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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.
Book cover design by George Salter for Cliffs of Fall and Other Stories by Shirley Hazzard. New York: Knopf, 1963.
Book cover design and typography by Edward Gorey for François Villon: a Documentary Survey by D. B. Wyndham Lewis Garden City, N. Y.: Doubleday, 1958, c1928. PQ1593 .L4 1958
Book cover design by Jule Feiffer for Little Murders: A Play by Jules Feiffer. New York: Random House, 1968. PS 3556 .E42 L5
Book cover design by Elaine Lustig for Dionysus in Paris: A Guide to Contemporary French Theater by Wallace Fowlie. New York : Meridian Books, c1960. PQ556.F6 D5 1960
Book cover design by Leonard Baskin, typography by Edward Gorey for The God of the Witches by Margaret Alice Murray. Garden City, NY: Anchor Books, 1960. BF1566 .M8 1960
This book is designed to please the Grandparents! With great photos of this family’s two adorable children. Designed as a small 7 x 7 “brag” book.
Some Penguin English Library classics on proud display in a Penguin donkey.
The donkey was designed in 1939: the V&A have a little bit of history www.vam.ac.uk/content/articles/p/isokon-penguin-donkey-bo...
Book cover design by Rudolph de Harak for A Coney Island of the Mind: Poems by Lawrence Ferlinghetti. New York: New Directions, 1958. PS3511.E557 C6
Curator’s introduction, showing at left a detail of one of Ms. Watt’s blanket towers, which range from eight to thirty feet in height. Here you can see the type resting on two baselines: one near the bottom of the page, reserved for the main narrative and one about a third from the top, for captions and other didactic content. Headlines hang below the top baseline to draw the two areas together and trigger the figure/ground relationship between the type area and the pale background tint, which is both an organizational tool and a nod to the stripe proportions on trade blankets.
Ilonka Karasz (1896-1981) was the foremost woman modernist designer in the United States in the first half of the twentieth century. She designed wallpaper, wrapping paper, textiles, furniture, interiors, nurseries, book jackets, and magazine covers, among other things.
New York, Not So Little and Not So Old was one of two books by Sarah M. Lockwood designed by Karasz in 1926. (The other was Antiques). Of particular note are Karasz's maps, a skill she leant to many books. For more information and other examples of Karasz's work as a cartographer, see my blog post:
wetoowerechildren.blogspot.com/2010/06/ilonka-karasz-cart...
All images are copyrighted © and owned by their respective holders.
Book cover design by Ellen Raskin for A Passage to India by E. M. Forster. New York : Harcourt, Brace & World, 1952. PR6011.O58 P38 1952 c.1
Regarded as one of the very finest books from a fine press, and set in their own Golden Cockerel type designed by Eric Gill in 1929, it is interesting that what I have read about this book is the feeling that the engravings and the lettering are not a 'prefect marriage'. Well, I wouldn't mind a copy! Mary Groom (1903 - 1958) was a fine wood engraver as can be seen here in this edition of Milton's Paradise Lost.
Anthropomorphic imagery is well established in western society. Examples can be found in everything from arts and literature to religion and pop culture. The school children’s Valentines of the 1940s and 1950s represented the spirit of anthropomorphism in a visually delightful and simplistic manner. Their appeal stemmed from bold colors, well defined human- like objects and the double entendre, a figure of speech in which a phrase or word may be understood in one of two ways. For example, a Valentine with the image of a canoe offers double meanings for “canoe” (can you), “oar” (or) and the suggestion to “paddle around.” We created realistic mockups of these two-dimensional valentines to showcase these charming and sweet cards for the author, Robert Rightmire.
The Cresset Press was formed in 1927 by Dennis Cohen and published a fascinating selection of books for 40 years until it was sold upon the retirement of the two owners retired in 1966/7. This small catalogue is very avant-garde; the cover and a series of black pages with red text, each overlain with a sheet of acetate describing the title and author. Spirally bound this copy has suffered a little but it remains an interesting item. At times the Press had some association with James Shand of the Shenval Press and this certainly has a 'feel' of some of their work.
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.
We were contacted by our client, Donna Scoates Nixon of Voices of Value to design a series of books compiling quotes relating to specific topics. The first in this 7 x 7 book series is a call to “Action”.
Stillness is a collection of ambient photobooks, a year long series of experiments with ethereality, materiality and time. Eleven editions were published by FoAM on or near the new moons of 2015/2016 and a limited number of prints from each cycle were made. The final iteration is a collated selection of photographs from the series, with an introduction by Timothy Morton and epilogue by Maja Kuzmanovic, published in an edition of 300 by MER. Paper Kunsthalle and FoAM.
The book is available at the MER. webshop, or if you are further afield from Anagram Books or Perimeter
Book cover design by Milton Glaser for Man against Himself by Karl A. Menninger. New York: Harcourt, Brace & World, 1964. HV6545 .M45.
Finished copies of Will Steacy's collection of essays, "The Photographs Not Taken" bound with a three hole pamphlet stitch using kitchen twine.
Catalogue, guide and ticket of fair Design Miami / Basel 2009 designed by London office Madethought.
photographed by
Frank Dinger
BECOMING - office for visual communication
Fern Bisel Peat illustration from The Sugar Plum Tree and Other Verse by Eugene Field. Akron, Ohio; New York, New York: The Saalfield Publishing Company, 1930.
The rear cover of the "Marine Manual" issued as a piece of publicity by - yes, Wakefield's Castrol Oils! It is quite a stylish item, along with the equally 'deco' style front cover. Castro,is still a huge brand but it is no longer owned by C C Wakefield & Co Ltd, the company founded in 1899 having sold out in 1966 to Burmah Oil and now owned by BP. No artist or designer is given.
This is research we are doing to determine the style & design of our upcoming book on business model innovation...
This beautiful book is a compilation of photographs and journal entries from several couples who took a lifelong trip to Holy Land. We used the best images from each of the couples to create this keepsake as a gift for all who traveled to this special place.
Book cover design by Ivan Chermayeff for The Hero: a Study in Tradition, Myth, and Drama by Lord Raglan. New York: Vintage Books, 1956. BL325.H46 R3 1956
Book cover design by Roy Kuhlman for The Palm-Wine Drinkard and his Dead Palm-Wine Tapster in the Dead's Town by Amos Tutuola. New York: Grove Press, 1953. PR9387.9.T8 P3 1953
Book cover design by Joe Del Gaudio for The Colossus and other poems by Sylvia Plath. New York: Vintage Books, 1968. PS3566.L27 C6
Book cover design by Elaine Lustig for New Poets of England and America edited by Donald Hall, Robert Pack, Louis Simpson; introd. by Robert Frost. Cleveland: World Pub. Co., 1957. PS614 .N4 1957