Tag Archives: Mitch Goldstein

Några av de snyggaste amerikanska bokomslagen 2017

Vi är inte helt främmande inför tanken att väga in omslaget när man bedömer en bok. I allra bästa fall är omslaget som en förlängning av och portal till bokens värld. För att uppmärksamma dem som gör särskilt snygga och effektiva omslag gör vi varje år listor. Det här är årsbästalistorna med svenska omslag: 201420152016 och 2017.

BearBooks är ju delvis amerikanskt orienterad. Det här är tidigare års listor med de bästa amerikanska bokomslagen: 2014, 2015 och 2016. Och det här är årets snyggaste och coolaste amerikanska omslag:

images (5)

Tom Fisher – Writing Not Writing (University of Iowa Press) Design: Anne Jordan & Mitch Goldstein

 
Royals_sc_for_website_large

Cedar Sigo – Royals (New Wave) Design: Jeff Clark

 
TLBMTPcover

César Aira – The Little Buddhist Monk & The Proof (New Directions) Design: Rodrigo Corral Lettering: June Park

 
images

Chris Miles – Spurt (Simon & Schuster) Design: Lucy Ruth Cummins

 
images (1)

Deb Ulin Unferth – Wait Till You See Me Dance (Greywolf Press) Design: Kimberly Glyder

 
9780811225946

Jenny Erpenbeck – Go, Went, Gone (New Directions) Design: Rodrigo Corral

 
images (9)

Ralf Rothman – To Die In Spring (Farrar, Straus & Giroux) Design: Oliver Munday

 
Scalise.catastrophe

Mike Scalise – The Brand New Catastrophe (Sarabande Books) Design:  Oliver Munday

 
9780735212176

Moshin Hamid – Exit West (Riverhead) Design: Rachel Willey

 
s224039681740579826_p102_i1_w387

Timothy O’Leary – Dick Cheney shot me in the face (Unsolicited Press) Design: David A. Gee

 
9780307907639

Leif GW Persson – The Dying Detective (Pantheon) Design: Oliver Munday

 
images (2)

Jacob Bacharach – The Doorposts of Your House and on Your Gate (Liverlight) Design: Nathan Burton

 
alomar_teeth_of_the_comb_cover

Osama Alomar – The Teeth of the Comb & Other Stories (New Directions) Design: Erik Carter

 
9781552453544_cover_rb_modalcover

Sina Queyras – My Ariel (Coach House Books) Design: Ingrid Paulson

 
images (16)

Lindsay Hunter – Eat Only When You’re Hungry (Farrar, Straus & Giroux) Design: Abby Kagan

 
images (7)

Ayobami Adebayo – Stay With Me (Knopf) Design: Janet Hansen

 
9781786631329-d7af1b182854f6cf1cb9e2fda760081b (1)

Timothy Morton – Humankind (Verso) Design: Anne Jordan & Mitch Goldstein

 
9781477313497

Red. Roxanne Samer & William Whittington – Spectatorship (University of Texas Press) Design: Anne Jordan & Mitch Goldstein

 
images (11)

Nancy Pearl – George & Lizzie (Simon & Schuster) Design: Gray318

 
images (10)

Gabriel Tallent – My Absolute Darling (Riverhead) Design: Jaya Miceli

 
Habash_StephenFlorida_9781566894647

Gabe Habash – Stephen Florida (Coffee House Press) Design: Karl Engebretson Illustration: George Boorujy

 
images (14)

Hanif Willis-Abdurraqib – They Can’t Kill Us Until They Kill Us (Two Dollar Radio) Design: Two Dollar Radio

 
images (15)

Katie Kitamura – A Separation (Riverhead) Design: Jaya Miceli

 
images (4)

Owen Egerton – Hollow (Counterpoint) Design: Matt Dorfman

 
images (13)

Hari Kunzru – White Tears (Knopf) Design: Peter Mendelsund

 
images (3)

Michael Robbins – Equipment For Living on Poetry and Pop Music (Simon & Schuster) Design: Thomas Colligan

 
9780374279837

Karl Ove Knausgaard & Fredrik Ekelund – Home and Away (Farrar, Straus & Giroux) Design: Alex Merto

 

Jerome Charyn – Jerzy (Bellevue Literary Press) Design: Alban Fischer

 

9780374716646
Katherine Faw – Ultraluminous (Farrar, Straus and Giroux) Design: Rodrigo Corral Lettering: June Park

 
images (6)

Eve Babitz – Sex & Rage (Counterpoint) Design: Kelly Winton

 
9780811226936

Fernando Pessoa – The Book of Disquiet (New Directions) Design: Peter Mendelsund

 
Skriv gärna kommentarer och berätta vad du tycker. Vilket eller vilka omslag är snyggast? Känner du till något som vi negligerat och absolut bör ha med? Och missa inte våra intervjuer med Kimberly GlyderAlban FischerAnne JordanJeff Clark och Emily Mahon.

