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Tablero del Pinterest de la Biblioteca Transforma con ejemplos de identidad de colecciones y diseño de tapas de libros.

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300 ideas de EDITORIAL / COLECCIONES | disenos de unas, portadas, libros

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26 abr. 2024 - Diseño de colecciones de libros, portadas y packaging de series especiales. Ver más ideas sobre disenos de unas, portadas, libros.

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Proyectos editoriales del Estudio Pentagram.

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Artículo sobre el trabajo del diseñador David Pearson.

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The former Penguin in-house designer talks typographic tips, avoiding apologetic design and why authors care so much about how their books look today.

The third year of book cover designer David Pearson's university degree at Central Saint Martins, he admits, should have been spent focusing on his degree show.

But rather than following the example set by his classmates, Pearson was job hunting. He tells Design Week the search was all-consuming: "I was terrified of graduating without a job and having to move back to Grimsby, so I tried to get the jump on everyone else."

It was a good strategy, it turns out - the day after he graduated in 2002, Pearson started work at Penguin.

"Cover design is at its most fun when you have something to kick against"

Reflecting on landing such a coveted position so early on in his career, Pearson says it really was a dream come true.

"I remember the biggest challenge of the interview was trying to mask the fact I was stupidly excited - I didn't think they'd want to hire that person!" he says. Now, as he was then, Pearson says he is a big fan of Penguin's work and the "indescribable secret formula" that goes into making the publisher's covers.

Pearson left the in-house team to go independent in 2007, but Penguin remains one of his biggest clients. The most recent project from the partnership is the latest instalment of the Great Ideas book series, which he worked on with fellow designers Phil Baines, Catherine Dixon and Alistair Hall.

The series holds a special place in Pearson's heart and career history - the mini-book collection dedicated to "great thinkers" has more than 100 titles and Pearson has designed the covers for most of them over the last two decades. New titles are brought out in volumes and each feature a stripped back colour palette. This is the only thing the titles share however, as all are designed to be "pleasingly inconsistent" when sat alongside each other.

"The Great Ideas series was always about trying to make each book as different as possible," he says, adding that the first step for every stage of the collection was to set parameters and limits. "Book design is at its most fun when you've got something to kick against."

The secret with the Great Ideas series, Pearson says, is "managing variables". Designing 20 books in one go presents an "interesting dynamic": "I could have made them all look crazy but then of course none of them would look crazy - my tactic was to allow most of the covers to look 'straight' and then went mad with the remaining four or five."

Pearson now has 18 years of cover design experience behind him, and a successful solo practice in Type As Image. Throughout his career, he says his working methods haven't changed.

"When you do what I do, a lot of it stays the same," he says. "Whether you're a junior designer or a senior designer, whether you're in-house or not, you're still designing a book cover, and I like that consistency."

But that's not to say the output of work has stayed the same - audiobooks, e-books and social media have all had their effects on the profession. Instagram in particular has provoked a huge shift in the perception of cover design, he says.

"When I first started out, authors were not that preoccupied with how their books looked, but my god they are now," Pearson says. "The success of a 'cover reveal' on Instagram is a huge indicator of how the book is going to sell."

And the ongoing coronavirus pandemic has provoked another change in his work. For the last six months Pearson, who has spent most of his career working in backlist publishing, has spent more time working with living authors alongside dead authors. The onset of the virus and subsequent lockdown, he explains, meant book tours were cancelled and publishers needed new ways of engaging prospective readers.

"I've had more work recently than I have in ages and I'm doing most of it right now from a very hastily assembled home office," he says. "It's been amazing."

"What I can do is incredibly limited"

Pearson's work - be it with the Great Ideas series or other covers for the likes of George Orwell, Karl Marx or John le Carré - is focused around typography. That's "his thing", he tells us.

"I can't draw or paint or take photos - what I can do is incredibly limited, but I use typography in an expressive way on my book covers," he says. "And that's good, because when people approach me for work, they're not going to be too shocked with what I produce."

The good thing about the book cover design profession, Pearson adds, is that everyone within it has their own "wheelhouse". For this reason, he views his fellow designers as friends and collaborators rather than rivals. He says: "We all operate in very distinct boxes and have unique skillsets that don't really cross over, so what you can and can't do drives things along."

"I like creating systems in my work," he says, referencing the Great Ideas collection as an example. "It's not the most expressive or spontaneous way of working but it works really well for me."

