Mar
3
Hatch show print.
Transatlantic.
I blog, tumbl and tweet about movies for Fandor. So what you see here will most likely not be about movies.
Posts tagged design
Dec
20
Favourite Covers of 2012
For the past couple of years now (since Joseph Sullivan put the Book Design Reviewon ice in fact),…
shared via WordPress.com
Sep
26
Eugen Batz, Contrast Study, 1929-1930, and Mark Andrew Webber’s Guardian Linocut Print, 2012.
Sep
23
“The Typographische Monatsblätter was one of the most important journals to successfully disseminate the phenomenon of ‘Swiss typography’ to an international audience.”
Via Deseopolis.
Sep
17
Scope (No 6, Vol 2, 1948), designed by Lester Beall, via the Guardian and magCulture.com: “More about Lester Beall and Scope here.”
Sep
4
“The Phaidon Archive of Graphic Design is a boxed edition of 500 A4 cards detailing some of the world’s most important examples of the medium.” An overview from Mark Sinclair at Creative Review.
Jul
11
“Long before multinational corporations discovered the usefulness of corporate social responsibility (CSR) in ameliorating a public relations disaster, companies such as the Container Corporation of America (CCA) were pursuing the profit motive with a socially aware ethos embedded in practice,” writes Peter Brawne in Eye 82. “In 1949 Walter Paepcke, chairman of the Chicago-based manufacturer of corrugated boxes, asked Herbert Bayer to create a book that would reflect on the new geopolitical realities of the postwar world for CCA’s 25th anniversary in 1953. Formerly director of advertising and printing at the Bauhaus, Bayer (1900-85) had emigrated from Berlin in 1938, after his work was included in the Nazi ‘Degenerate Art’ exhibition, and established a flourishing design practice in New York. For this project the Austrian designer supervised a team of three – Henry Gardiner, Masato Nakagawa and Martin Rosenzweig – over a four-year period. The result is a stupendous object. Measuring 280 × 400mm high, the Atlas is housed within a cardboard slipcase printed in an enlarged moiré pattern that is repeated, in different colours, as the book’s endpapers. Bound in burlap with the title debossed and gilded to the front and spine, its 368 pages are printed in four-colour process plus six other spot colours, and gilt-edged.”
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