We’ve just returned from three glorious days of seaside frolicking at Boggle Hole in Robin Hood’s Bay. Within moments of arriving, I dawned on me that I’d made a huge mistake and neglected to buy Clarence Ellis’ rock-spotter’s guide The Pebbles on the Beach. Faber's beautiful new edition, designed by Alex Kirby and illustrated by Eleanor Crow, has a wonderful fold-out jacket for easy reference and would’ve really come in handy for imparting some geological wisdom to my boy.Read More
Jeffrey Alan Love recently tweeted a sketch, simply captioned “illustrator’s funeral”. Leaning over an open casket, a mourner asks one final question of the deceased: “What pen was that?”. Ah yes, the question, I know it well. Artists, particularly those with distinctive styles (such as none-more-black Love), must spend an unseemly amount of time fielding this one. The thing is, it’s not so much the corpse I relate to in this situation, but the inquisitor. I don’t know why, but I simply must know what tools people use.Read More
Way over here on the furthest back of back-burners, I am very gradually working my way through David Bowie's list of 100 favourite books, redesigning the cover for each title. Here’s the latest, Gustave Flaubert’s Madame Bovary. The picture is Jean-Baptiste-Camille Corot’s 1870 painting A Woman Reading. I’ve posted/deleted this four times now. The problem with personal projects is that there’s no client to take it off my hands, so I end up tweaking and tweaking and tweaking and …
I’ve been a fan of Geoff Manaugh’s BLDGBLOG for a years – his intelligent look at the world from a very particular architectural perspective makes it one of those blogs that leaves you feeling a little bit smarter after every visit. His post Nakatomi Space , which reappraises Die Hard as one of the all time great films about architecture, radically altered the way I read films and buildings.Read More
NME RIP. It was a slow, painful death, but it’s still left a great void in British pop journalism. Which seems like as good an excuse as any to relaunch The Face, right? But not your grandma's The Face; a different kind of magazine to the original, but retaining the same core pop ethos. Quarterly, thick, high production values, passionate writing about pop, not fighting the tide of the web. And NOT nostalgic. So no dragging back the old writers to relive the good old days; get some new voices out there (consider this a very optimistic job application). Structurally, the Little White Lies model would work well. One big fat interview with the cover star – guess who my suggestion for the first issue would be – followed by lots of tangentially related stories, offering the sort of depth you don't get online.
You never know, it could happen.
A particularly fun element of last year's Wolpe Collection launch was the opportunity to redesign some classic Faber & Faber jackets using the new versions of Berthold Wolpe’s typefaces. I spent way too long mulling over whether or not this one needed an eyepatch over the O, but in the end I just let the Albertus Nova curly bracket do all the work.
One of my favourite projects from last year: art directing the launch of Monotype’s revived typeface family The Wolpe Collection, working alongside type designer Toshi Omagari and writer Michael Evamy. As well as various bits and pieces of marketing material, the launch involved an exhibition of Berthold Wolpe’s work at the Type Archive. Check out the video below for a nice overview of the show.Read More
This year’s Secret 7” design, for Manic Street Preachers’ No Surface All Feeling. Just a little something to help raise money for Mind. Plus it’s rather liberating designing without text for a change – generally not something art directors are too keen on.
Marilyn Monroe hairdress test for Let's Make Love, 1960. Although it’s just a functional image, I love the surreal composition of this. I think I may prefer all of the photography surrounding Monroe’s films – especially the many candid shots of her reading – than the films themselves.
Over the last ten years, Chris Ware has been capturing the shifting values, worries and conventions of 21st century parenthood on his covers for The New Yorker. From the playground full of fathers to the ubiquitous glowing screen of the always-online parent, these scenes will be all-too familiar to any parent. Here are some of the best.Read More
I've just noticed that Douglas Coupland has a new website. It might be new. It certainly looks new, and I don't remember it being there before, so … let's assume it's new. I'm a big fan of Coupland's writing – my faded pink edition of Generation X is never too far away – but I've only recently explored his art. It treads that big murky line between art and design; a blend of Mark Farrow, Peter Saville, Bill Drummond and Anthony Burrill. In summary: rather tasty.