Ola Wihlke

Lämna en kommentar

Filed under Artiklar, Bokomslag bilder och foto, Listor

10 snygga svarta bokomslag

first-bad-man

The First Bad Man av Miranda July (Scribner) Design Mike Mills

Capitalist Unconscious design Keetra Dean Dixon

The Capital Unconscious av Samo Tomšič (Verso) Design: Keetra Dean Dixon

Bream Gives Me Hiccups design Jean Jullien

Bream Gives Me Hiccups av Jesse Eisenberg (Grove Atlantic) Design Jean Jullien

9789100155414

Epidemin av Åsa Ericsdotter (Bonniers) Design: Elina Gradin

anne_jordan_capitalism_in_the_web_of_life

Capitalism in the Web of Life av Jason W. Moore (Verso Books) Design Anne Jordan & Mitch Goldstein

Trans-Design-and-illustration-Joanna-Walsh

Trans. A Memoar av Juliet Jacques (Verso) Design: Joanna Walsh

cover-keigo-higashino-kaoko-book

Naoko av Keigo Higashino (Vertical). Designer: Chipp Kidd

cover image for The Cantos Of Ezra Pound

The Cantos av Ezra Pound (New Directions) Designer: okänd

cover image for

Nausea av Jean-Paul Sartre (New Directions) Designer: ?

broder-cover

Last Sext av Melissa Broder (Tin House) Designer: ?

Ola Wihlke

Lämna en kommentar

Filed under Bokomslag bilder och foto

Årets 35 bästa bokomslag 2015

Vi har sammanställt en lista med listor över årets bästa engelskspråkiga böcker, och då har vi fastnat för vissa bokomslag. Dem och omslag som vi samlat på oss under året, för att de är snygga, intressanta eller effektiva eller fängslande, presenteras nedan. De presenteras inte i någon speciell ordning, men de här 35 tycker vi särskilt mycket om:

first-bad-man

The First Bad Man av Miranda July (Scribner) Design Mike Mills

anne_jordan_capitalism_in_the_web_of_life

Capitalism in the Web of Life av Jason W. Moore (Verso Books) Design Anne Jordan & Mitch Goldstein

9781593766221

Ball. Stories av Tara Ison (Counterpoint) Design Kelly Winton

North-of-Order-front-2_670

North of Order av Nicholas Gulig (YesYes Books) Design Alban Fischer

9780307701534

Building Art av Paul Goldberger (Knopf) Design Peter Mendelsund

Mental-Hospital-Final-Version_670

Mental Hospital av Ross Robbins (YesYes Books) Design Alban Fischer

TD_front-cover_low-res

Tender Data av Monica McClure (Birds) Design Eric Amling

hall-of-small-mammals

Hall of Small Mammals av Thomas Pierce (Riverhead). Design Grace Han. Cover art Kate Bergin

New American Stories design by Peter Mendelsund.

New American Stories Red. Ben Marcus (Vintage) Design Peter Mendelsund

I-THINK-YOURE-TOTALLY-WRONG

I Think You’re Totally Wrong av David Shields & Caleb Powell (Knopf) Design Chip Kidd

Early Stories of Truman Capote design David Pearson

Early Stories of Truman Capote av Truman Capote (Penguin) Design David Pearson

Season of Trouble design by David Gee

The Seasons of Trouble av Rohini Mohan (Verso) Design David A. Gee

Home is Burning design by Rodrigo Corral

Home is Burning av Dan Marshall (Flatrion) Design Rodrigo Corral

Making Nice-final (front).jpg

Making Nice av Matt Sumell (Henry Holt). Design gray318.