The way that Pearson arrives at the final product differs depending on the book at hand. The ideal scenario, he says, is to receive a manuscript, read it and then respond directly. But the reality can often be quite different, since schedules are often tight and changes need to be made. And sometimes the book simply isn't finished.

"You have to work around these obstacles where you can and often this opens up some really interesting avenues," Pearson says. "Talking to the author and discussing themes and emotions and tones is a great way around that and it really serves to bond you together."

"You can tell when a book cover is quite apologetic"

So with almost 20 years of experience in the industry, how does Pearson view the state of the profession he is in? He says there are "waves of brilliance" coming from different publishers around the world. In particular, he says many UK designers are looking enviably at publishing imprints in the US, like Knopf and New Directions.

"There are lots like these two who are doing work that is consistently and endlessly brilliant," he says. As for the UK, he says there is some similarly impressive work going on, but that "we're maybe a little bit more fearful" here. "I feel like you can tell when a book cover is quite apologetic, or if too many people are working to make it dance to different tunes and I'd love for us to become braver."

On the topic of dancing to too many tunes, Pearson is hoping the industry will soon embrace the idea of having more than one cover for a title. The standard at the moment is to have one cover to fit a growing number of contexts.

"A book cover is such a small space, and I've always had the opinion that each one should be redesigned for all it's different uses," he says. "A small thumbnail for online use, a poster, an e-book cover and the physical product require different treatments, I think."

In the future, he hopes, publishers will embrace the idea of a "cover toolkit", which features several designs that are all "fit for purpose". Pearson says this way, "we could all go about our jobs in a braver way".

"A book cover is basically a little poster"

As for how hopeful book cover designers might crack the industry, Pearson says the key is to be "an ideas factory".

"A book cover is basically a little poster, so if you're interested in the field I think it's all about being able to demonstrate you have the power to snag someone's eye and communicated quickly," he says. "There are so many ways of interpreting a book, and you're working with different content all the time, so you have to be able to put on different hats."

For this reason, he says those wishing to get into cover design shouldn't necessarily think they have to fill their portfolio with just examples of cover designs. Instead, they should focus on work that conveys good ideas and an understanding of typography. A little bit of resilience never hurts too, Pearson says, since "you can go through a lot of covers before you get an approval sometimes".

So after all of this, what is Pearson's favourite project? He says it is actually a recent collaboration with writer Nick Asbury for a series from John le Carré. Hiring a writer to do the copy for the cover was a first for Pearson, but he says the results were "dynamic and rewarding".

In the 18 years he's been designing covers, Pearson says he has no idea how many covers he's actually created but estimates its "hundreds and hundreds".

"Someone once said to me: 'When a book comes round and you already designed the cover for it once, that's when you should retire'," he recalls. "But I must have designed 30 covers for Karl Marx alone, so I think I'm beyond that now."

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David Pearson: "We can be braver with book design in the UK"

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The former Penguin in-house designer talks typographic tips, avoiding apologetic design and why authors care so much about how their books look today.

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Artículo sobre la colección Great Ideas, de Penguin Books, diseñada por David Pearson.

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Great Ideas is a series of non fiction books by Penguin that takes extracts of previously published works by authors such as George Orwell, Karl Marx and Virginia Woolf, and publishes them as standalone mini-manifestos on a subject. Making them digestible and pocket-sized was, it turned out, itself a great idea by the publisher, as it has gone on to sell four million copies and publish 120 different titles. Graphic designer David Pearson was there at the start, designing many of the covers and even coining the series name, and has returned to design many of the series' new set of 20 books, ten years after he last worked on the project.

"It's a really interesting process, picking up a piece of work that you put down a decade ago," Pearson says. "After 100 books it feels like the series has created its own rules and its own version of reality, which is an unbelievably fertile space for a designer to work in. When you get this far down the line (six series with 120 covers) you have the option to self-reference and doing so can help keep things looking varied and interesting." Whereas the first series used pastiche and historical relevance, Pearson tells It's Nice That each subsequent series has been able to "gradually break away from that and play with its own conventions... For example, the cover of The Work of Art in the Age of Mechanical Reproduction (series three) has no historical relevance but is instead playfully self-referential (using the series parameters of type, two colours and debossing to make a sideways connection with the content)."

"The challenge has always been to develop a sort of pleasing inconsistency, so that books play nicely together but also jar and spar when displayed in different combinations," he continues. "Some covers prescribe, some misguide; some are formal, some informal; some are minimal, some maximal; some shout and some whisper. Some are legible and some - let's be honest - require a good deal of deciphering. It was great fun wearing all these different hats, often on the same day!"

