Book Design and Fine Photography
It goes without saying that one of the many reasons book design is so popular amongst designers is due to its versatility. It’s a specialty that the graphic designer Ana Resende knows well, having executed a myriad of book design projects ranging from books on film, architecture, design and art.
The 2020 edition of NPR’s Book Concierge is here! Take a look at recommended books by category or zoom out and enjoy at look at 2020 in book design, all 383 examples of it. Enjoy!
Bonus: Jason Kottke’s roundup o’ 2020 lists is comprehensive and intelligent, as usual.
It took 850 days, 74 tubes of soy ink, fifteen colours, 660 masters, 690,000 sheets of paper, three fans, two digital Riso duplicators and four people to complete this 360-page book that focuses on one thing: the process of Risograph printing.
I have to admit: I hadn’t heard of risograph printing before — Wiki has a (very) brief intro — but the book looks like something very interesting indeed, along the lines of a Pantone catalog on steroids. Read more at Eye Magazine.
Although books as objects have been around for many hundreds of years, by looking at the history of the dust jacket, we can see how young the modern book design really is.
Book Riot has posted the interesting “The History of Dust Jackets: From Disposable to Collectable” for all of our entertainment, education, and general love-of-books reading.
(Check out their “Why are Books That Shape?” and “The History of Deckle Edges,” too.)
After reviewing hundreds of entries every year, the jury for AAM’s annual Museum Publications Design Competition awards only one publication with the Frances Smyth-Ravenel Prize for Excellence in Publication Design, recognizing it as the best submission overall. This year, the winner is David Levinthal: War, Myth, Desire, a publication of the George Eastman Museum in Rochester, New York, designed by Design Monsters studio. We recently talked to the book’s designer, George Corsillo,to learn more about the concept behind his prizeworthy design: a four-volume retrospective of the artist David Levinthal’s photographs which took two years to complete.
In fact, for all his acclaim in the field of book design, Mendelsund himself isn’t particularly fond of book covers, generally seeing them as an impediment that inevitably colors a reader’s perception of a book. “As much as I love book covers — I love making them, it’s fun — I don’t love the fact that there’s somebody between me and the text.”
These days, actually, the renowned book designer who never wanted to be a book designer tends to simply rip the covers off his books altogether. “If it’s a paperback, I’ll rip the cover off,” he says. “The books that are most important to me in my life don’t have covers on them.”
I didn’t know Peter Mendelsund’s name off the top of my head [Memory not what it used to be? —Ed.], but we’re sure familiar with his work, such as The Girl with the Dragon Tattoo and the Atlantic’s recent redesign. And what an interesting relationship with book design he has. Read more
Egyptian designer Moe Elhossieny talks us through why he launched his Design Repository and what he’s already learned about Arabic book design from the collection.
“The digital Letterform Archive has made nearly 1,500 objects accessible to browse online through over 9,000 high-resolution images,” Hyperallergic notes. Some good background here, too. Check it out.
“Book design has become more important than ever – but what makes an iconic jacket, asks Clare Thorp.” BBC Culture takes a look.
Once again, it’s time for the annual 50 Books, 50 Covers awards!
My favorites: Blackness at MoMA, Specimen Days, 14 books by Gustavo Piqueira • 2012-2018), Jacob Lawrence: The American Struggle, and … not all of them, certainly. Interesting and challenging. Definitely worth checking out!
Washington Square News discusses NYU’s attempts to — like pretty much everything else — get book design online:
The studio course focuses on book art and teaches students about the production of books, from interior and exterior design to binding techniques. Without the physical studio space and the materials it provides, digital learning has paved an unprecedented pathway for the course to continue.
Way back in the day — that is, before the mid-nineties — publishing on the Mac consisted of Quark XPress. Okay, sure, there was Aldus Publisher and some bit players, but it was basically Quark or nothing. I used Quark in book design back then, and … basically hated it.
I was one of the early adopters of InDesign, dragging co-workers and companies along with me, as part of my time working at Tropicana. Not the juice cartons themselves — those were done in Illustrator — but the ancillary stuff, like marketing materials, sell sheets, and so on.
AppleInsider ran a piece a while ago (I’d missed it, initially), “How Adobe InDesign took over publishing with Steve Jobs’ help.” Good history for those of you who don’t know about those days or want a trip down memory lane, best summarized, in fact, by a commenter on the article: “This covers an interesting arc. Adobe went from an ambitious upstart trying to unseat an established, albeit arrogant, standard, to becoming the arrogant standard.”
From DesignWeek, a great story on AIGA’s 50 Books | 50 Covers.
From Vox:
“Publishing spent the 2010s fighting tooth and nail against ebooks. There were unintended consequences.”
Fascinating look at the how’s and why’s of traditional books vs. ebooks. (Needless to say, I’m firmly on the side of the traditional printed version.)
