Illustration

31 October 2010

Blood and cleavage

Blood and cleavage

chris brawn

A new book of scary posters and super creeps from the house of Hammer
The upcoming release of Let Me In, an English-language remake of the Swedish horror Let the Right One In (Låt den rätte komma in, 2008), marks the return to cinemas screens of the Hammer Films brand, writes Chris Brawn.

28 October 2010

Penguins with attitude

Penguins with attitude

john l. walters

Illustrative wrecks and rescues at the publisher’s New York office.
Despite its celebratory title and retro cover design, Penguin 75 is actually a book about contemporary book design, writes John L. Walters. Its editor, Paul Buckley – otherwise known as ‘VP Executive Creative Director’ at Penguin’s New York office – has chosen 75 wildly different book cover projects from the past decade (listed alphabetically by title), and presented them together with alternate covers and sketches, alongside short commentaries by the authors, art directors, editors, illustrators and photographers.

25 October 2010

Maps and legends

Maps and legends

jan middendorp

Charting the working processes of early 21st-century designers
As a lasting souvenir of the first AGI Open conference, which took place in Porto last week, organizers Lizá Ramalho and Artur Rebelo edited and designed a book titled — like the conference itself — ‘Process Is the Project’, writes Jan Middendorp.

21 October 2010

Taking comics seriously

Taking comics seriously

john chalmers, sandra marrs

Visual storytelling is about literature as well as literacy
The graphic novel’s rise in popularity shouldn’t really come as a surprise, write Metaphrog’s Sandra Marrs and John Chalmers.

19 October 2010

Got to have a map

Got to have a map

sally jeffery

For designers, the cartographic viewpoint can be a literal need
There is a vivid phrase in the Nobel prize citation for Mario Vargas Llosa: ‘the cartography of structures of power’, writes Sally Jeffery. I don’t know if it originates with Vargas Llosa or the Nobel committee. However, for the kind of people who become designers the cartographic viewpoint can be a literal need.

18 October 2010

Body bio

Body bio

john ridpath

Fuel revisits the graphic storytelling of Russian criminal tattoos
Danzig Baldaev’s original tattoo drawings, made famous by his Russian Criminal Tattoo Encyclopaedia, are to be exhibited in London next week by Fuel Design, writes John Ridpath. Baldaev collected his drawings while working as a prison guard between 1948 and 1986, creating a fascinating record of a dark, indelible tradition.

13 October 2010

Due process

Due process

jan middendorp

Porto plays host to an inspiring AGI Open conference
This year’s AGI (Alliance Graphique International) conference is taking place in Porto, a spectacular yet run-down city that bears many traces of Portugal’s current economic crisis, writes Jan Middendorp.

11 October 2010

Dig for history

Dig for history

Twentieth century Britain, chronicled in the work of Abram Games
Abram Games (1914-96) was one of the twentieth century's most celebrated graphic designers. An exhibition, opening at Sheffield Institute of Arts Gallery tomorrow, brings together

6 October 2010

Marian Bantjes at St Bride. ‘Curiosity … is the key to the fantastic’ – a night of stars and (I) Won

Marian Bantjes at St Bride. ‘Curiosity … is the key to the fantastic’ – a night of stars and (I) Won

the form of the book

‘Curiosity … is the key to the fantastic’ – a night of stars and (I) Wonder
Last night Marian Bantjes captivated a sold-out audience for her talk at St Bride Library. It was the first time she has spoken in detail about her new book I Wonder (Thames & Hudson, £19.95),  just published.

1 October 2010

Cumbrian collage

Cumbrian collage

Russell Mills in Eye 5 and in Ambleside with Walton and Schwitters
‘Weathered surfaces and subtle textural effects, allusions to cycles of natural decay, sensitivity of touch and a self-evident display of the material properties of collaged or constructed elements – these are among the most characteristic features of the work of Russell Mills.’ (Eye 5).
 
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