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Book designer David Pearson returns to Penguin's bestselling series, Great Ideas

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Having designed the first books and even coined the name of the four-million-copy series, Pearson tells us more about some of his favourite covers for the new titles featuring authors Simone Weil and Audre Lorde.

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"Es estupendo diseñar pensando en algo que va a permanecer, ya que nuestro objetivo es crear objetos que los lectores conserven y aprecien."

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"Es estupendo diseñar pensando en algo que va a permanecer, ya que nuestro objetivo es crear objetos que los lectores conserven y aprecien."

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Entrevista al diseñador David Pearson.

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Five years ago, Penguin Books launched the Great Ideas series, which excerpted world-changing works of philosophy and belle lettres packaged as pocket-sized paperbacks. The typographic covers, designed by David Pearson, then a recent graduate of Central Saint Martin's College of Art and Design in London, were nothing short of dazzling, with lettering contemporaneous with the classic contents debossed on a pristine white background. The series helped to usher in a new era of Penguin design and brought new attention to British book design.

Collection of spines for the Great Ideas series.

Pearson has gone on to design three more rounds of Great Ideas titles for Penguin, as well as such spin-off series as Great Journeys (travel writing) and Great Loves (short love stories) and a nifty line of "Popular Classics," thrift editions with minimalist covers that sell for two quid each. Last year, he left a full-time position on the Penguin design team to start his own firm. (He still keeps his hand in with his former employer: a new set of Great Ideas was released in August.)

Cover and spine for Treasure Island, published by White's Books. Illustrated by Stanley Donwood.

One of his newest projects is White's Books, a boutique publisher of deluxe hardcover editions of classic works of literature. The bright, colorful covers are the handiwork of some legendary contemporary illustrators, including Radiohead cover artist Stanley Donwood's take on Treasure Island (above), textile designer and Hockney muse Celia Birtwell's Wuthering Heights, and Pearson's own edition of Shakespeare's sonnets and poems. The publisher released its first four titles were released last year, and expects to produce about eight titles a year. The company is also hoping to tie up a deal with a US distributor quite soon.

Cover for Emma, published by White's Books. Illustrated by Amy Gibson.

White's Books is currently preparing to release new editions of Emma (illustrated by Amy Gibson, above) and a selection of Sherlock Holmes tales (illustrated by Michael Kirkham, below). We recently exchanged emails with Pearson as he was redesigning backlist titles for Cormac McCarthy.

Cover for a collection of Sherlock Holmes stories, published by White's Books. Illustrated by Michael Kirkham.

Peter Terzian: Can you describe your role at White's Books?

David Pearson: White's Books is currently two people: [publisher] Jonathan Jackson and myself. This is largely to reduce start-up costs but also so we can focus on the detailing of our books and make sure the small number of titles we produce are created to the highest possible standards. I always intended my main role within White's Books to be that of a commissioner. First and foremost, I wanted to employ illustrators that I admire and-for very selfish reasons-have always wanted to work with. My skill-base very rarely extends to illustration and, even then, I wouldn't say it's a particular strength. So once the cover grid was decided on it felt right to send the real work out of the door. This may well be wishful thinking but I think we offer a genuinely attractive brief, if not simply because the only people to approve the work are Jonathan and myself. We are also in the unique position to ask our illustrators to work up something to the point where they are happy, thus removing many of the obstacles found in trade publishing.

Cover of Ralph Waldo Emerson's Nature, as part of Penguin's Great Ideas series.

What's your vision for White's Books?

Due to the arrival of eBooks, many prophesied the death of the printed word, but we see it as an opportunity to turn the spotlight back on the traditional methods of book production and to luxuriate in the craft and tactility of the physical book and the printed page. It's lovely to be designing with longevity in mind as we aim to create objects that will be retained and cherished by their readers.

Cover of Albert Camus's The Myth of Sisyphus, published as part of Penguin's Great Ideas series.

How would you describe the White's Books aesthetic?

