Notes on Book Design

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Pegasus allowed Harri Peccinotti (also known for his Pirelli calendar shoots and Nova magazine) to show the sheer range of his photography, with striking visual essays about crafts in Malaysia, performing arts in Indonesia, family businesses, home-made bicycles, Parisian street performers and Japanese puppets. Eileen Gray struggled to be known as one of the most recognized and important architects in the field of furniture designs in the 20th century, and probably in many years to come. Her designs reflect Art Deco and modernism in general.

Abram Games is one of the most recognized graphic image designers of mid-20th century in Great Britain. He has designed over hundreds of posters and images during the post war era. Among his prestigious works are the logos of BBC Channel and the famous Festival of Britain. Ron Arad is known for his experimental and innovative designs with technological approaches. He combines playfulness and technology in his designs which makes him one of the most innovative thinkers of our time. He is an architect educated in London who was originally from Tel Aviv. He is a self-taught designer who ventured his talent in furniture design.

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Although Birdsall has scaled down his operation he shows no sign of stopping, for it is clear that design is his life, fuelled by a passion for detail and a desire to make things better. He still loves receiving a bulky manuscript and a pile of photographs in their raw state, he says. For him the moment of creation starts right there, looking at those disparate piles. So what is this socially committed, critical typography? Without a connection to explicitly radial content, and with the eclipse of left politics through the 1980s, it isn’t obvious. In the last few years, “radical” has meant radical in form, or in fact radical in image. Architects and designers have borrowed the false prop of post-structuralist theory, in which the airy abstractions of language become everything – and material reality is displaced and denied. (Jean Baudrillard on the Gulf War was the clearest instance of this.) Text is unsettled and deconstructed, to become just image. And when this work is reproduced in magazines and annuals, its fate as mere image is sealed forever. The critical and subversive possibilities of this wild and “radical” output are then zeros. So now, Python print has made it into the Barbican, 3 and the very idea of a ‘Christmas book market’ sends shudders down the spines of right-thinking people. Perhaps, in this post-catchphrase, post-postmodern era of Internet-based satire, the time has finally come to close down the Ministry of Silly Books.

As I was coming up to leaving the Royal College of Art I was told I would never get a job and my tutors were all worried about my prospects.

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A few designers have stood against the reduction to image. In Martens’ typography, we find the power and resonance of a deep commitment to material. His preference is for materials that are a bit rough, not too perfect; if they wear visibly through use, well, that is what happens in life. You will not find any heavy varnishing on his covers, unless, as with Oase 33, it is there as an ironic comment on that issue’s special them: the metropolis. Take the simplest case, of a single sheet of paper for a letterheading. Printing some of the text on the reverse side, so it shows through to the front, provides another means of coding information as well as demonstrating that the sheet is a three-dimensional thing in the world. more magazine design and art-direction, including The Independent Magazine and the first issue of the Sunday Telegraph Magazine Stefan Sagmeisterstarted was a well-known designer in 1962 and is still one of the most influential and important graphic designers today. He was born and raised in Austria and currently resides in NY. He is known for famous works such as posters he did alongside the AIGA and other musicians like Lou Reed and David Byrne.