As summer turns to fall, let’s take a look at Type 1 fonts, a library index, revolutionary posters, posters for “get lectured,” and two different photography contests. Let’s get right into it.
Adobe discontinues a standard: The Type 1 font
Back in the early days of desktop publishing — up to about the turn of the century, give or take — everything typographic used PostScript, a programming language by Adobe. (Other stuff, too, like Adobe’s vector program, Illustrator.) PostScript fonts were the so-called “Type 1” variety, made up of a bitmapped “suitcase” that housed the standard display sizes and an outline file used by the output device to print clean, what-you-see-is-what-you-get beauty.
The Apple LaserWriter Plus and some vintage Macs: nostalgia! (Note the book — heh.) Image: YouTube.
Companies from Apple to Microsoft didn’t want Adobe to hold a monopoly on output tech, so later fonts evolved into TrueType and then OpenType, the latter of which is the standard today.
So much so that Adobe has now discontinued Type 1, and they, along with Microsoft, have stopped being supported. Which is understandable and yet a shame: some of us still have hundreds of them.
It’s Nice That has a post that reminds us of a library’s central purpose: to leave knowing more than you did when you entered. “The library, in our shared public imagination, is a special place,” the author argues — reminding us of what libraries were established to do, often distinctly different from the modern reality (especially in the United States).
In the library you begin to be convinced that language matters, that words have the power to clarify, to rouse, to make us feel something, to help us understand the political and cultural features of historical and contemporary moments.
Lola Olufemi, It’s Nice That
All the Libraries in London. Cover design: unknown. Image via It’s Nice That.
All the Libraries in London does something artistic with a simple listing, elevating it, reminding us how compelling the ideal that libraries represent really is:
This is a political and artistic listing, one that invites the reader to rediscover their own memories of their local library as a site of discovery. The book’s authors invite us to reflect on our personal relationship to libraries as well as the necessity of collectively securing their future existence.
Lola Olufemi, It’s Nice That
Alan Kitching, Durning Library. Image via It’s Nice That.
We need more of this everywhere, but especially here in the States. Meanwhile, check out this great item at It’s Nice That.
Special Bonus #1: Another British treasure, via the very British Antiques Roadshow (a British original, natch): this incredible poster by Ralph Steadman.
Ralph Steadman’s Where the Buffalo Roam (1980) poster. Image via Wikipedia.
Special Bonus #2: British book designer Steve Leard has launched a new book design podcast, Cover Meeting, featuring interviews between Leard and fellow book designers on the work, the industry, and more. The Bookseller has more.
Cuban Movie Posters. No, Really.
While we’re on the subject of great posters — and It’s Nice That — let’s talk about how Cuba’s revolution-era political posters transformed their poster design for films. Appropriately enough, a new film, El Cartel Cubano, highlights these amazing (and, likely, never seen before) items.
Besos Robados, ICAIC, by Sotolongo & Carole Goodman. Image via It’s Nice That.
“How come our posters in the US aren’t this beautiful? What did this say about the priorities of the revolution? What did the medium or choices in the scarcity of materials used say about the economic situation in Cuba?” It’s these questions which form the bedrock of El Cartel Cubano, a fascinating and tender tribute to the artists on the island.
Adrienne Hall, co-director, El Cartel Cubano
Sur, by Michael Myiares Holland. Image via It’s Nice That.
I have to admit: this isn’t a subject I would have leapt at, but It’s Nice That sold it. Awesome.
Get Lectured (on Architecture)
Closing out our trifecta of great posters, Archinect‘s Get Lectured series brings us these fantastic items from their Fall 2023 series:
Woodbury University School of Architecture’s Fall 2023 lecture series.The University of Texas at Austin School of Architecture’s Fall 2023 lecture series
Going to soapbox a little here: pay-to-enter photo contests aren’t usually something I want to spread the word about. So ArchDaily‘s basically-a-press-release, “URBAN Photo Awards 2023 has announced its list of Finalist Photographers, marking the penultimate stage of the international contest,” was guaranteed a pass.
But there’s a problem: some of the photographs are really compelling.
Winners of the 2023 Black and White Photography Awards
Another contest, yes. They’re everywhere. But … wow.
Street Lights – Ottawa, by Gareth Jones, category winner, architectureAnother mushroom? By Hector Ballester Ballester. Silver mention, architecture.Alamillo bridge, by Manuel Ponce Luque. Finalist.The concert, by Helena García Huertas. Finalist.Reflections on the stairwell, by Max Dobens. Finalist.
And that’s just the buildings/architecture — there are portraits, street photography, landscapes, and more. A reminder to aspire, every day, with every image.
The August heat is met with some refreshingly cool items for you this time: beloved movies reimagined as vintage paperbacks, graphic design on the Internet Archive, and winners of the 2023 iPhone photography awards. Plus, a bit on social media that hopefully won’t leave an aftertaste. Let’s dig in.
From the aged look, illustration choices, and director-as-author to the logo and occasional price, these are all … perfect.
Volume One is 100 titles, and while that book is sold out, prints are available at his website. The items in Volume Two, due this month, are guaranteed to be awesome.
Graphic Design on the Internet Archive
Emigre #20 – Expatriates. Courtesy of the Internet Archive via archive.digital.
I don’t always link to these contests — it often seems like the publicity (and rights!) are all about the folks holding the contest rather than the people entering them — but I often look, and am always impressed with the quality coming out of a “simple” iPhone.
Long Nguyen, France – 1st Place, Travel – “Last Night before Xmas”
Scott Galloway, United States – 1st Place, Nature – “Wonder Wheel”
And while both of the above are (relatively) recent phones, in the latter case showing the macro capabilities of an iPhone 12 Pro Max, even older phones can highlight the talent of the person using it:
Derek Hager, United States – 3rd Place, Photographer of the Year – “Tucson Morning”
I’m not going to spend much time on this; I eschewed pretty much all forms of social media years ago now, and don’t regret it. That said, I do keep up with social media in the meta sense (a word that’s been stolen, as far as I’m concerned, by — wait for it — a social media company), and have noted the pain and concern associated with the implosion of Twitter.
While this conversation started with Nick Heer and the always-excellent Pixel Envy, it’s obviously evolved as the year has seen one extraordinary cage fight event after another.
Threads on Apple’s App Store, via the BBC.
For the past decade, It’s been all but required for serious brands to maintain a social media presence […] yet instead of scrambling to claim digital real estate across all these newly emerging platforms, some companies are choosing to be more judicious about which platforms they choose to join. In some cases, they’re learning from brands who jumped the social media ship years ago.
Chris Stokel-Walker, BBC
The quote above, from the BBC, attempts to answer the question, “Why your favourite brand may be taking a social media break.” Short answer: it’s complicated. I’d argue there’s an even shorter answer — it’s smart! — but for people and brands that aren’t yet established, social media is often key to discoverability.
This may be especially true for artists, designers, photographers, and others in the self- and small-business-employed creative field. Indeed, let’s go to a great source for those in the arena, Creative Boom, who recently spent a minute asking, “Creatives are saying social media is over… so what next?”
Like any new craze, it was fun for a while. But there’s certainly nothing new about it any more. Facebook’s now been around for almost two decades. Twitter’s 17 years old. Even Instagram has reached its teens. And while many of us joined these platforms during their fun, “anything goes” eras, when everything was about the users, now it’s all about the algorithms and their use to make venture capitalists vast amounts of money.
Tom May, Creative Boom
While I agree that social media is a mess and has been for a while, I’m absolutely not going to tell you to give it up — only to remind you that I have given it up and continue to be completely okay with the decision.
