The newest edition of Kit Hinrichs’ and my “Obsessions” book series is on the arts and crafts made by Japanese Americans held in U.S. concentration camps during World War II. All That Remains is a sequel to my 2005 book titled The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942–1946. While working on that book, I spent many hours reflecting on why people banished by their own country to barrack encampments fenced in by barbed wire and guarded by soldiers with rifles pointed at them would take up art with such a fervor that it became an obsession to them. They scrounged for scraps of paper, bits of lumber, empty bottles and cans, and cardboard packaging to use for their art projects and scoured the desert terrain for stones, driftwood and shrubs to carve into new forms. Art served a need far beyond the aesthetic. Although two-thirds of the 120,000 ethnic Japanese forced into camps were American citizens, the older immigrant generation especially, who were in their 50s and 60s, embraced the creation of art as a lifeline. Given less than 10 days notice to turn themselves in and told they could only bring what they could carry. the adults knew their businesses, homes and all their possessions would probably be gone when they were freed to return to the West Coast. In fact, that turned out to be true.
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Over the past four decades, New York-based designer Louise Fili has returned often to Paris, camera in hand, to document the signage of the Parisian streetscape. Graphique de La Rue is what Fili calls her “typographic love letter to Paris.” From the classic neon that illuminates bistros and cafes to the dramatic facades of the Moulin Rouge and the Folies Bergere to Hector Guimard’s legendary art nouveau metro entrances, Fili shows us the sensuous elegance and dazzling beauty of Paris street signs. This book is a sequel to her Graficadella Strada: The Signs of Italy, which is equally sumptuous.
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How do you describe in words what autism feels like from the perspective of the person afflicted with the disorder? Sometimes verbal explanations seem inadequate, incomplete, superficial. It’s better to show it and hear it from their eyes and ears. Rattling Stick Production Company made this public service video for the National Autism Society in the UK to help viewers feel the sensory way that some autistic people experience the world. Sounds that most people don’t even notice affect them with the jarring impact of a pile driver. The video was directed by Steve Cope, with creative direction by Kit Darayam. Turn up your sound to get the full effect.
When it comes to looking for the latest crime novel by your favorite best-selling author, fans don’t want the mystery to begin in the bookstore, so publishers sprinkle graphic clues on the jacket cover to lead shoppers to the writers they want. The covers, shown here, are by designer Peter Mendelsund, associate art director at Knopf, for the Jo Nesbo series; design firm Richard, Brock, Miller and Mitchell (RBMM) for the Dick Francis horse-racing murder mysteries, and designer Michael Stirrings for the Sue Grafton alphabet murders. In such cases, the cover design “brands” the book as part of a series, and signals the likely appearance of recurring main characters — e.g., Nesbo’s detective Harry Hole and Grafton’s Kinsey Milhone. Familiarity sells.
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A great book cover should be striking, memorable, profound, and, most of all, eye-catching. It should pull a reader across a bookstore with a flash of color or a slick effect. But today, designers must think beyond the physical bookstore and consider the digital one as well. The parameters of each differ in nearly every respect. So, how have designers adjusted? With the huge growth in online sales, has the digital bookstore begun to drive the design process?
Here are some tips offered by Penguin Random House experts on cover design and selling online.
The Sizing Challenge.
The most noticeable difference between a cover’s presentation online and in person is its size. On the shelf, a cover might be 10″x6″, but online it shrinks to about an inch on a computer screen—and even smaller on a mobile device. Given this discrepancy, you might think that the solution to this conundrum would be creating two different covers—one that works on a larger scale and one that pops at a fraction of that size. But designers warn against this. The cover is the most obvious consumer-facing branding of a book, and designers want to ensure that a reader can recognize that brand across all formats and platforms. Whether a reader sees the cover in a promotional email recommending the book, in the window as she passes her local bookstore, or online when she goes to buy it, she should see the same image every time. The consistency bolsters her relationship with the book and increases the likelihood of purchase.
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