Our general look consists of a non-repeating pattern that has a certain narrative flow to it. We are in a position to offer the entire cover to our illustrators and I am interested to see how their artwork shifts as it deals with three different surfaces-back, spine and front cover. The finishes applied to our covers are very traditional and lend themselves to a certain kind of mark making, so where possible, we urge our illustrators to adopt similarly traditional methods to generate their artwork. For example, Petra Börner produced a paper cut illustration for us, Joe McLaren worked in scraper board, and Stanley Donwood worked in lino-all mediums that correlate with the very defined marks of foil blocking. We give our illustrators approximately a month to create final artwork. We then wrap it around a cloth-bound case, printing with a combination of PMS colors and foil blocking. Internally, illustrative endpapers and a decorative title page are joined by a rather unusual text setting method rarely seen in the last hundred years. Each right-hand page sports what is known as a catchword: a hanging word that provides the opening of the following page. We believe that this aids the fl
ow of reading, especially when using a larger, heavy page with a slow turning rate.

Cover of Sigmund Freud's Deviant Love, published as part of Penguin's Great Loves series.

Does your work at White's allow you to explore areas of design that you weren't able to at Penguin?

Since the cover artwork is farmed out, I am afforded the time to revisit my original occupation-that of text designer. Setting books is a wonderfully calming and non-competitive profession. In fact, I seldom receive any kind of critical feedback for my work unless, of course, it is done badly. The same cannot be said for cover design, for which every man and his dog seem to have an opinion. As with any job, variation is the key to a happy and prolonged working life and my time with White's definitely helps provide that.

Cover, spine, and back of L'Univers, published by Éditions Zulma.

Can you tell me about the work you do for Éditions Zulma? Very few of the authors in the series are known to American readers, and I'm wondering if you can explain what kind of books these are.

Éditions Zulma are known for publishing fairly progressive works of contemporary fiction and as with most French paperback books, they retail at a fairly lofty €15-20.

Cover of Leo Tolstoy's The Kreutzer Sonata, published as part of Penguin's Great Loves series.

How does the design complement the texts?

Pattern-based covers feel like a good fit for works of fiction. I really struggle with the idea that book covers should have a distinct voice. In many ways I think a book cover should do no more than titillate, leaving the blurb-and reader-to do the rest. I don't think it should be down to me to reveal what the chief protagonist looks like, nor to imbue a piece of photography with a meaning for which it was never intended. Typographic or pattern-led covers challenge the reader to project meaning onto them, which feels entirely more sympathetic and-luckily for me-the French publishing industry seems to embrace quietly suggestive cover designs.

Cover of George Orwell's Why I Write, published as part of Penguin's Great Ideas series.

Penguin just released the fourth Great Ideas series. How has the design of the series evolved over time?

Speaking from my own perspective I'd say that I've loosened up as a designer. Looking at my earlier efforts I think I was rather inhibited and it wasn't until I brought in Phil Baines that I could see the true size of the project's potential. Phil added pace and variety through his very bold, expressive designs and this made me realize that I too could let my hair down a little.

Cover of Edward Gibbon's The Christians, and the Fall of Rome, published as part of Penguin's Great Ideas series.

Many of your designs are for books that are produced in series. Does working with titles in a series complement your personality?

I'd probably put this down to my text design background. When I embark on a setting job, I tend to make decisions based on the accommodation of variables. For example, when settling on a heading style, I would have to consider both the largest and smallest heading lengths before creating a style for the common-rather than the specific-good. This approach can quickly become habitual and has resulted in my often creating overarching frameworks within which to work. It is true that my working life has been filled with series designs. I certainly enjoy developing them, but I would also hope there exists a prevailing typographic theme as this is my main area of interest.

Cover of Soren Kierkegaard's The Seducer's Diary, published as part of Penguin's Great Loves series.

How does American book cover design differ from British book cover design? Do you find that your covers translate here in the States?

I'm not often approached by US publishers so I would deduce that my work is better suited to a European market. The lion's share of my work currently comes from England, France and Germany. But there is certainly a vibrancy to contemporary U.S. cover design, which is increasingly leaning towards more cerebral solutions, much like those common in the British market in the early 1960s. Paradoxically, British book design seems to be embracing a form of pulp realism not dissimilar from the newsstand-friendly U.S. jackets of the same period. Perhaps the recent resurgence of forward-thinking independent booksellers has aided this change in the States, while in Britain, trade publishing seems to be increasingly governed by large supermarkets with a leaning towards the lowest common denominator.

Cover, spine, and back of Comment va la douleur?, published by Editions Zulma.

What single book cover that you've designed are you most proud of?