I do want to ask you, though, to choose wisely:
Facebook’s “Threads (an Instagram app),” their answer to the Twitter/X debacle, as shown via Apple’s iOS App Store privacy report.Tapbot’s “Ivory,” available in Apple’s iOS App Store and showing that app’s privacy report, for the Mastodon social platform.
Enough said. Turn off the computer, go forth, and enjoy a beautiful summer’s day.
Since its inception in 1923 as the Fifty Books of the Year competition, this annual event highlights AIGA’s continued commitment to uplifting powerful and compelling design in a familiar format we know and love. As book jackets became more prevalent, the competition evolved with the field to acknowledge excellence in cover design. Beginning in 1995, the competition became known as 50 Books | 50 Covers.
AIGA Press Release
The jury and I were very impressed with both the quantity and quality of the entries this year, which made choosing only 50 extremely difficult. Among the trending techniques this year were use of exposed bindings and elaborate page sequencing and mixed paper choices. For me, there was a greater overall sophistication in book design, with a mix of aesthetically beautiful and graphically brash approaches in the final choices.
Andrew Satake Blauvelt, Director, Cranbrook Art Museum (Chair)
As usual, there’s some overlap with various lists of “best of 2022” — here’s Foreword’s — but, as LitHub puts it, these are the best book [designs] of 2022 that you (probably) haven’t seen.
A selection of my favorites, in alphabetical order:
Cover design by Mary Austin Speaker
Simplicity itself — along with some awesome block type — add up to a great cover. (Love the angled blurb, too.)
Book design by Zack Robbins and Bentzion Goldman
One of the great things about this post is the “50 Books” part; this cover’s okay, and the spine more than okay, but it’s the interior design that really wins in my book (pardon the expression):
Book design by Zack Robbins and Bentzion GoldmanBook design by Zack Robbins and Bentzion Goldman
Kudos: the photography is great, but the spread above is artistic in wonderful way.
Book design by Kimberly Varella.
The trend, mentioned above, to mix paper stocks and styles is shown to full effect here. This book has too many great examples to post; see more.
Meanwhile, Uncovering Singapore’s Traditional Chinese Puppets may not be a title you’d automatically reach for, but…:
Book design by Alvin Ng and Jesvin Yeo.Book design by Alvin Ng and Jesvin Yeo.
This is an interesting, compelling cover and jacket design as shown above. However, once again, rather than post it all here, I’m just hoping to whet your appetite — you need to see this one unfold (literally).
Cover design by Raúl Aguayo.
Great colors, great combinations, great cover.
Cover design by Vi An Nguyen.
I’m always a sucker for photographs of practical items used in ways that make book covers great, and this one’s a shining (pink) example.
Book design by Maria Elias.
There’s so much great design work done in the children’s book market it’s not even funny. The first of two great examples. (See more from this title.)
I’ve highlighted this design before, but every time I see it I like it more. Glad to see it as an AIGA 50 Covers winner.
Book design by Brian Johnson, Michelle Lamb and SilasMunro.
Typographic Messages of Protest, indeed — done in an appropriately powerful way. The suggestion of motion is a great touch.
Cover design by Chris Allen.
“Block party,” defined. Excellent.
Book design by Jay Marvel.
The second children’s title on this list, including an interesting and distinctive style. (See the interior of this book.)
Again, these are only some of my favorites — there are many more, all of which deserve a look. Congrats to all the designers who made these title happen and thanks to the AIGA for this annual delight.
The mission for these posts is simple: independent, unrelated items which add up to something interesting. This time, it’s nifty type, aka NFTy.pe, photographic AI (or not), the 2023 Logo Trends Report, great London Review of Books illustrations, and a worthy art book list hijacked for a rant on stickers. Boom!
Better Than it Sounds: NFTy.pe
Typefaces have become, from this designer’s point of view, become commodities — perhaps even part of a broken system. Most clients don’t have a budget for unique type, there are too many spread across too many different sites, and, as Creative Boom puts it, “ownership has become poorly policed, if not non-existent.”
NFType really flips the script on all of that and attempts to reimagine the industry from creation to sale. In a nutshell, NFTy.pe uses a combination of modular type design and generative scripts to create fonts with unique visual attributes. The upshot is that no two character sets are exactly the same. And thanks to smart contracts and embedded metadata, ownership is quick and easy to verify.
— Craig Ward, NFTy.pe creator, via Creative Boom
Create a unique typeface that rewards, in more ways than one.
As pointed out, it’s not just for type users:
There’s a lot of work to be done to put some distance between the dumpster fire that represents much of the NFT space and projects – like this one – with actual utility. I wouldn’t vouch for the worth of a lot of what I’ve seen out there, but the underlying tech – the smart contracts themselves – [is] actually genius and will be a game changer for any industry where provenance is a key factor – agriculture, property, fashion etc.
This year has been centered around AI, it seems — and, as illustrations go, some of the results are indeed a new form of art. Take this one posted by Dezeen as part of their AItopia competition:
Created by Midjourney for Daniel Riopel.
Fantastic. Its creator, a production technician in the prefabricated housing industry, deserves major kudos for describing something to the Midjourney engine that’s intricate and, if I dare use the term with AI, creative. (Several of the images there are excellent — check ’em out.)
That said, I’m not a fan of articles like PetaPixel‘s recently-posted “Photographers May Have to Embrace AI, Whether They Want To or Not.” Simply put: no. I don’t have to embrace it, because nothing has changed — either I can get the photograph I want using the cameras and lenses I have or I can’t. I’m not going to “generate the fill,” pure and simple. (I don’t control the computational photography my phone produces, but Apple isn’t prone to creating what isn’t there.)
I’ve been trying to write on this subject for a while, without success. Possibly because I don’t need a longer version of the above paragraph, possibly because it’s something else I haven’t been able to articulate yet — even to myself.
The 2023 Logo Trends Report
It’s back! BrandNew points us to the latest in styles and, as advertised on the tin, trends:
“Sonics,” part of the 2023 Logo Trends Report.“Ritz,” as in the cracker, part of the 2023 Logo Trends Report.
Always an interesting read, including this fantastic tidbit directly related to the previous section:
“Don’t worry about AI stealing your job. To replace graphic designers with AI, clients will need to accurately describe what they want. We’re safe.”
— Bill Gardner, LogoLounge
Read the full report, “a whirlwind of ideas, symbols, and AI, evolving how creators like us create,” at LogoLounge.
Illustrations at the London Review of Books
Because we cover books here often (pun intended), an article on Jon McNaught’s awesome illustrations for the London Review of Books absolutely caught my eye. “A collaborative relationship,” it’s called — and the results produced not only illustrate a huge variety of subjects in a consistent style, but do so in a way that delights:
A great illustration by Jon McNaught. Of the examples posted, there’s not a single one I don’t like. Copyright Jon McNaught.
Since 2011, Jon has been collaborating with the renowned literary journal, creating works that have a quietly mesmerising quality. His scenes breed comfort with their universality, but also their ability to evoke specific memories and feelings in the individual viewer. Through his covers, Jon artfully captures the essence of everyday life by representing the vastly contrasting nature of British weather, plus the uniqueness of London’s architecture, green spaces and public transport.
As usual, whenever I see something like this, I’m going to do something else at the same time: mine it for potentially great book design. Which, if you’ll indulge, leads to this short rant: I hate good covers marred by stickers.
“Read with Jenna?” Seriously?
Solid cover. Soooo, who’s Jenna? Is she important enough to mar the cover with? (I DuckDuckGo’d the answer: maybe … if you watch television. Not sure that’s the audience publishers should want to cater to.)
This time, the “sticker” is National Book Award Finalist. Better, but still.