Memoirs of a Dipper design by Gray318

Memoirs of a Dipper av Nell Leyshon (Fig Tree) Design Gray318

i-am-radar

I Am Radar av Reif Larsen (Penguin Press) Design Will Staehle

Vegetarian design Tom Darracott

The Vegetarian av Han Kang (Portobello) Design Tom Darracott

Beauty is a Wound design John Gall

Beauty is a Wound av Eka Kurniawan (New Directions) Design by John Gall

killing and dying

Killing and Dying av Adrian Tomine (Drawn & Quarterly) Cover art & design Adrian Tomine

A Brief History of Seven Killings Special Edition design James Paul Jones

A Brief History of Seven Killings av Marlon James (Oneworld, special edition). Design James Paul Jones

Bream Gives Me Hiccups design Jean Jullien

Bream Gives Me Hiccups av Jesse Eisenberg (Grove Atlantic) Design Jean Jullien

musical-brain

The Musical Brain av César Aira (New Directions) Design Rodrigo Corral

Ally Hughes design by Darren Booth

Ally Hughes Has Sex Sometimes av Jules Moulin (Dutton) Design Darren Booth

Complete Stories design by Paul Sahre

The Complete Stories av Clarice Lispector (New Directions) Design Paul Sahre

rails

Rails Under My Back av Jeffrey Renard Allen (Graywolf Press) Design Kimberly Glyder

voices-in-the-night-design-janet-hansen

Voices in the Night av Steven Millhauser (Knopf) Design Janet Hansen

Music mfor Wartime design Lynn Buckley

Music for Wartime av Rebecca Makkai (Viking) Design Lynn Buckley

Only Forward design Stuart Bache

Only Forward av Michael Marshall Smith (HarperCollins) Design Stuart Bache

9780385538343

Street Poison av Justin Gifford (Doubleday) Design Michael J. Windsor

 

kl-design-alex-merto

KL av Nikolaus Wachsmann (Farrar, Straus & Giroux) Design by Alex Merto

schlump-design-suzanne-dean-illustration-clare-curtis

Schlump by Hans Herbert Grim (Vintage) Design Suzanne Dean; illustration Clare Curtis

american-warlord-design-oliver-munday

American Warlord av Johnny Dwyer (Knopf) Design Oliver Munday

Infinite Home US

Infinite Home av Kathleen Alcott (Riverhead) Design Alex Merto

knife

The Knife av Ross Ritchell (Blue Rider Press) Design Alex Merto

woman-who-read-too-much-design-anne-jordan

The Woman Who Read Too Much av Bahiyyih Nakhjavani (Stanford University Press) Design Anne Jordan & Mitch Goldstein

Ola Wihlke

2 kommentarer

Filed under Bokomslag bilder och foto, Listor

Interview: Anne Jordan on designing book covers

The best book covers 2014

In two previous interviews we asked graphic designers Sara R. Acedo and Håkan Liljemärker a few questions about designing book covers. Acedo and Liljemärker are well established graphic designers with their own distinct styles, easy to recognize but hard to pin down. They mostly make covers for books of fiction.

In this interview we ask Anne Jordan, graphic designer based in Rochester, New York, about her work. She takes a special interest in typography and mostly designs covers for academic and theoretical texts. But the questions we ask her are similar to the ones we asked Acedo and Liljemärker.

Could you please tell us a little about your background and how and why you became a designer of book covers?

– I went to college at Rhode Island School of Design (RISD), where I took an intro-level graphic design class as a freshman and decided to major in Graphic Design. Typography class during sophomore year sealed the deal – I love the structure, the history, and the endless freedom that is possible within the finite system of letterforms. It didn’t hurt that I met my husband, Mitch Goldstein, on the first day of type class.

– I designed a few book covers during college and was so enamored with the format and the potential for expressive typography that I decided to make a series of book covers for my senior project. That project was the first of many personal book cover projects, which eventually led to paying clients. I continued to investigate book covers during graduate school at Virginia Commonwealth University’s School of the Arts, and now I am an independent designer working with various publishers.

What purposes are book covers supposed to fill?

– Form is my primary concern. A book cover must first catch the eye of the reader, or else the book will never be opened. I think good design must be visually seductive – that might mean beautiful, or interesting, or weird, or new – but without enticing form, there is no entry point to content.

– There should also be a meaningful relationship between material and message – the image should make sense with the content in a smart and interesting way. That visual-verbal connection must be present and strong. A good book cover should also reward the reader – there should be a little bit of mystery to allow for personal interpretation, and enough depth in the image so the reader’s experience of the cover changes and grows as they make their way through the text.

– I want to make work that contributes to our society’s intellectual growth – that’s part of why I love book covers so much. If a book cover encourages someone to pick up a book and read it, that adds to our culture’s collective understanding. I am interested in work that promotes thinking and ideas.

Are there differences between book covers and other kinds of graphic design?

