabriel Olsen (top), Juha Huiskonen via iStockPhoto (bottom).
(Pardon the picture quality on this one.)
This is research we are doing to determine the style & design of our upcoming book on business model innovation...
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.
Giovanni and Martino Mardersteig.
Book and Type Designers and Printers in Verona/Italy.
Exhibition celebrating 60 Years of the Printing House ‘Stamperia Valdonega’
This is the fourth coffee table book that Picturia Press has designed for German photographer, Hellmut Issels. The images appearing in this book were shot with an infrared camera in the larger temple area of the Angkor Wat complex in Cambodia, as well as the temples of Angkor Thom and Bayon.
This book was designed for our client in Australia, the Kenthurst Bushboys Soccer League. They wanted to create a book for their team and fans for the 2011 year. The 230 page book consists of the season’s match reports, including beautiful images and highlights from each of their games. It also included player profiles, team events and a recap of their season.
Book design & artwork of AOI Images 32 - Best of British Illustration 2008.
Design & Artwork: Simon Sharville
Illustrations: Tulips by Jill Calder
© 2008 SImon Sharville / AOI
View Simon Sharville's portfolio at
Giovanni and Martino Mardersteig.
Book and Type Designers and Printers in Verona/Italy.
Exhibition celebrating 60 Years of the Printing House ‘Stamperia Valdonega’
www.worldcat.org/oclc/19813982
Mikhail Anikst ( www.anikstdesign.com ) has created some of the most memorable and accomplished book designs in the USSR in the 1970s and 1980s. For the last 20 years he has worked out of his London office for some of the most prestigious clients in the world.
I recently interviewed Anikst for Interni Russia magazine. For full text of the interview see here: mbeletsky.livejournal.com/16294.html
From Henry Cohen’s series of inventive photographic covers for Gallimard's Idées series in the 1960s and early 70s.
See Rick Poynor’s ‘Bright Idées’ on the Eye blog, and his article ‘The shape of a pocket’ in Eye 81.
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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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