Another solid cover — perhaps even really good, something that’s appropriate for a title up for the National Book Award. Real shame, then, that the sticker gets in the way, winding up completely distracting from the very nice circular title treatment (I’m sorry I don’t know either book designer to list here.)
I understand that it’s a little like trying to hold back the tide with a shovel, but it’s something I needed to express. [/rant]
Bonus #2 (amazing):Via Kottke, a fantastic poster and perhaps better question:
Poster for the 2023 International Book Arsenal Festival, by Art Studio Agrafka
A book festival. During a war. In a city under martial law. While schools and legislatures here in the US ban books about Black and LGBTQ+ experiences based on bad faith complaints of tiny fundamentalist parent groups. Tell me, who’s doing democracy better right now?
— Jason Kottke, Kottke.org
That’s all for early July, folks. Go forth and make your summer a better place.
This time, several items related to books and bookstores; two more — possibly the last two — from the automotive logo category; and PRINT Magazine’s 2023 roundup of great design.
Book Four-For
AI book covers? Here, now.
Creative Bloq, which I wasn’t familiar with, has a post up that’s only here because it’s the first I’ve seen of what is sure to be a trend: AI imagery on a book cover.
Image: Bloomsbury UK (Also: Where’s the body to go with the head?)
“Causing controversy,” they say, in that…:
[F]or a while now, with concerns over copyright and ethics plaguing text-to-image generators. Perhaps the most existential worry of all is the idea that AI could put human artists out of work – and while many still find the idea fanciful, we’re already seeing examples of AI-generated art being used commercially.
— Daniel Piper, Creative Bloq
The article itself has a hint of click-bait about it, what with Twitter users spotting a NY Times bestseller but complaining about the UK version of the cover design . . . but the larger question of AI coming for the book designers everywhere is valid.
Then again, AI imagery has the potential to reshape much of the creative landscape. Let’s hope — hope! — that it’s deployed ethically.
B&N’s Market Repositioning
Image: NYTimes (modified)
BookRiot asks whether Barnes & Noble’s new presentation as “a local bookstore” — something that’s part of the community in a way that Amazon can never be —is genuine, let alone successful. (We have a B&N here in Macon, which I visit infrequently, and which doesn’t feel “local.”)
Background: The BookRiot article (and the image) above ultimately stem, I believe, from a NY Timesoption piece from 2018.
Temples of Books
As regular readers know, I’m a huge fan of combining books and photography. Naturally, great photographs of great libraries strike just the right chord:
Phillips Exeter Academy Library, Exeter, New Hampshire
Positioning these spaces as intellectual havens, Temples of Books highlights their wide array of offerings, including botanic gardens, archival repositories, and of course, room to read. “As an institution that can curate knowledge, scrutinize the status quo, and encourage education, the library is more important today than ever,” a statement says. “This responsibility is only growing as the freedom to publish on all manner of channels increases.”
— Grace Ebert, This is Colossal
Instant wishlist item!
Take Action for Libraries
Image: everylibrary.org
Simple brilliance: a handy step-by-step guide on what to do if you don’t like a book at your local library.
Carmaker Logo Updates: Porsche and JLR
Jaguar Land Rover > JLR
No, that’s really it.
Formerly Jaguar Land Rover, but generally known in the industry as JLR, the British company1Technically, it’s an Indian company, as JLR is a subsidiary of the TATA conglomerate. decided to have a FedEx moment and rebranded. Alas, Paul Rand was unavailable, so there’s no brilliance in the execution. (We’ll absolutely leave whether walking away from Land Rover as a brand is a smart move for another, longer discussion.) Motor1 has the details.
Porsche > Almost all other mainstream car brands
There’s a new Porsche logo!
The new 2023 version of the Porsche logo. (Image: Porsche)
That’s right: it’s a very subtle change. But it’s a significant one, perhaps because it’s only the fifth in the company’s 75-year history:
All five Porsche badges. (Image: Porsche)
The biggest changes are the backgrounds and the prancing horse in the middle, which is completely redrawn. (And, yes, has more than a passing — heh — resemblance to Ferrari’s.)
PRINT reminds us that not everything is digital these days — so much of the work still goes on paper or packaging — in their 2023 roundup of great stuff:
The 2023 PRINT Awards celebrated outstanding design in every shape and form, from the delicate texture and exquisite form of print to digital design that married technical skill with precise craftsmanship.
— PRINT Magazine
The best in show is a brilliant environmental design, the annual reports category is oddly satisfying (I didn’t know that Land O’ Lakes is a cooperative that owns Purina, for instance), the editorial category contains brilliance, and many, many more worthy of a design lover’s attention.
Sadly, their book design category is a bust. I like “The Every,” but pretty much any of my Best of 2022 picks run circles around it (and the other two choices):
The Every as photographed by PRINT.
But there are gems. I really like Bakemono, for instance, a winner in the fonts category and the best monospaced font I’ve seen:
Italian foundry Zetafonts brings us Bake Mono.
It’s a long article (they call it a 74-minute read!), but when you have a moment, grab a drink and an iPad and enjoy — hopefully as much as I did.
And that’s it! Settle into summer, and stay tuned for more soon.
1
Technically, it’s an Indian company, as JLR is a subsidiary of the TATA conglomerate.
Lettuce first apologize for not having an update in a minute, but I’m going to try to make up for it with this word salad delicious selection of items I’ve been setting aside: ABCD book design, impossible book design, some thoughts on DPReview, Architecture in Music, Hoefler’s typographic illusions, and, because you deserve it, the Great Wave in 1-bit. Enjoy.
Book Design #1: ABCD
“Winner of All Winners,” says The Academy of British Cover Design (ABCD):
Cover design by David Pearson.
“Pearson’s design was judged to be the best book design to have won an ABCD award in its decade-long history,” says The Bookseller.
Meanwhile, their “Best of 2022” list included several I named as well, along with a few I hadn’t seen. The illustration that is the cover design for this young adult title, for instance:
Cover design by Michelle Brackenborough.
Out There fills its “wonderfully weird” billing incredibly well, too:
Cover design by Lydia Blagden.
Alas, the US version:
Cover designer unknown. (Probably just as well.)
I often discuss UK covers when they’re pointed out somewhere, but as a general rule, my book design coverage, for lack of a better term, is US-based. Some other time, I do want to discuss why the UK covers are, generally, better than their US counterparts — as the above illustrates.
Anyway, read Design Week‘s excellent article on those and all the Academy of British Cover Design winners of 2022.
Bonus: I ran across Penguin Galaxy’s 2016 version of an Ursula Le Guin title I’ve got on my read-that-someday list — and love the cover design:
Cover designer unknown — I’ll look into it and update this post if possible.
The whole series is awesome, in fact. Check it out.
Book Design #2: The Impossible Bamboo Hardback
The Eyes & the Impossible the first-ever book to be published in two editions, for two readerships, and from two publishers: Knopf has one, in standard form, for the young adult audience.
The other one, however…:
Cover design concept by the author.
Yes, that’s an illustration showing through laser-cut bamboo, with a glimpse at the red cloth spine. There’s no way to summarize this design story in a way that does it justice, so just go to PRINT and read the whole article. Great stuff.
Photography #1: DPReview Shuttering
Digital Photography Review, long known as just DPReview, is being shut down. Started in 1998 by Phil Askey, it’s currently part of Amazon and is arguably the internet’s leading camera database — with over a thousand reviews of cameras, lenses, and related items, 24,000 articles, some 2.7 million comments, and more.
Perhaps most valuable, and something that will be missed by many, is their large selection of galleries: lenses and cameras, all in a way that can be compared side-by-side, an invaluable tool for those looking to purchase a new toy essential item for their photography bag.
