Posted on Oct 6, 2011
Publication date: October 2011.
Hardcover, 256 pages, 9" × 12".
Display type: Sentinel.
Body type: Chronicle Text.
Proof: The Rise of Printmaking in Southern California, by Leah Lehmbeck, et al.; produced for the Norton Simon Museum by Marquand Books, designed by Zach Hooker. Available from the Getty Museum Store and Powell's. This book is the catalog for the Norton Simon Museum's entry in the Getty's enormous Pacific Standard Time project. Proof is open now through April 2, 2012, and is not to be missed.
Posted on Oct 6, 2011
Publication date: June 2011.
Softcover, 144 pages, 8.5" × 11".
Display type: Burgues Script and Whitney.
Body type: Akagi.
Recovering Beauty; produced for the Blanton Museum of Art by Marquand Books, designed by Zach Hooker. Available from D.A.P. and Powell's. This book is a wonderful introduction to the exciting work being made in Argentina in the 1990s, much of which is not well-known here in the US. The work has an exuberance that allowed for a pretty aggressive design approach, with lots of color and prominent use of Alejandro Paul's elaborate Burgues Script. (A typeface by an Argentinian, based on the work of an American calligrapher.)
Posted on Oct 18, 2010
Publication date: September 2010.
Hardcover, 248 pages, 6" × 9.25".
Display type: Prelo Condensed.
Body type: Dante.
Carlos Cruz-Diez in conversation with / en conversacion con Ariel Jiménez; produced for the Coleccion Patricia Phelps de Cisneros by Marquand Books, designed by Zach Hooker. Available from D.A.P. and Powell's. This book is the first entry in the CPPC's ambitious Conversaciones / Conversations series, which presents conversations between contemporary Latin American artists and scholars. Each book is in both English and Spanish.
Posted on Feb 12, 2010
Publication date: March 2010.
Hardcover, 296 pages, 9.75" × 11".
Body and display type: Lido.
Caption type: Verlag.
Alice Neel: Painted Truths; produced for the Museum of Fine Arts, Houston by Marquand Books, designed by Zach Hooker. Available from Yale University Press or Powell's.
This is the catalog for an exhibition that runs from March 21, 2010 to June 13, 2010 at the MFA,H. The book features an extensive plate section and essays by Jeremy Lewison, Barry Walker, Tamar Garb, and Robert Storr.
It's the time of year when end-of-year lists pile up online like great snowdrifts, and I see no reason for me to refrain from adding another flake to the heap. So here is my list of The Top 9 Double-Storey Lowercase Roman As of 2009.
9. Yoga, by Xavier Dupré. This little a is classic Dupré: teetering between formal rigor and idiosyncratic whimsy. The tail makes you want to pat it on its head, the chiseled terminal makes you realize that would be an embarrassing miscalculation.
8. Museo Slab 100, by Jos Buivenga. I love the huge, welcoming, teardrop-shaped counter. The quick bend to the tail reminds me of a paper clip in all the right ways.
7.Breuer Condensed, by Silas Dilworth. This is a ringer in a way. While I do love this a, the a I really love is the one in the regular, non-condensed Breuer — which came out in 2007.
6. Adelle, by José Scaglione and Veronika Burian. There's something inexplicably wonderful about the flatness of the curve at top, and the way it hooks back in. It just feels right.
5. Milo Serif, by Michael Abbink. As fluid and approachable as Cronos but with more edge. A great a to keep in mind for that tattoo you mentioned wanting to get — you know, the one of a lowercase a.
4. Dobra Slab, by Dino dos Santos. Dino dos Santos has been on a serious streak, with Prelo, Glosa, Esta, and Leitura getting slobbered on left and right — and then there's Nyte of course. Dobra Slab keeps the streak alive. The way the upper stroke is perfectly flat on the inside and slopes down gently on the outside just kills me for some reason. The slab spur is just this side of too long.
3. Sentinal, by Hoefler & Frere-Jones. The turned-up spur and ball terminal are pure
A is for Apple, but there's an understated sophistication here that nobody other than H&FJ could pull off.
2.Vekta Serif, by Neil Summerour. I love this a's low stance — it reminds me so much of a VW GTI: sporty without being aggressive. Street-racing on weekends but test-acing on school days.
1. Hopeless Diamond, by Jonathon Barnbrook. There's only one word for this a: Ugh. Not the ugh elicited by disgust, but the ugh of seeing something so incredibly awesome that it beggars intellectual reponse and enters the realm of the erotic.
Oh, and it's called HOPELESS DIAMOND. Uggggghhhh.
Posted on Dec 23, 2009
Publication date: December 2009.
Hardcover, 344 pages, 10.5" × 11".
Body and display type: Verlag.
A Constructive Vision: Latin American Abstract Art from the Colección Patricia Phelps de Cisneros; produced for a private collection by Marquand Books, designed by Zach Hooker.
Posted on Dec 23, 2009
Publication date: February 2010.
Hardcover, 128 pages, 8" × 12".
Body and display type: Minion.
Caption type: Absara Sans.
The Mourners: Tomb Sculptures from the Court of Burgundy; produced for FRAME by Marquand Books, designed by Zach Hooker. Distributed by Yale University Press. This is the catalog for a touring exhibition of sculptures from the tomb of John the Fearless, Duke of Burgundy, whose reign lasted from 1404 to his death in 1419. The exhibition was organized by FRAME, and has an impressive touring schedule which begins at the Met in March of 2010, visits six additional US museums including LACMA and the Fine Arts Museums of San Francisco, then returns to France to show at the Musée du Cluny in Paris in 2012, after which the objects will return to their home at the Musée des Beaux Arts in Dijon.
The book features a large plate section that shows each of the sculptures, many of them in multiple views, against a simple black background. These pieces are incredibly evocative, a little surreal, and intensely beautiful.
Posted on Nov 4, 2009
Publication date: July 2009.
Softcover, 128 pages, 8.5" × 11".
Body type: TheSans. Display type: Serifa.
This is the catalog for an exhibition that ran from September 2008 to January 2009 — the first such exhibition of this group’s work, with the catalog being the first in-depth examination of the artists ever published.
The design takes its cues from the look of office documents in the late 60s, or more accurately from my probably completely spurious idea of what office documents in the 60s might have looked like. That sounds a bit flip, but I think it fits with the NYGW’s conceptual framework, which was provocative and often very funny. I’m particularly proud of this book’s cover, which references the group’s humor and penchant for trompe l’oeil and visual puns. The cover shows a grid of 20 NYGW chops, with 19 of them embossed, and one printed to look embossed. Refreshingly, the client was game for — even excited by — the idea of not having the title on the front cover.
Posted on Nov 4, 2009
Publication date: January 2008.
Softcover, 9.5" × 9.5", 88 pages.
Body type: Whitman. Display type: Knockout.
This book is the catalog of an exhibition of American prints that ran at the Huntington from October of 2007 to January of 2008. The design is inspired by printers’ makeready (sheets run through a press multiple times while the print run is being set up), and uses layered images and type. Cover and interior are printed on fairly toothy uncoated paper.
Pressed in Time was awarded a Certificate of Excellence in the 38th annual Bookbuilders West show.
Posted on Oct 30, 2009
Publication date: October 2009.
Softcover, 8" × 9.75", 48 pages.
Body type: Swift. Display type: Knockout.
