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Rough scans but: Just back from press, the printed covers for Dash Shaw's 720-page graphic novel debut, "Bottomless Belly Button." White and Black ink on Kraft paper covers. Variant covers shown.
One of the joys of working for Fantagraphics-- putting the barcode on the spine without having ten meetings with the Marketing Dept or referencing a policy handbook.
Sometimes Grandma... Forgets My Name is the first book in a series of..interactive books for children coping with the life challenges Alzheimer’s Disease presents. An engaging resource for kids to increase learning, share their feelings and find support, this 30 page illustrated children's book.
Now that is elaborate! Illuminated manuscript from the collection of the Vadiana.
The text is from Livy’s Ab Urbe Condita (Liv.31,2-2)
Spanish writers anthology edited by Words Without Borders for the Embassy of Spain in Washington DC.
Book cover of The Vakhtangov School of Stage Art by N. M. Gorchakov.
Moscow, Foreign Languages Pub. House, 195-?.
Book cover design by Orest for A Casebook on Henry James's The turn of the screw edited by Gerald Willen. New York : Crowell, c1960. PS2116 .T84 1960
This is a book design and execution that I created for Susan Kozel's book Closer published by the MIT press.
It was a class assignment for CO
This is a book design and execution that I created for Susan Kozel's book Closer published by the MIT press.
It was an assignment in a UCLA Design | Media Arts Class. The front portion of the book is comprised of all the text and images, clearly setup into a four row system, which aligns to the four flipbooks at the very back of the book.
This is a book design and execution that I created for Susan Kozel's book Closer published by the MIT press.
It was an assignment in a UCLA Design | Media Arts Class. The front portion of the book is comprised of all the text and images, clearly setup into a four row system, which aligns to the four flipbooks at the very back of the book.
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.
designed by pelayo izquierdo
la noria. luis romero.
círculo de lectores. barcelona.
1970.
120 x 200 mm
I designed this book cover for the project "Recovering The Classics". (recoveringtheclassics.com/8040)
Recovering The Classics is a crowdsourced collection of original covers for 50 of the greatest books in the public domain. All books are available for sale as both digital and softcover editions to support the artists involved. Recovering The Classics is a project of the Creative Action Network, a marketplace for connecting artists with the causes they care about, and DailyLit, a platform for delivering great fiction in short installments.Check out their other campaigns at: thecreativeactionnetwork.com/campaigns
Use of typography, negative spaces, minimalism and your imagination. Those were my keys to design the below cover. Black and white used for the absolute way that the detective's mind worked. The big O, the magnify glass and the letters around, the clues he has to look for. Now, here, we are called to look more careful at the clues in his 12 stories (12 letters) that this book contains, and find the man who is behind them, maybe his figure hides in the dark... and ... our magnify glass spotted his pipe... Hmmm... Is this Sherlock Holmes? :-)
Rap N’ Roll: Pop Culture, Darkly Stated is a collection of essays, musings, art work and pontifications that examine the place where technology, race, music and pop culture intersect. Written by Dalton Higgins, an award-winning journalist, performing arts presenter, broadcaster and author.
Book cover design by Leo Lionni for St. Mawr, and The Man Who Died by D. H. Lawrence.
New York: Vintage, c1953. PR6023.A93 S8 c.2
Book cover design by Ben Shahn for The Comic Tradition in America. An anthology edited with foreword and notes by Kenneth S. Lynn. N.Y., Norton, 1968. PS 509 .H8 L9
This is research we are doing to determine the style & design of our upcoming book on business model innovation...
Willem Sandberg
Experimenta Typografica 2
Mens sana in corpore sano
Designed during World War 2
published by the Galerie der Spiegel, Köln, 1969
CD Packaging for Juno winning Jazz Musician Chris Tarry.
Agency: Rethink Canada
Design: Jeff Harrison
Illustration: Kim Ridgewell
Producer: Kerry Bhangu
Accounts: Daylan Wong
Printing: Metropolitan Fine Printers
Book cover design by Edward Gorey for What is to be done? Tales about New People by Nikolay Gavrilovich Chernyshevsky. New York: Vintage Books, 1961.PG3321.C6 C5 1961
Two brothers and their two boys explore Tierra Del Fuego, Chile - We made this one-in-a-lifetime book as a tribute to their adventures.
Book cover design by Roy Kuhlman for The Theatre and Its Double by Antonin Artaud. New York: Grove Press 1958. PN2021 .A713 1958
Book cover design by George Salter for The Tree of Man: a Novel by Patrick White. New York: Viking Press, 1955.