Askey, who left in 2010 (three years after the Amazon acquisition) blasted Amazon’s short-sightedness:
I meant to write about this long before now, but there’s an interesting thing commenting more than a month later: they’re still there. Like many corporate decisions these days (ahem, Twitter), something changed — but it doesn’t matter. The damage has been done, foot shot, whatever. The reporters have moved on, the articles have slowed to a trickle, and updates have been greeted with skepticism.
What a shame.
Photography #2: Architecture in Music
I somehow didn’t write on this one last time I saw it — so when a new series was covered by This is Colossal, there’s no way it wasn’t going to be celebrated here:
“1995 Low C Prestige Bass Clarinet,” by Charles Brooks
Recognize it? No? How about this one:
“The Exquisite Architecture of Steinway, Part 8,” Steinway Spirio R piano, by Charles Brooks
Charles Brooks, a twenty-plus-year overran of orchestras around the world and a cellist since childhood, has taken a probe lens and put it inside some of the world’s amazing instruments. The results are magical:
“St. Marks Pipe Organ, Part 1,” by Charles Brooks
See many more here (2023) and here (2022). (See also this post’s header image, “Siete Lunas’ Guitar by Roberto Hernandez.”)
Typographic Illusions
Hoefler & Co. points us at necessary illusions in typography:
Highlighted on Netflix’s Abstract: The Art of Design, these “cheats” show us that letterforms are so much more than just shapes drawn to stylize characters.
Since a number of people who teach design have suggested that we manufacture these for use in the classroom, I thought I’d take the more direct approach, and make them available as a free download, as a PDF that can be printed on transparencies. Whether you’re teaching typography, studying it, or just giving letters a closer look for the first time, I hope you’ll find these useful.
Last but not least this Monday morning, let’s please celebrate Great Wave Off Kanagawa — in glorious 1-bit greatness:
I usually use either my Quadra 700 or PowerBook 100, mostly because those are my reliable and easy to access computers (that run System 7, my favourite and most familiar OS of that era).
Software-wise I use Aldus SuperPaint 3.0, which is what my family had when I was a kid. Yes, I’d say that all of this is 99% nostalgia-driven…
—James Weiner
Incredible. There’s more info at his fantastic web site (done, naturally, in the style of a classic Mac system). Thanks to Kottke for the link.
This time, the twenty-fifth anniversary of one of my favorite websites, a new book cover review site, an interview with B&N’s CEO, the end of Type 1 fonts, and a world-class rant.
Kottke Turns 25
“Fine Hypertext Products,” indeed.
Jason Kottke has been publishing a blog continuously for twenty-five years — more than half his life — and along the way, earned many an eye. (It’s been a full-time job since 2005.) Some of his thoughts from the anniversary post:
My love for the web has ebbed and flowed, but mainly it’s persisted — so much so that as of today, I’ve been writing kottke.org for 25 years. A little context for just how long that is: kottke.org is older than Google. 25 years is more than half of my life, spanning four decades (the 90s, 00s, 10s, and 20s) and around 40,000 posts — almost cartoonishly long for a medium optimized for impermanence.
I had a personal realization recently: kottke.org isn’t so much a thing I’m making but a process I’m going through. A journey. A journey towards knowledge, discovery, empathy, connection, and a better way of seeing the world. Along the way, I’ve found myself and all of you. I feel so so so lucky to have had this opportunity.
— Jason Kottke, Kottke.org
Cited here often, always brimming with interesting items, and a regular source of learning, Jason deserves massive congratulations. Happy 25! Here’s to many more.
FastCompany points us to a new and interesting cover review site: mostly classic titles, covered in ~500 words “from a range of voices around the world.” Good stuff, with a NYT Book Review look and feel, updated regularly. Give it a try.
The Verge interviews B&N’s CEO
Decode B&N with James Daunt
I’m not a regular listener of The Verge’s Decoder — it’s usually business-centric, going so far as to describe itself as secretly about org charts — but this one’s interesting: an interview between Nilay Patel and Barnes and Noble CEO James Daunt. They cover changes at B&N (with emphasis on why) and, of course, the elephant in any room:
[Amazon is] really terrible at putting a book in front of you that you never thought you’d want to read, that you have no reason to read and no tether to at all. Whereas a bookstore is precisely the place that does that. You pick up the book that you never thought you would want to read, might read, or could even think about reading, by an author you’ve never even heard of until that moment. When a bookseller says, “Look at that,” “Read that when you next come in,” or “I love that,” or whatever it is, all those small, little recommendations are personal and able to attach themselves to books that otherwise have nothing going for them at all.
— James Daunt, CEO, B&N
Props to The Verge for providing a full transcript, especially helpful for folks who would rather read the interview than listen to it. Whether you want to read or listen, though, book lovers in the US should take in this interview.
Adobe Discontinues Type 1 Support
Flying Suitcases.
Back in the old days, Type 1 fonts were the backbone of desktop publishing. They were multi-part, often incomplete or corrupted, and always getting in the way of perfect print output — and yet beautiful and opening never-before-appreciated horizons of possibility for your projects.
Now, in these days of OpenType, Google Fonts, and digital output, Adobe has taken the decision to discontinue support for the legacy Type 1 format. TypeNetwork has the full story, along with some options, and there are other converters if you need ’em.
Bonus: TypeNetwork also has all of the Adobe Originals, from back when Adobe was your go-to instead of the corporate behemoth. Classy classics: see the list.
One more from The Verge: “I don’t want to log in to your website.” The surge of login and email requests before being allowed to read “free” content is addressed brilliantly:
So what we’re looking at here is creating a worse user experience in order to pursue a variety of scummy money-making schemes. And that sucks because there are no real public spaces on the internet. Here in reality, I can fuck off to a park and hug a tree and sit on a bench and do stuff without ads, without anyone trying to track me, and without having to pay a dime. There was a time within my memory when people tried to make websites feel like semipublic places — you could hang out on someone’s cool blog and enjoy yourself.
Look out, look up, look forward, and look through in this edition of brief, link-filled goodness.
“You May Now Enter”
PRINT covers, uh, covers:
While the book blob dominated the discourse for the last few years, we’ve recently identified another trend splashing its way across new releases: the recurring symbol of doorways, open windows, and mysterious portals.
—Charlotte Beach and Chloe Gordon, PRINT
A couple of the examples they cite:
Not only a portal but a shelf. Cool.Not only a portal but also stairs. Nice.
Unlike the blob, I’m in favor of this one — the hint of the unknown is appealing in a visceral way that offers more while simultaneously offering more sales by asking potential readers to speculate and, thus, engage. Nice call, PRINT.
Here’s a question you’ve been absolutely asking yourself: what are the origins of the infamous Lorem Ipsum?
The lack of placeholders on the shelf is remarkably appropriate. (Photo: Scott Keir.)
Turns out it’s not as simple as Aldus [known as Adobe these days —Ed.] — or the even-more-infamous annonymous. Tim Carmody, the very capable guest chair at Kottke.org, fills it in: it’s Cicero. No kidding: Slate says so.
De finibus, indeed.
Fourteen Fonts to Follow
Creative Boom, where having eyes on you is actually fun, celebrates “14 Fonts to Fall in Love With” for Valentine’s Day. While Foreword may be late to the party, a couple of the type choices are first rate:
Irregardless1I absolutely want to steal their website design: the menu system is brilliant. and Pastiche, in order. (And no, I didn’t put those two together to be funny.) Read the article and pick your faves.
Art of Building Photography
I wasn’t aware of the Chartered Institute of Building, or their Art of Building photography contest:2Their terms are good, too — something remarkably rare in contests.
“White Constellation,” by Francesca Pompei.
