For more than a decade, Ruth Artmonsky has been publishing modest, readable books about design and illustration from her London flat
The Polish-born graphic designer behind Penguin’s ‘Marber grid’ helped to define British postwar graphic design with work of great power and originality. His work can be seen in a touring exhibition, now in Krakow. Interview by John L. Walters. Portrait by Philip Sayer
The Gentle Author’s book about East London print and envelope specialists the Baddeley Brothers demonstrates the very crafts it celebrates
Micha Weidmann’s art direction for a cookbook by London chef Ollie Dabbous, with photographs by Joakim Blockstrom
‘We were interested in working internationally, to learn from different cultures and to know how design behaves globally. We had international clients. But you really need people in those places to stay active. So the answer is sharing.’
‘I compare my work to architecture. I don’t build villas, I build social housing. The books are industrially made and they need to be made very well. I am all for industrial production. I hate one-offs. On one book you can do anything, but if you do a print run, that is a challenge. It’s never art. Never, never, never.’
The challenges of digital publishing have galvanised a new spirit in book design and production. Is it just the decadent flourish of a disappearing format?
In this extract from his book, Gerald Cinamon explains how he brought integrated book design to Penguin – first at his kitchen table in the 1960s; later as chief designer
Wordless picturebooks form a corner of children’s literature in which illustrators and artists tell stories with images alone.
A new publisher of ‘visual writing’ launches with this typographic reboot of an eighteenth-century classic.