Tankakenkyu magazine January 2020
Book design: Suzuki Seiichi Design Office
Illustration: Mayako Nakamura
短歌研究社「短歌研究」2020年1月号 第77巻
(2019/12/21)
アートディレクション＋デザイン：
鈴木成一デザイン室 (協力：生沼伸子)
イラストレーション：中村眞弥子
オフセット：近代美術
This is a book design and execution that I created for Susan Kozel's book Closer published by the MIT press.
It was a class assignment for CO
This is a book design and execution that I created for Susan Kozel's book Closer published by the MIT press.
It was an assignment in a UCLA Design | Media Arts Class. The front portion of the book is comprised of all the text and images, clearly setup into a four row system, which aligns to the four flipbooks at the very back of the book.
This is a book design and execution that I created for Susan Kozel's book Closer published by the MIT press.
It was an assignment in a UCLA Design | Media Arts Class. The front portion of the book is comprised of all the text and images, clearly setup into a four row system, which aligns to the four flipbooks at the very back of the book.
カバーの色校があがってきました。良い感じ！
濃い紺とイエローの特色2色（イエローは特注色）+エンボス加工+グロスPP加工
SIZE 166mm X 166mm / CD-ROM付き
ドットマニア（2010.01.20）
Maniackers Design：著+装幀+本文デザイン+ドット絵555点制作などなど。
Book cover design by Robert Flynn for Nerves and Muscles by Robert Galambos. Garden City, N.Y.: Anchor Books, 1962. QP341 .G28
Book cover design by George Salter for Teeth, Dying and Other Matters by Richard G. Stern. New York: Harper & Row, 1964.
O libro de Manuel Rico Verea e Antón Santamarina ten a intención de recopilar e recuperar algunhas das cancións populares que forman parte do noso patrimonio musical.
Organizado por xéneros e temáticas, sempre foi vontade dos autores que o cancioneiro tivese as características dun libro de peto —manexable, transportable e económico— que permitise facer uso del en romerías, seráns, foliadas, festas familiares, etc.
Esta vontade condicionou as decisións de deseño e edición do libro. A tripa estrutúrase por cadernos de 16 páxinas rodeados de dípticos de cor, organizando o contido por xéneros ou temáticas musicais. Cun formato para gardar en calquera peto —105x160 mm— as esquinas da publicación redondéanse para facilitar o transporte e evitar o seu deterioro.
Amáis do pequeno formato, a encadernación co lombo solto permite abrir facilmente o libro e suxeitalo cunha man —sobre todo se se está a cantar mentres se le unha letra ou melodía.
Coa convicción de que os elementos gráficos e visuais do libro deben comunicaran aspectos parellos ao contido, neste caso da cultura popular galega, traballamos con recortes fotográficos dos panos tradicionais —panos rameados— que nos serviron para ilustrar as cubertas e os diferentes capítulos do libro. Recuncando na mesma idea os papeis nos que se imprimen os motivos florais dos panos son papeis gofrados cunha textura que lembra á das telas.
As cubertas cheas de flores queren celebrar a primavera, os maios e o día das letras galegas, día de publicación deste cancioneiro de peto: Eu non canto por cantar.
Book cover design by Milton Glaser for The Evolution of Science; Readings from the History of Mankind. New York: New American Library, 1963. Q125 .C285 1963
Book cover design by Roy Kuhlman for Reason and Energy: Studies in German Literature by Michael Hamburger. New York: Grove Press, 1957. PT343 .H3 1957
Spanish writers anthology edited by Words Without Borders for the Embassy of Spain in Washington DC.
Book cover design by Roy Kuhlman for Dora: an Analysis of a Case of Hysteria by Sigmund Freud.
New York, NY: Collier, c1963. BF173.F675 D6 1963
O concurso arquia/próxima, organizado pola Fundación Caja de Arquitectos, ten como finalidade dar apoio e difusión aos arquitectos do estado nos primeiros dez anos de exercicio profesional.
O encargo requería dar identidade gráfica ao concurso e ao foro arquia/próxima do ano 2012, titulado “Nuevos Formatos”. Os soportes que era preciso deseñar eran: un cartel, un políptico e un catálogo físico e dixital (web) coas obras recoñecidas.
Desde o inicio do proxecto consideramos a relación entre os soportes en base a unha idea e un concepto máis que mediante a aplicación constante dunha gráfica determinada. Coas cores corporativas e co formato do catálogo en papel xa determinados, comezamos a indagar sobre a finalidade do concurso: a visibilidade e promoción dos estudios de arquitectos novos. Con ese obxectivo en mente, e tendo sempre presente o título de 'Nuevos Formatos', pensamos nos fanzines, publicacións autoeditadas moi comúns no mundo da arquitectura desde os anos 60, como base da identidade do concurso, relacionando, a través dese formato, os seus distintos soportes.