Since architecture and photography very much intersect in my camera, brain, and work, I’m glad to have found this great source of inspiration:
“House of God,” by Roman Robroek.“My own little cosmos within reach,” by Pati John.
From book design and minimalist photography to … well, book design and what absolutely isn’t minimalist photography, plus some street signs and another warning about Adobe. Let’s dig in.
Book Design #1: People Really Do Judge a Book by its Cover
From University College Cork — that’s Ireland, folks — we have something that, on the surface, seems obvious: a book cover“is the most likely factor to convince a person to read a book if they are unfamiliar with the work or its author.” Maria Butler, a PhD candidate in the School of English and Digital Humanities at UCC, reminds us why.
Design by Kimberly Glyder.
You’re reading Foreword, so you likely agree — and shown above is one of those worth-a-thousand-words images: the first of the 2023 titles I’ve set aside for my favorites of the year, and absolutely something good enough to make me pluck it off the shelf without knowing anything about either the title or author.
A screenshot from the Shift Happens website. Great stuff.
This project not only scores with great web design — check the interactive version of the book, pictured above — but what also seems like great book design. It’s a Kickstarter project (or will be, next month), so the usual cautions apply, but I might just go ahead and take the leap.
Couple of interesting book design items, by the way: the TOC is at the back, the endpapers are awesome, and the macro photography is tops. The book design reminds me of The Playmakers, still my favorite book design project ever.
Bonus: Tim Walsh, author of The Playmakers, is still going strong. Nice.
Photography #1: Minimalism
The winners of the Minimalist Photography of 2022 awards are in, some are fantastic. Here are a couple of favorites, from the architecture category:
“Prince Claus Bridge in the Netherlands,” by Arthur van Orden“Blue Window,” by Andrea Richey
The Minimalist Photography Award is the only foundation that deals extensively and professionally with minimalist photography as a branch of photography in which the photographic artistic vision takes the lead.
Milad Safabakhsh, President of Minimalist Photography Awards
Direct quote, just because: “A man with three legs, a vintage car scaling a building, and an unsettling formation of people donning bird masks are a few of the scenarios highlighted in the terrifically bizarre Wonders of Street View.”
I didn’t know it was a thing to dress up and pose for the Google cameras. Perfect.
Street Sign Style Guide
Speaking of street views, did you know there’s a style guide for highway signs? Would you believe that I’m a fan?
Interestingly, there is an I-42/I-17 interchange in Phoenix, but this ain’t it: these signs are representational.
As with most things government, there’s confusion, too many regulations, and yet it’s based around good ideas. Beautiful Public Data has a guide to the guide.
Adobe Steps in it, Again
From DPReview: “If you’re an Adobe Creative Cloud subscriber, you might want to go and turn off a new setting immediately. It’s been discovered that Adobe has automatically opted users into a ‘Content analysis’ program that allows Adobe to analyze your media files […] for use in its machine learning training programs.”
It’s important to note that Adobe only uses the files saved in the “Creative Cloud,” something I don’t do as a matter of course, but even still, this is yet another example of Adobe using its monopoly position in the creative field to take advantage of its paying customers.
Adobe, unsurprisingly, didn’t return DPReview’s request for a comment/clarification.
Just like last year, this post took longer than expected due to the best possible circumstance: there were so many great book cover designs in 2022 that I had a hard time whittling down the list. Even as it is, we’re busting right through last year’s limit of 50. Good times!
If we take a step back and look at the trends this years’ favorites represent, it’s more and better illustration, custom and hand-painted type, and a sense of a single focus — one, dominant thing on a field of color. Also, the trend of fewer photographs continues — more evidence that photography has become so ubiquitous that something different is required to stand out. (Or, of course, a really great photograph.)
Please remember that these are my favorites — others might say “best,” but I’ve been in this business long enough to know that there’s always another great title you haven’t seen or read about, and I don’t want to disrespect any of the great book designers not on this list. I’ve tried to include design credit where I could (special thanks to the folks who answered emails with that information), and I wish to stress that any mistakes in the list below (incorrect attribution, for instance) are mine.
Note: If you’re on Foreword’s main page, please click on the post title, above, to view this list. You’ll get larger covers for your viewing pleasure.
My favorite book covers for 2022 (Three-way tie):
Design by Julianna Lee.
How to be Eaten combines an aged look, just a smidgen of pencil sketch, hand-drawn type, and those eyes to create something that just goes beyond. I’m certain the background wolf and creases are real, too, either photographed or scanned — bonus points for that all-too-rare practical effects — and all this in what amounts to two colors. Simply awesome.
Design by Na Kim.
The Book of Goose defies use of the words “art form” — it’s the kind of cover that for many designers would be once-in-a-career good. However, Na’s work appears below, was here last year, and speaks to Na’s creativity being, well, a golden goose that just keeps on giving.
Design by Derek Thornton.
Simply put: there’s literally nothing about The Illusion of Simple that isn’t perfect. J’adore.
Other 2022 favorites, in alphabetical order:
Design by Matt Bray.
This is striking not only for the beautifully-photographed woman in the pool, but the way the pool is extended out to make that woman even more striking. The pattern overlay is fantastic, too.
Design by Pete Garceau.
There’s nothing about this not to like: the frankly perfect illustration on a great background color, the head through the “O,” subtitle censorship bar, the sock, even the title. Enjoy-a-cigarette-after good.
SoHo Press didn’t return a request for cover design information.
Bunch of aged books with a little type, right? Yes, by so much more: striking colors, great hand-done supplementary text, perfect title treatment, style in spades.
Design by Jo Walker.
This is a UK cover — the American one is okay, but not on this list — that celebrates a minimalism that is rarely seen, let alone so well seen.
Design by Tyler Comrie.
What’s not to say about this cover? While faceless women are perhaps overused, this is a book I’d snatch off the shelf — and seemly catch something from — in an instant. Well. Done.
Design by Oliver Munday.
As simple illustrations go, this one in on track for the city of Superlative. Another Oliver Munday classic.
Illustration by Seb Agresti.
Along with “faceless woman” is “headless woman,” but the illustration here more than makes up for it. But it’s the expert, almost laugh-out-loud use of a void that makes it. Well done.
Design by Aleia Murawski and Sam Copeland.
Sure, the title and background colors are neat, the sky outside is cool, and “a novel” is a nice, subtle addition. However: I want to know how this photograph happened. (And a waffle hot dog.)
Design by Maddie Partner.
The first of a couple of titles with unexpected wrap-around type treatments, this one has great type choices, too. But the real treat for me is the plane knocked out the photograph. Fantastic.
Design by Suzanne Dean.
This title hides a secret: under the simple and wonderfully-die-cut jacket is a beautiful photo from René Groebli’s photoessay The Eye of Love.
Awesome. (Note that, once again, we celebrate the UK version of the book; the US hardcover has a design not on this list. Crumpets.)
Design by Mike Topping.
The moon as O. The birds. The graduation from fur to imagery. The yellow. Any would be good on their own, but are great together. Have to say: I’ve seen this in multiple shades of yellow. I prefer the darker — closer to the Barnes title, above — to the lighter, shown here.
Design by Anna Morrison.
The typography, awesome little plane — the purse(r)! — the clouds, all of it: sky-high levels of good.
Interestingly, Fight Night‘s cover also had a 2021 version worthy of note:
Design by Patti Ratchford, illustration by Christina Zimpel.
I can’t begin to imagine what caused the redesign, or why it wound up being so radically — 180 degree! — different. The old design wound up on some “best covers” lists (here’s LitHub’s October 2021 post, for instance); both have wound up on mine.
Design by Ploy Siripant.
The bird exiting the scene stage right makes this just right, with bonus points for the textured paper and slightly-rounded sans serif. I think the illustration is perfect — classically done, one could say — and also love that “author of Want” is in a different font.