An op-arty cover for the French publisher Zulma, for a book (above) titled Comment va la douleur? It was one of my first for the company and I remember feeling incredibly liberated by the freedom they afforded me. More crucially perhaps, it didn't take me very long and so I didn't have time to develop a deep loathing for it. Also, the author, Pascal Garnier, kissed my hand and did a little bow when we met recently. That felt really good.

Cover, spine, and back of Contrebande, published by Editions Zulma.

Besides White's Books, what other projects are you working on at the moment?

At the minute, I'm busy repackaging all of Cormac McCarthy's novels for Picador [UK]. They're shaping up to be typographic covers so I'm very happy. It's also nice to be working with a living author for once!

Cover of George Orwell's Decline of the English Murder, published as part of Penguin's Great Ideas series.

What do you do when you're not designing?

For years I have been an avid book collector and have recently been applying the same rigorous application to a collection of single-malt whisky. I'm also a football fan but unfortunately support the worst team in the league, Grimsby Town. Like almost everyone in England, I used to be a semi-professional footballer but gave up when I realized I would never be anything more. That said, should my team plummet through the divisions at their current rate I should be in line for a call-up in the not-too-distant future.

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Five years ago, Penguin Books launched the Great Ideas series, which excerpted world-changing works of philosophy and belle lettres packaged as pocket-sized paperbacks. The typographic covers, designed by David Pearson, then a recent graduate of Central Saint Martin's College of Art and Design in London, were nothing short of dazzling, with lettering contemporaneous with the classic contents debossed on a pristine white background.

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Tapas de libro del estudio Gray 318, de Jon Gray.

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designer of book covers and other things.

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Biblioteca de tapas de diseño de la editorial Penguin.

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Penguin Classics is the leading publisher of classic literature and represents a global bookshelf of the best works throughout history and across genres.

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Tapas de libro del estudio Faceout.

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Faceout Studio | Book Design for Publishers, Authors & Brands

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Faceout Studio illuminates unique stories and ideas with meaningful and beautiful visual expression through custom book design.

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Tapas de libros de la diseñadora Jenny Grigg.

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Jenny Grigg - Art Direction, Design & Illustration

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Tapas de libros del diseñador Tom Etherington.

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Lanzamiento de la editorial Cosac Naify (Brasil) de una caja con Alicia en el País de las Maravillas y Alicia a través del espejo ilustradas por Luiz Zerbini y Rosângela Rennó con motivo de los 100 años de los libros.

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100 Anos de Alice no País das Maravilhas | CURTA! Cosac Naify

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Colecciones y tapas de la editorial Cosac Naify (Brasil)

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Artículo sobre la propuesta de diseño de las obras completas de Franz Kafka por el diseñador Peter Mendelsund.

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I posted about Peter Mendelsund's reinterpretations of Kafka for Schocken Books rather breathlessly earlier this week, and I wanted to revisit them now I've had some time for greater reflection.

The covers are exceptional designs and surprising reinterpretations of Kafka. What particularly interested me, however, is that they are also a surprising direction for Mendelsund to go in.

As Peter himself notes in his original post, the natural impulse when designing Kafka is to draw on the avant-garde art movements of the early 20th Century. These movements - which smashed together fine art, design, typography, photography, montage, and film - burgeoned in Central and Eastern Europe in aftermath of the Russian Revolution and the First World War, a period when Kafka himself was writing (he died in Vienna in 1924).

Unsurprisingly, recent reinterpretations of Kafka (at least the ones that have eschewed the non-design of an author photograph) have incorporated elements taken from Surrealist photography, modernist posters, and silent film.

The influence of the avant-garde is often apparent in Mendelsund's work. Covers such as The Idiot, Crime and Punishment and The Double and The Gambler by Fydor Dostoevsky, House of Meetings by Martin Amis, and K. by Roberto Calasso all incorporate elements of Suprematism, Constructivism, DADA and other stark European art movements of the early 20th Century. The new covers, however, which focus on the humour in Kafka's writing, move in a new direction and incorporate elements from the optimistic age of American mid-century modern design.

Mendelsund's use simple geometric shapes, flat colour backgrounds, and stripe patterns are typical of work by Paul Rand and Alvin Lustig.

Hand-written lettering of the type we see in Mendelsund's Kafkas is used to great effect in Lustig's design for Kafka's Amerika and is characteristic of several of Rand's book covers.