– I have worked on countless different kinds of graphic design projects and keep coming back to the format of the book cover. Book covers provide unique opportunities and limitations that seem to align well with my interests and disposition as a designer.

– Book covers are very concise – big ideas must be communicated in a single image, usually at a small scale. A book cover designer doesn’t have the luxury of working out an idea over 200 pages or an enormous poster. I love this limitation. Projects don’t spread out over years. My process of designing a cover is very intense, but only takes a couple of weeks.

– Another part of book covers I love is the content. As a designer I get to read lots of interesting stuff, briefs on subjects I have no clue about. It’s a great way to learn lots of new things. The kinds of books that I’ve been designing lately (mostly non-fiction academic texts) allow for quite a bit of abstraction. I really appreciate the opportunity to design highly expressive, abstract pieces that explore type as image. There’s a lot of room for personal expression.

– And finally, the fact that books are lasting and permanent objects is very satisfying. I can hold the finished book in my hand. It doesn’t disappear below the fold of my laptop screen the very next day, it’s there on my bookshelf collecting dust for years and years. That’s pretty cool.

Do you have a philosophy, rules of thumb or rituals that you follow during the creative process? Please tell us a little bit about the creative process.

– My work explores the intersection of typography and materials, so I begin each project by playing with a table full of real stuff. I manipulate the materials and explore various methods and processes in order to integrate them with typography. Sketches don’t really work for me – I can’t predict how a material will react until I start to work with it in my hands. This means my process involves a lot of unpredictability, tangents, research, and accidents. I just keep going and going, working with a material in every way I can think of until I find something I like, and then refine, refine, refine. This process requires faith and stamina, and can be frustrating at times, but I think it leads to interesting results.

– I collaborate with my husband Mitch Goldstein. We work at home – the whole first floor of our house is our studio. It’s just the two of us, and we work very closely together on all aspects of our practice. We have everything we need here – lots of tables, a photography setup, printers, scanners, etc. Collecting is essential – we have a supply room full of materials and tools waiting for the right project to come along. The studio starts out neatly organized at the beginning of each project, and gets turned upside down by the end. Then we clean the space up again as a way to change gears for the next project.

You have made covers to books by great fiction writers, but you have also created covers to several academic and theoretical texts. I think you have developed a very interesting and captivating style, with a lot of distortions of images and text. Can you please tell us a little bit about that?

– The style of my work evolved from my process. I am an image-maker. I make most of my images by constructing tactile objects or three-dimensional setups and then photographing or scanning them. I love finding ways to embed text in physical objects, building scenes in-camera instead of relying on purely digital effects. Everything you see in my work is a result of a physical process, my attempt at giving type a physical body, giving letterforms a chance to misbehave and express themselves outside of the computer. I use all sorts of materials including ink, paper, plastic, concrete, light, water, etc. and the various combinations create an infinite amount of effects.

Crowds and Party by Jodi Dean. Client: Verso Books

Can you please pick one of your covers and explain how it came about and how you intended it to work?

– This book is about how political groups move from the inert mass to organized activists. Crowds and Party extends the energies of the riotous crowds of the last five years (such as the Occupy movement) into an argument for the political party.

Andy Pressman, the art director, asked us to come up with a way to communicate “crowds” and “teeming masses” without being literal. So Mitch and I knew that we didn’t want to use any human-like symbols such as heads or hands to show a crowd – we needed something more abstract. We searched through our studio for materials that evoked the feeling of crowds. We looked for materials that were messy, showed movement, felt like they were teeming, were made up of lots of little pieces that could come together, stuff that was solid but diffuse. Then we started experimenting.

– We became very interested in hot glue because of the snake-like, chaotic lines it created when we drew with it straight out of the glue gun. It reminded us of a colony of insects, squirming and full of energy. At the same time, hot glue has the ability to melt and gel into a distinct mass – all of these squiggly lines can come together to form a unit, similar to a crowd. We made lots of tests with hot glue to figure out how the energetic lines could be married with type.

– Through this experimentation we developed a process of injecting hot glue into silicone molds to create letters, and then using the squiggly lines to draw over the letters and melt the pieces together. We created a series of sculptures – each one was a different design of the cover in which all of the letterforms and lines are one piece, glued in place by itself. We photographed our favorite sculpture and added a bit of color to pull out the type, and that was it. There are no digital effects in this piece – everything is inherent in the sculpture itself.

Many thanks to Anne for taking our questions. And congratulations – Print Magazine recently named her one of the 2015 New Visual Artists Under 30.

Ola Wihlke

Lämna en kommentar

Filed under Intervjuer