Design by Vi-An Nguyen.
Four Treasures to the Sky, mentioned in the May book cover design roundup, leaps into the best-of-the-best list. It features an aged look, but in a woodblock way that celebrates its limited palette. Add in the illustration’s interactions with the type and the vertical “a novel” — often an afterthought — and brilliance emerges.
W. W. Norton didn’t respond to a cover designer request. Apologies.
As photomontages go, this one is simple — yet simply powerful: red Albania meets (and hugs!) beheaded Stalin. Great choices.
Design by Alison Forner.
The quality of type and decorations on this “label” are beyond outstanding. This cover is candy for book design lovers and readers alike.
Design by Alex Merto.
From It’s Nice That, we have a nice feature on Alex Merto — whose Ghost Wall cover is a great example of plant life adding so much more: “the force of a river to the head,” to paraphrase Emma Donoghue’s quote. Plus, one color! Win.
Design by Grace Han.
Nine parts awesome: type and illustration join to light a fire under the words “quality” and “imagination.” (Have I mentioned that I love a textured paper? Here’s a different one that’s also great.) This is one of several titles that’s not only a great book cover, but on a bunch of “best book” lists, too. Great books should have cover equal to their contents, and this one scores.
Design by Emily Mahon.
This isn’t here because of the attention Ukraine deserves these days, it’s here because of that illustration. Brilliant design needn’t be complicated, so ably proved here.
Design by Lucy Kim.
I mentioned at the top of the post that, these days, photographs have to bring something special to the table to stand out. And this cover does, from any table in any bookstore anywhere. (Lovely typography choices here, too.)
Design by Matthew Broughton.
One trend I didn’t mention at the top of the article is the montage-in-type, done here to absolute perfection.
Design by Andrea Ucini.
The woman in looking off the edge of the page at … something looking back. (Not only that, whatever it is casts a shadow.) The book is described as “subtle yet candid,” something that could equally be said about this brilliant cover.
Design by Holly Ovenden.
Another UK cover, this image doesn’t show the uncoated stock and debased type — but does show the jump-off-the-shelf color choices and awesome interaction of title with background. (The US cover, alas, resorted to stereotype. Perhaps we aren’t sophisticated enough?)
Yale Univ. Press didn’t respond to a request for the cover designer.
Choose a interesting texture, put some blocks of color on it, some type and … done. Hah! (Seriously, just look at the hands: they say it all.) Bonus to the hints of doily in heaven.
Design by Emma Ewbank.
The wrap-around title treatment makes another appearance here, with bonus second and third layers and a perfectly-done pull quote. With the aged ink fill and type accenting the striking illustration, this one is in that “wall-worthy” category.
Design by Matt Dorfman.
On our second Ukrainian title, both flower and umbrella work together here to force us to stop and look. (The stenciled type is a brilliant stroke, too.) Proof that genius often appears simple.
Design by Jenny Carrow.
The montage, taken to the next level: Jaffa, orange exports, and an healthy serving of emotion. (Also: curved text is rarely so on-target.)
Design by John Gall.
So simple, yet it is precisely that reaching off the shelf, grabbing your attention. This book is described as “spare and monumental,” and no less can be said of the cover.
Design by June Park.
“Texture is key,” sure, but there’s texture and there’s this. The island’s brush strokes into what seem like a moon are whatever happens beyond perfection. I didn’t expect this cover for a novel about Pakistan, yet the emotion, the … evocation is perfect.
Design by Oliver Munday.
Apple? Tongue? Misfit teenager? Disturbed and distressed? Yes.
W. W. Norton didn’t respond to a request for cover design information.
Rarely are such seemingly “dry” subjects treated with such skill: the angled type set against an urgent red, the subtitle sticker-that’s-better, and the photo choices add up to something I’d grab off a shelf immediately.
Cover design: Christopher Sergio
LitHub says this one has a very high “hang on the wall” factor. I can’t think of a better description — great stuff.
Cover design: Na Kim
Na Kim just can’t help but design the best covers: a wonderful, antique background complimented by sheer brilliance. (Great typography, too.)
Cover design: Emily Mahon
It’s nigh-on impossible to look at this cover and not flip it around to read the text trisecting the leopard. Take something simple, add the elusive more, get this. Yeah.
Cover design: Jim Tierney
Another fantastic example of plants adding more than the sum of their parts. The mottled green background and watercolor-style falloff is perfectly complimentary. Great stuff.
Macmillan did not return my inquiry regarding a cover designer.
From the Banned Books Department, we have the 20th Anniversary edition of this difficult title rendered in a photo-based collage that’s nothing short of brilliant. Highest praise.
Very nearly the perfect black-and-white cover. Texture and shape combine with an incredible title treatment in a way that shrugs off the need for color. Fantastic.
Design by Allison Saltzman, art by Sonya Clark.
I’ve said before that moving to the South was a bit of a shock — the racism still all-too-evident jars all-too-often. This cover takes a simple, elegant idea and, without any of the stereotypes so often reached for, delights with style and simplicity, absolutely earning its spot in this list. (This is another of those titles that’s on many “best of” book lists, too. It’s a genuine pleasure to see worthy books get great covers.)
Design by Holly Macdonald.
“Wow” is the only word here — a stunner of a photograph used in, if I may borrow from the cover, a breathtaking way. Simple, elevated to exquisite.
Design by Jamie Keenan.
Never mind that I never knew Cary Grant was once a stilt walker (or named Archie Leach), this is an exercise in using a famous face in an innovative way, with a cast of supporting characters that flow as naturally as lines on paper. A trip through the possible — fantastically well-done.
Design by Jamie Stafford-Hill.
Fantastic type and color treatments, yes, but it’s the way the photograph is handled that shines: where the eyes are, the color treatment implying front and side, all of it. A 2016 book reissued in hardcover with a cover guaranteed to attract new readers.
Design by Oliver Munday, or perhaps Erik Rieselbach (depending on who you ask).
This cover is the antithesis of a swelled, salted herring: it’s brisk, to the point (if I do say so), and throws a life ring out to inspire book designers everywhere.
Book design: David Drummond
Brilliant: actual text, printed (on a great color paper, too), with actual string, photographed on said print. Not only is it exactly right for the subject matter, it’s simply and beautifully done.
Cover design: Jack Smyth
Never mind the great brushed color blocks or boat-rowing-the-ocean above the title. This is here mainly for the overlap between color and island: shortlisted for the prize for intersection-of-the-year.
Design by Luke Bird.
“I’ll just do a little cropping,” designers say. Then there’s … genius.
Design by Mary Austin Speaker, art by Stacia Brady.
Another piece of art that’s absolutely wall-worthy — actually by the author’s mother — complimented by a tasteful type treatment with a wonderfully-offset “poems.”
Design by Colin Webber.
“Great” can’t even begin to describe this cover — from the lemon shape, staggered type, green background, back-of-head portrait, to the slightly-aged treatment, we have ingredients that add up to that highest of achievements: a book I’d buy knowing nothing about, no hype [machine] needed.
Design by John Gall.
Classical painting with a singularity. Sure. So easily pulled off … if you’re John Gall.
Graywolf Press didn’t respond to a request regarding cover design.
The title treatment is the winner here, using two translucent shades of orange to the best possible effect — taking a nice painting/illustration to the top floor.
Design by Alex Merto.
Describing this cover as “haunting” would be a cheat — but completely accurate. (Love the line of type down the right side, too.)
Design by Jamie Keenan.
The rare type-only treatment … taken to an entirely new level. Fantastic.
Design by Christina Vang.
A triumph of textures: one matchbook you never want to throw away.