As others have noted, the eye motif used by Mendelsund is also similar to Rand's iconic IBM poster (and his unused logo for the AIGA). But in this instance at least, Rand is clearly not the only influence. His contemporary Rudolph de Harak used the same motif in his cover design for T.E. Lawrence By His Friends published by McGraw-Hill in 1963.

There are echoes too of an exhibition poster by American expatriate designer E. McKnight Kauffer who designed the cover for the Random House edition of James Joyce's Ulysses publishedin 1949 (and who was reputedly an influence on Lustig), and a George Salter cover for a Robert Bloch novel, The Scarf, published by The Dial Press in 1947.

The eye motif also recalls Bill Golden's CBS logo designed in 1951 (repeated in the British Associated Televison ATC logo), which was itself inspired by a Shaker 'All Seeing Eye' symbol Golden had seen. And it is perhaps no coincidence that Mendelsund's design for The Castle (and McKnight Kauffer's poster) is reminiscent of the masonic Eye of Providence (also known as the "all-seeing eye of God") familiar from the US one dollar bill.

Of course, not all of these elements and influences are new to Mendelsund's work (see his designs for The Millennium Trilogy boxed set), and the new covers draw on some of his more familiar inspirations such as Jean Arp, a founding member of the DADA movement (and likely an influence on Lustig), and post-war European design (see Germano Facetti's design for George Orwell's 1984 designed in the early 1960's).

But compare the Kafka covers to Mendelsund's recent designs for The Snowman by Jo Nesbø or C by Tom McCarthy, and the difference is striking. To look at these macabre designs for Knopf - which seem to owe more to the cut-and-paste of DADA, the punk aesthetic of Barney Bubbles or, perhaps, the anti-design of David Carson's Ray Gun - is like looking at the work of a wholly different designer.

That Mendelsund is capable of reinterpreting and subverting mid-century modern and making it his own not only demonstrates his creative flexibility, but serves to reminds us that one of his greatest strengths as a designer is his ability to surprise and delight us.

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Peter Mendelsund and the Art of Metamorphosis

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I posted about Peter Mendelsund's reinterpretations of Kafka for Schocken Books rather breathlessly earlier this week, and I wanted to revisit them now I've had some time for greater reflection. The covers are exceptional designs and surprising reinterpretations of Kafka. What particularly interested me, however, is that they are also a surprising direction for Mendelsund...

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Artíclo sobre las diferentes reediciones del libro 1984 de George Orwell.

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Book Covers Are Watching You: A Selection of 1984 Cover Designs – PRINT Magazine

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Increasing tensions between the current U.S. President’s administration and major news sources have jettisoned sales of George Orwell’s dystopian classic 1984 through the roof. Whether you’re an Orwell fan or not, the novel is certainly relevant in the era of “alternative facts” and “fake news.” In light of its recent popularity, I was inspired to delve into the iconic book covers that have come to represent 1984. As you’ll see, many of the covers feature the famous “eye” of

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"El motivo de mi proyecto era simplemente despertar el interés de los jóvenes por la lectura. Combinando un estilo ilustrativo vanguardista (muy influido por el arte de los carteles de rock y cine) con libros que cuestionan la autoridad, se supone que la lectura (a falta de una palabra mejor) se convierte en algo interesante"

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"El motivo de mi proyecto era simplemente despertar el interés de los jóvenes por la lectura. Combinando un estilo ilustrativo vanguardista (muy influido por el arte de los carteles de rock y cine) con libros que cuestionan la autoridad, se supone que la lectura (a falta de una palabra mejor) se convierte en algo interesante"

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Nuevas tapas para viejos libros, proyecto del diseñador Mikey Burton.

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Steven Heller has written for PRINT since the 1980s. He is co-chair of SVA MFA Designer as Entrepreneur. The author, co-author and editor of over 200 books on design and popular culture, Heller is also the recipient of the Smithsonian Institution National Design Award for "Design Mind," the AIGA Medal for Lifetime Achievement and other honors. He was a senior art director at The New York Times for 33 years and a writer of obituaries and book review columnist for the newspaper, as well. His memoir, Growing Up Underground (Princeton Architectural Press) was published in 2022. Some of his recent essays are collected in For the Love of Design (Allworth Press).

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New Covers for Old Books - PRINT Magazine

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Sometimes surfing the net results in pleasant surprises. Today's is a collection of book covers by Mikey Burton that are among the most eye-catching I've seen in a long time. Given that books like Animal Farm and To Kill a Mockingbird have already been designed by some of the greats, these are fresh and inspiring.