Por outra banda, coa intención de comunicar o desgaste que leva consigo o concepto de 'Nuevo' no mundo da arquitectura e do deseño, deseñamos a identidade visual en contradición co título 'Nuevos Formatos', elaborando impresións 'analóxicas' mediante técnicas case en desuso: tipografías de madeira, diferentes plantillas, máquinas de escribir… (vimeo.com/49371560) posteriormente dixitalizadas, continuando coa lóxica da autoedición e do feito por un mesmo (DIY) do fanzine
Fanzines.
Maquetouse un fanzine para cada proxecto seleccionado no concurso (120 fanzines, 1920 páxs.). Os fanzines poden ser descargados dende a páxina do concurso como un arquivo PDF en formato A4 para despois ser impresos nunha impresora doméstica, dobrados e montados cun formato final de A5. Cada usuario pode descargar e construir os fanzines dos proxectos que lle resulten máis interesantes, creando unha colección persoal arquia/próxima 2012. Unhas instruccións de montaxe acompañan a cada pdf descargable.
Carteis e Polípticos.
Para o deseño do material de promoción e difusión do foro e do concurso deseñamos un cartel en formato A0, que dobrado, cortado e grampado construía un políptico/fanzine en formato A5. Imprimíronse tres versións diferentes de cartel segundo o método de impresión da tipografía: stencil (pochoir), plantillas de rotulación e tipografías de madeira.
Catálogo.
Seguindo a lóxica de relación entre os diferentes soportes, quixemos que o catálogo reflexase tamén a idea do fanzine. Dentro do formato xa determinado das publicacións da Fundación Caja de Arquitectos, introducimos un encarte en formato A5 para cada proxecto. En cada encarte, un código QR enlaza coa páxina do catálogo dixital (web) de arquia/próxima onde se pode consultar e ampliar a información do proxecto que aparece no propio libro, ademais de ter a posibilidade de descargar o seu fanzine específico.
Con esta estratexia, contando coas limitacións de espazo do libro e co volume de información dispoñible, o catálogo físico funciona máis como unha presentación de todos os proxectos seleccionados que despois é ampliada no catálogo dixital, onde a documentación de cada proxecto pode ser máis exhaustiva e onde é posible, ademais, incorporar outro tipo de información (videos, mapas, etc.).
Catálogo dixital.
O catálogo dixital (web) deseñouse como un respositorio de todas as obras seleccionadas (120) para que fose posible acceder á diferente información de cada proxecto (imaxes, planos, videos, mapas,…) con facilidade e de maneira áxil. Conscientemente se reduciron os elementos de interación co usuario para facer máis inmediata a navegación. A programación da web se elaborou con criterios de deseño adaptable aos diferentes dispositivos de visualización.
Trofeo.
Para recoñecer as obras premiadas, en vez de deseñar e elaborar un trofeo máis ou menos convencional, e seguindo coa lóxica de adaptabilidade de formatos entre os diferentes soportes de comunicación do premio, deseñamos unha publicación que reunía os 24 fanzines das obras candidatas. Aos autores de cada obra candidata aos premios se lle outorgou unha publicación personalizada, na que o seu fanzine foi impreso nun papel de cor amarela. O libro/trofeo funcionaba ao mesmo tempo como diploma.
Equipo de traballo
deseño.
desescribir
desenvolvemento web
estudio caravana
maquetación
Rebeca Ces e desescribir
deseño e coordinación foro
Xiao Varela (habitat social) e desescribir
redes sociais
Pablo P. Golpe (ergosfera)
fotografías foro
Luis Díaz Díaz
The Week-End Book was a popular compendium of advice as to how to spend a weekend and contained a wide range of information, pastimes and stories. First published in the 1920s by the Nonsuch Press and edited by the redoubtable Francis Meynell along with Vera Mendel it went through various guises and editions, with one being issued quite recently. This 1954 edition uses the 1920s cover design by MacDonald Gill, better known as Max, the brother of the more well-known Eric Gill (he of the typeface Gill Sans). Max was an accomplished artist and designer especially of decorative maps, and this cover is very typical of his style. Max had died in 1947 and so this version was issued posthumously.
This is a book design and execution that I created for Susan Kozel's book Closer published by the MIT press.
It was an assignment in a UCLA Design | Media Arts Class. The front portion of the book is comprised of all the text and images, clearly setup into a four row system, which aligns to the four flipbooks at the very back of the book.