Design by Lauren Peters-Collier.
Breaks through more than water and time: it’s thrust into your memory. (See a note from the designer at LitHub’s cover reveal.)
Design by Albon Fischer.
One of only two text-only treatments in this list, done in a ’70s style — yet taken to a clever and impressive level. (Love the stacked “lls.”)
Design by June Park.
I adore how the type and frankly fantastic illustration work together here. Wonderful!
Cookbooks rarely make an appearance on “best book covers” lists — yet this one earns its spot with an antithesis-of-the-stereotype approach. Ordinary it is not, in the best possible way.
Design by Jack Smyth.
Another UK version — the US version is good, more than most even, but it’s this one that shines with its great photo choices, cut lines, and great type treatment.
Design by Katie Tooke.
This one’s a two-fer, with the UK version, above, showing the book-edge treatment done really well, while the US version…
Design by … ?
…takes it to another level. Is there such a thing as a cloud globe? Or is that one of those old-fashioned stock-ticker covers? Either way, the subtle pattern — in front in some places, receding in others — adds a wonderful touch. Great stuff. (Great, too, to see the US version take one: a rare treat.)
Cover design by Roman Muradov.
Bellevue Literary Press scores a win here, with something immediately recognizable as about music, yet so much more. Performance art, indeed.
Note: I originally attributed this title to Yale University Press instead of Bellevue Literary Press. I regret the error.
Design by Na Kim.
Na Kim apparently not only did the design but the illustration, as well. The rest of us can only aspire to that level of talent.
Cover design: Leanne Shapton
This illustration being in grayscale is, at first, a little off. But, of course, that’s exactly the point. I overuse “brilliant,” but it’s the best description. (Again, see a note from the designer at LitHub‘s cover reveal.)
Design by Elizabeth Yaffe.
Family epics, climate change, dystopian futures, and Moon — all somehow included in this rich illustration. Two-color greatness. (Bonus: Another great use of “a novel,” something often “meh.”)
Design by Brian Moore.
A standout historical photograph is only the beginning: it’s really the coloration that’s the story here, for both book and cover — so well done.
Design by Kelly Blair. Illustration by Toby Leigh.
Among the best book cover illustrations ever, perfectly inserted into the seatback in front of you. (Great Circle’s cover was in last year’s list, by the way.)
Design by Christopher Moisan.
There’s something about underwater photography, with its beautiful, soft light and fascinating reflections, that is evocative — and there’s nothing about this photograph that isn’t evocative. A triumph.
• • •
Whew. Seventy great book covers. 70!
Okay, let’s summarize: 2022’s crop of favorite covers not only surpass 2021’s, the quality of work here represent what I believe to be a new standard. To all the designers — and art directors that chose them — congratulations.
In this edition: Hummingbirds, the UK’s 2022 Landscape Photography of the Year 2022, a potential new logo treatment from Honda, and something just in time for Halloween.
Who Knew: Hummingbird Edition
Wow.
Taken when the creatures are mid-flight and beating their wings at incredible speeds, Spencer’s striking photos capture sunlight as it filters through their feathers, emitting a full spectrum of color. The opalescent phenomenon is caused by diffraction and transforms their limbs into tiny, ephemeral rainbows.
This is Colossal
Let’s set aside for the moment the time and energy get these photographs and just celebrate that Australian photographer Christian Spencer worked to get these shots. Better still, there’s a book:
Like the typography in addition to the photograph, too. Thanks to This is Colossal for pointing us in this pretty wonderful direction.
New Honda Logo?
This hasn’t been reported anywhere, so I don’t know whether there’s a shift ahead for Honda (pardon the expression), but…:
This is a photograph — well, graphic — of the 2024 Prologue EV. Note that instead of the classic “H” seen on every Honda since I don’t know when, the name is spelled out.
Speaking of slideshows on The Guardian, they had a great subject just in time for Halloween: “Cinema’s unquenchable thirst for vampires celebrated in posters.”
A classic.A future classic — scary-great.
Unquenchable thirst, indeed. Enjoy.
1
The aptly-named Dragon’s Back is in the Brecon Beacons National Park, Black Mountains, Wales. Take a walk.
This time, we’ve got some great book design (with a bonus), Hoefler educates on typography (with a bonus), and two updated car company logos. Let’s get right to it!
Print Magazine on the design of Lyrics
The still-very-relevant-in-2022 Print Magazine brings us a great feature on the design of Paul McCartney’s book, Lyrics:
Front and back covers of Paul McCartney’s Lyrics, by Triboro Design.
Turns out it was designed by an outfit called Triboro Design, from Brooklyn (appropriately). Print brings us an interesting interview with David Heasty, the principal:
I […] found him to be sharp, quick, articulate, and modest. Below, we discuss Paul’s involvement with the project, the book’s gorgeous bespoke typeface, and the importance of staying true to a legend’s vision.
Ellen Shapiro, Print Mag
The “S” spread of Paul McCartney’s Lyrics, by Triboro Design.
Bonus: Looking at Triboro’s website, this lovely piece of typography stood out:
Triboro Design’s Zolo Jesus album typography creates desire.
Hoefler Discusses Daggers
In “House of Flying Reference Marks,” Jonathan Hoefler talks about daggers, or, what you use when an asterisk isn’t enough:
Hoefler on daggers.
Beautiful examples, complete with a phrase you don’t hear everyday: “twisted quillon.” Read and enjoy. (If the opportunity presents, follow on with the ampersand article — which, uh, takes a stab at where the word came from. Nice.)
It seems like nearly all of the major car manufacturers have introduced a new logo in the past couple of years, but here are two more. One’s best described as “an update,” while the other … goes a little farther.
Skoda, for those that don’t know, is a Czech company and part of the massive VW Group. Frankly, it shows:
Skoda’s 2022 Kodiaq, a thoroughly VW Group product.
For 2023, they’re introducing a push to separate themselves from VW a little, resisting the downmarket image. As is (now) normal with updated car company identities, there’s a concept:
Skoda’s Vision 7s concept.
It’s … not inspiring. Maybe the actual updated logo will turn the corner:
Skoda’s 2022 logo.
Solid. (Pardon the pun.) But seriously, even an avid car nut like me didn’t know that represents a winged arrow — and I’m not sure the new version helps. At least they get points for consistency:
Then there’s Citroen. Even under the potentially-smothering corporate blanket that is Stellantis (there’s a name!), the pioneer of decades past still manages to actually thrive. First their new logo:
Citroen’s 2022 logo.
They’re not quite as consistent — the dual chevrons have varied a bit. This time, they’ve literally gone back to their roots, pulling the 1919/1921/1936 version out and dusting it off for modern use:
History of Citroen’s logos, 1919–2022.
Points to them for hinting at what’s to come, too:
Citroen’s 2022 logo, with just a slice of concept car showing.
…Which turns out to be something with, ahem, Oli bits:
Citroen’s Oli: the antithesis of a Skoda.
“Nothing moves us like Citroen,” they say. The Oli moves me, to a point where I truly wish Citroen was once again available in the ’States. Cool and radically innovative, without losing sight of something VW has truly lost: fun. Well done.
Updated, 19 October, 2022:Brand New adds to Citroen’s new logo story, with a slightly-less-than-enthusiastic take on the logo and has frankly unkind things to say about the new, custom typeface (custom typefaces are now de rigueur — a policy as much related to rights ownership than creativity, alas).
I really like the cursive in this Vimeo screenshot:
YouTube? What YouTube? Citroen posts to Vimeo. Ahh, the French.
BN also includes a number of extra photographs of the simply awesome Oli, too. Here are a couple, for your enjoyment:
Plug-and-Citroen.