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Reedición de los clásicos de la literatura inglesa.

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One of the more ambitious series produced at Penguin in recent years is the Penguin English Library of 2012, a presentation of 100 class…

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Propuesta de la editorial Penguin para la reedición de libros bajo la colección Penguin Essentials

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Penguin’s design renaissance In 1998, Penguin awoke from decades of slumber to regain its reputation for good cover design. One of its first projects was a series of modern classics packaged …

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Serie de la editorial Penguin reeditando libros clásicos de romances.

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“Penguin brings you the most seductive, inspiring and surprising writing on love in all its infinite variety”. So runs the blurb on the back of the Great Loves series of 2007. These sma…

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Diseño de la colección de clásicos de terror de la Editorial Penguin, a cargo de la diseñadora Coralie Bickford Smith.

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Portfolio of a Penguin book cover designer, whose book covers have been recognised by the AIGA (NY) and D&AD (UK) and have featured in a numerous international magazines and newspapers.

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Reedición de los clásicos de Sherlock Homes. "Queríamos recuperar el vigor de algunas de las ilustraciones originales y amplificarlo utilizando las técnicas de composición del cartel cinematográfico." Diseño a cargo de Coralie Bickford-Smith.

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Portfolio of a Penguin book cover designer, whose book covers have been recognised by the AIGA (NY) and D&AD (UK) and have featured in a numerous international magazines and newspapers.

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Reedición de Las mil y una noches por la diseñadora Coralie Bickford-Smith.

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Portfolio of a Penguin book cover designer, whose book covers have been recognised by the AIGA (NY) and D&AD (UK) and have featured in a numerous international magazines and newspapers.

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Clásicos ingleses reeditados por Penguin.

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Portfolio of a Penguin book cover designer, whose book covers have been recognised by the AIGA (NY) and D&AD (UK) and have featured in a numerous international magazines and newspapers.

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Colección que renueva los libros de F. Scott Fitzgerald, por la editorial Penguin.

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Portfolio of a Penguin book cover designer, whose book covers have been recognised by the AIGA (NY) and D&AD (UK) and have featured in a numerous international magazines and newspapers.

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Colección Penguin Pocket Classics.

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Portfolio of a Penguin book cover designer, whose book covers have been recognised by the AIGA (NY) and D&AD (UK) and have featured in a numerous international magazines and newspapers.

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Blog sobre la impresión online - imprentaonline.net

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¿Cuales son las partes de un libro? - Guia completa

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Aquí te enseñamos cuales son las partes de los libros, tanto las partes externas, como las divisiones internas de un libro.

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Editorial Cosac Naify

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Propuestas de diseño del diseñador Elisha Zepeda para Penguin y Faceout Studio.

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Películas como tapas de libros.

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Good movies as old books by Matt Stevens

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A personal project is always a great way to express yourself. I just love the latest project by Matt Stevens, he envisions some of his favorite films as vintage books! My selection, but you can see more on his web site.

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Diseño de libros por Tim Bisschop

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Proyecto Aguste Derriere del estudio Poa Plume (Francia)

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Au début du XXe siècle, Auguste Derrière a sans aucun doute été le fleuron de l’absurde et du jeu de mot laid. Il révolutionna l’art naissant de la publicité par son approche peu commune du slogan, puis devint la coqueluche de l’élite culturelle de l’époque, avant de tomber dans les sombres profondeurs d’un oubli auquel il est plus que temps de mettre fin.

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Juan Ángel Cotta fue un artista gráfico argentino que entre 1959 y 1963 realizó 103 hermosas portadas para la colección Los Libros del Mirasol. El estilo de Cotta es increíble, sus portadas son composiciones geométricas que van de lo abstracto a lo figurativo con suma facilidad. A veces minimalistas, otras veces casi barrocas, sus obras tienen por momentos cierto sabor cubista.

Acá un reel que resume su obra compilada en un libro: https://www.instagram.com/reel/CsH-UOyIb2J/?utm_source=ig_embed&ig_rid=06a7dad7-0362-43df-a33f-07b90cef8bfb&mc_cid=bb4f3ef8a9&mc_eid=6a1e9937bb

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‘Cotta & Los Libros del Mirasol’ devuelve a Cotta a su lugar en la historia gráfica argentina

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Entrevistamos a los editores de ‘Cotta & Los Libros del Mirasol’, libro que recopila más de cien portadas diseñadas entre 1959 y 1962 por Juan Ángel Cotta.