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In the beginning was Logos, the Word, representing both
the imminence of meaning and its source. Every written
word, though, is made up of letters and is dependent on
them. Words have the power to evoke emotion and effect
change, and at the heart of that power is a mystery in the
form of letters.
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A survey of the latest and greatest in publication design. March/April 2006
GOOD BOOK
From Annuals to Manuals
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PLAYING CARDS by Buzz Poole and Ira Pearlstein
With over 300 colorful images depicting everything from
dogs in plaid berets, insouciant young ladies in big dresses
playing croquet, and a dizzying array of eclectically colored
geometric shapes and fragments, Playing Cards presents cards
printed in America during the 1930s and ’40s. The book also
examines the extent to which influences from the Bauhaus,
Art Deco, and Victorian schools of design are morphed into
these unique American creations. Acquired from a collection
at an estate auction and accompanied by the story that tracks
the history of this particular collection as well as informative,
creative essays that examine both their design and cultural
aspects, Playing Cards will inspire graphic designers and entertain
anyone who has ever played a hand.
$24.95, hardcover, 128 pages, Mark Batty Publisher
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THE SUPERMAN BRAND by DC Comics and Little & Company
“Why is Superman so captivating?” questions The Superman
Brand from DC Comics and the design firm Little
& Company. The book, created for the release of
Superman Returns this year, answers the question within
its pages: “Perhaps it’s because his powers mirror our
own aspirations. To risk. To succeed. To fly. His courage,
in the face of adversity, inspires us. To dream. To
persevere. To be our own, individual best.” A combination
of vintage and modern Superman imagery and
stylized language, this pocket-sized book expresses the
powerful, undeniably timeless Superman brand.
Not for sale, hardcover, 194 pages, Little & Company |  |
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THE EDUCATION OF AN ART DIRECTOR by Steven Heller and Véronique Vienne (eds.)
Featuring essays and interviews
from more than
30 teachers, professionals,
and leaders in the
field, The Education of an
Art Director provides an
in-depth view of the various
approaches to art
direction, as well as analyses
of the business and
history of the profession.
“Becoming an art director does not require
years of art director school, even if one
existed. It does, however, demand a smattering
of many competencies derived from varied
educational and work experiences,” notes
Steven Heller in his introduction.
$19.95, softcover, 220 pages, Allworth Press
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MEGGS’ HISTORY OF GRAPHIC DESIGN by Philip B. Meggs and Alston W. Purvis
Now in its fourth edition,
Meggs’ History of
Graphic Design continues
its long tradition of
providing balanced insight
and thorough historical
background. This
updated edition offers
hundreds of full-color images
supported by the latest information, including
a new chapter on modern type design
and expanded coverage of Italian, Russian,
and Dutch design. With more than 1,000 illustrations,
text, and interpretive captions,
this book reveals a saga of creative innovators,
breakthrough technologies, and important design
innovations.
$75, hardcover, 592 pages, John Wiley & Sons, Inc. |  |
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FREISTIL: BEST OF EUROPEAN COMMERCIAL ILLUSTRATION 2 by Raban Ruddigkeit
“Illustration is a language understood all over the world. This
book is the best proof. 218 illustrators from 12 countries present
their latest works; freelance or applied, free hand or freehand.
What unites them all is their personal and therefore qualitative
view of brands and stories, of our times and what moves
us,” expounds the preface of Freistil 2. Discover distinct lines,
sketches with personality, and powerful illustrations, and at the
same time observe trends and tendencies in illustration within
its pages. Includes both German and English translations.
$50, hardcover, 544 pages, Verlag Hermann Schmidt Mainz
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DAYFOUR #4: ULYSSES by Fiona Hayes (ed.)
As editor Fiona Hayes explains, “Our philosophy is that in an ideal world
we’d work for a living three days a week, and on the fourth day we’d work
on whatever we love, are excited by or drawn to—personal work. (Naturally
in an ideal world there is a three-day weekend.)” In DayFour’s
“Ulysses” project, participants documented a Saturday by taking a photograph
every hour, on the hour. “The important thing was that everyone
would be ‘clicking’ at the same moment,” Hayes notes. What results is
an “interesting journey through peoples’ weekends. And fridges and bedrooms
and showers …”
Limited edition of 200/not for sale, softcover, 172 pages, dayfour |  |
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