Note the removable Bluetooth speakers (the black tubes with “+” and “-“) and, especially, the seats:
Note: Click on the title above to see this post in one-column format, which includes larger graphics — helpful with some of these jackets especially. (This applies to any post here on Foreword, by the way.)
It’s time once again to celebrate the unsung heroes of the book world: the best items published by university presses.
The annual show, now in its 57th year, honors the university publishing community’s design and production professionals. The Association recognizes achievement in design, production, and manufacture of books, jackets, covers, and journals, and the Show serves as a spark to conversations and source of ideas about intelligent, creative, and resourceful publishing.
Let’s talk about titles with both covers and interiors first, starting with the great Gumbo Ya Ya from the Poetry category:
University of Pittsburg Press. Cover design by Alex Wolfe.University of Pittsburg Press. Interior design by Alex Wolfe.
The strength of this design, inside and out, towers head and shoulders and whatever else above — designer Alex Wolfe deserves this win and many kudos from me.
Georgetown University Press. Design by Jeff Miller.
Flag-as-fence. ’Nuff said.
McGill-Queen’s University Press. Design by David Drummond.McGill-Queen’s University Press. Design by David Drummond.McGill-Queen’s University Press. Design by David Drummond.
I don’t know that these are a series of titles as much as a style forthe titles — but, in either case, they work.
University of Pittsburgh Press. Design by Henry Sene Yee.
Not the only title here with textured paper, the simple typography with a fantastic — and fantastically-placed — bird wins for more than literature.
University of Minnesota Press. Design by Casalino Design.
The white border around this is difficult to see here, but adds to the overall in an interesting way; I also like the hand lettering over this amazing photograph.
University of Nebraska Press. Design by Nathan Putens
Additive color combined with the subtitle-of-the-year on this winner.
Princeton University Press. Design by Derek Thornton.
Great, great typography here. When combined with the radiating lines and provocative title, it makes for a title that I’d absolutely pick up.
I’ve saved my favorite from the whole show for last:
University of Minnesota Press. Design by Michel Vrana.
Another appearance of textured paper is just the start here, with that illustration rocking so hard indeed — the eye! Fantastic in every way. (Bonus points for “A Post-Exotic Novel.”)
See all of the entries from this great Association of University Presses show here. (FYI, nothing from Spine yet, but kudos to the University of Chicago Press for blogging about their favorites.)
AIGA has announced their winners of the 2021 50 Books, 50 Covers competition:
With 605 book and cover design entries from 29 countries, this year’s competition recognizes and showcases excellence in book design from around the world. […] Eligible entries for the 2021 competition were open to books published and used in the marketplace in 2021.
AIGA Press Release
In this year’s competition, innovative book designs for topics ranging from designing and motherhood, African surf culture, stories of resistance, visual histories of Detroit, Black food traditions, and more all give our jury life, hope, and visible windows into new possible worlds. The covers and books we looked at had a diverse range of visual language and took aesthetic risks.
Silas Munro, AIGA [Competition] Chair
As usual, there are items here that I haven’t seen before, along with several that surfaced on others’ “best of 2021” book design lists (see that Foreword post for my faves). Also as usual, there are some excellent choices.
Further, there’s something in this competition that you don’t see in the usual “best of” posts: interiors. Half of the competition is covers, sure, but the other half considers the whole book design — and sometimes, as I can definitely attest, an underwhelming cover can lead to a treasure within.
But enough talking. My favorites, in no particular order:
Cover by George McCalman.Book design by George McCalman.
This is one from the 2021 “best of” finalists that I didn’t post about — but now that I’ve seen the interior…. So very worthy. (See more.)
Cover design by David Chickey and Mat Patalano.Book design by David Chickey and Mat Patalano.
This series of three books not only have striking covers I’d not seen before but exceptionally competent interiors done on matte paper, a personal favorite. (Click through for more examples.) Excellent.
Design overseen by Haller Brun.Design overseen by Haller Brun.
In this fascinating book, architectural photographer Iwan Baan and (Pritzker-winning) architect Francis Kéré “set out to capture how the sun’s natural light cycle shapes vernacular architecture.” While I may be slightly biased in terms of architecture and photography, this one’s a winner. (Read the AIGA’s take.)
Cover by Andrea A. Trabucco-Campos.Book design by Andrea A. Trabucco-Campos.
“A little overly precious,” the AIGA says … while awarding it a prize. Completely fresh, I say, with interesting content presented in a way that does considerably more than interest. Well done. (See them apples.)
Cover by Gary Fogelson and Ryan Waller.Book design by Gary Fogelson and Ryan Waller.
“The type on the cover and in the body is perfect, in all ways and choices. The use of the gutter for captions is a great understanding of the art and a perfect way to save space. The page numbers too.”
Brian Johnson, AIGA Judge
This is one of those books that you have to say, “I wish I’d done that.” Great stuff. (See its individual entry.)
The Time Formula. Cover by Honza Zamojski.Book design by Honza Zamojski.
There always seems to be some projects that violate book design “rules” — this one doesn’t have a title on the cover, has page numbers in the gutters, and more. Yet this book, about a sculpture project, makes for interesting viewing indeed. (See more.)
Last, we have a couple that are only covers:
Cover by Janet Hansen.
This was considered for my favorites of 2021 (and made it onto others’ lists). I’m glad to have been given the chance to call it out. Excellent in its simplicity. (See the AIGA entry.)
Last, but certainly not least:
Cover by Lydia Ortiz.
Another advantage of this competition: seeing more than the front cover. And this cover, front, back, and spine, is so much more — especially in person: black plus four neon inks. Wow. (See the AIGA’s praise.)
Car site The Autopian scores with book design, Ford posts old marketing material gold mine, and more on the Eames Institute of Infinite Curiosity in this edition of Beautifully Briefed.
Autopian suggests book design
The Autopian, founded by a couple of former Jalopnik writers, is a new automotive gem: in these days of more-of-the-sameism sites trying to make money of others’ ideas, the Autopian has a retro style and interesting, original content.
Including this short post from their Cold Start column:
Sometimes you may encounter an old car ad and realize that the design of it could lend itself very well to something completely different. In this case, this 1958 Ford Zodiac ad, with its rich, saturated colors, striking dress on the model, and evocative name with understated typography just feel like something you’d see on modern book cover design.
Jason Torchinsky, Autopian Founder
The ad:
A 1958 Ford Zodiac (European)
His book design idea “realized”:
Jason’s book cover mock-up. Love the author name.
Nice.
The Ford Heritage Vault
Ford has taken the unusual step of posting a good chunk of their old — 1903 to 2003, their first 100 years — marketing materials online: “promotional materials, photographs, and all kinds of other historical goodies,” according to CarScoops.
“Our archives were established 70 years ago, and for the first time, we’re opening the vault for the public to see. This is just a first step for all that will come in the future,” says Ted Ryan, Ford archive and heritage brand manager.
Here’s a personal favorite: the 1965 full line brochure, showing the cars set in architectural drawings — presumably, matching the car to the house:
We discussed the Eames Institute of Infinite Curiosity back in April, but Metropolis magazine has published an extensive article covering a visit to the Institute.
Modernism has largely been diluted from a series of ideas rooted in social change to one of just style—Instagram moments, if you will. The Eameses insisted that they did not have a style or even an “ism.” […] Modernism was an idea, not a style. With the establishment of the Eames Institute, I hope Charles and Ray will be remembered most of all for their ideas and processes.
Kenneth Caldwell, Metropolis
An exhibit at the Eames Institute of Infinite Curiosity.
With our ongoing struggle to use materials more efficiently, many of the Eameses’ ideas and ideals need to be taken for the solutions that they are: style with incredible substance.
