Our jaded eyes assumed that this layer of complementary symbolism and inside stories was a talented Photoshop job — but, much to our surprise, it’s a photographed diorama. A wonderfully tactile and distinctive cover in an age that is uncomfortably digital.
Chip Kidd had to resort to a self-drawn illustration when the Schulz estate withheld the use of authentic Peanuts art for this controversial biography; just the same, all of the poignancy and understatement of Schulz’s career is captured in a neat squiggle.
Proof that “contemporary” doesn’t mean “trendy” or “cliched.” This cover has been peeking at us from the shelves all year; we would be remiss not to include it for both its strong visual presence and production value.
This cover will be remembered in 2010 when we’re busy picking the images that best represent the decade. In this faceless stranger on a rainy night is the subtle fear and paranoia that America has yet to banish.
Undoubtedly the most perfectly distilled cover design of the year. A brilliant example of taking the subject’s basic elements and loading them with revived meaning.
Born Standing Up (designer: John Fulbrook III; photographer: Bobby Klein)
This photo was a clever representation of Martin’s comedic themes when it appeared on one of his LP’s of stand-up material in the early eighties. Today, it transcends that meaning to make a wry commentary on twenty years of celebrity.
About once a year, a classic is republished with a new cover so good that it forces us to give away our old copies and buy anew; Helen Yentus has presented us with five of them. If a picture is worth a thousand words, these book covers add up to an upper-division philosophy essay deserving of an A+. Yentus has made the entire field of Graphic Design look good.
These geometry-based covers, done a lot by David Pearson as well, always seem appropriate. No doubt the pinnacle of pure graphic expression. The fact that they are so simple in their message and execution is what I think we are all responding to more than anything else. There appropriateness, while well-thought out, seems almost childish and accidental like some of Rands work.
House of Meetings still tops it for me as the all-time best cover here.
The black triangles no doubt refer to the great mountain the gods forced Sisyphus to roll the stone up (and it keep rolling back down, forcing Sisyphus to eternally roll it up again). The twisting nested squares of “The Fall” back up the title with their vertiginous feeling. And the white dots of “The Plague” stand for plague bacilli. Great black-and-white work!
That Camus series is gorgeous. Simple geometry often is the best design solution…
Well, it’s not that simple per se, but the concepts behind the geometry are.
We thought we would put together a quick list of the best covers of 2007. The Seven of Oh Seven, so to speak.
What better way to lead them off but with a display of Yentus’ new extensions for her amazing Camus set.
Our jaded eyes assumed that this layer of complementary symbolism and inside stories was a talented Photoshop job — but, much to our surprise, it’s a photographed diorama. A wonderfully tactile and distinctive cover in an age that is uncomfortably digital.
Chip Kidd had to resort to a self-drawn illustration when the Schulz estate withheld the use of authentic Peanuts art for this controversial biography; just the same, all of the poignancy and understatement of Schulz’s career is captured in a neat squiggle.
Proof that “contemporary” doesn’t mean “trendy” or “cliched.” This cover has been peeking at us from the shelves all year; we would be remiss not to include it for both its strong visual presence and production value.
This cover will be remembered in 2010 when we’re busy picking the images that best represent the decade. In this faceless stranger on a rainy night is the subtle fear and paranoia that America has yet to banish.
Undoubtedly the most perfectly distilled cover design of the year. A brilliant example of taking the subject’s basic elements and loading them with revived meaning.
This photo was a clever representation of Martin’s comedic themes when it appeared on one of his LP’s of stand-up material in the early eighties. Today, it transcends that meaning to make a wry commentary on twenty years of celebrity.
About once a year, a classic is republished with a new cover so good that it forces us to give away our old copies and buy anew; Helen Yentus has presented us with five of them. If a picture is worth a thousand words, these book covers add up to an upper-division philosophy essay deserving of an A+. Yentus has made the entire field of Graphic Design look good.
— Eric Jacobsen, 2008-01-08 09:01:00
I think Paul Buckley said it best:
Helen, youdashit!
— Auguste, 2008-01-07 16:49:00
Small correction – Chip and Peter collaborated on the cover for House of Meetings.
— GH, 2008-01-07 18:54:00
These geometry-based covers, done a lot by David Pearson as well, always seem appropriate. No doubt the pinnacle of pure graphic expression. The fact that they are so simple in their message and execution is what I think we are all responding to more than anything else. There appropriateness, while well-thought out, seems almost childish and accidental like some of Rands work.
House of Meetings still tops it for me as the all-time best cover here.
— Ian Shimkoviak, 2008-01-07 21:58:00
The Camus covers are perfect!
— dkd, 2008-01-08 07:25:00
The black triangles no doubt refer to the great mountain the gods forced Sisyphus to roll the stone up (and it keep rolling back down, forcing Sisyphus to eternally roll it up again). The twisting nested squares of “The Fall” back up the title with their vertiginous feeling. And the white dots of “The Plague” stand for plague bacilli. Great black-and-white work!
— terry bigham, 2008-01-09 13:14:00
A pretty underwhelming collection there, I have to say…
— C-Dog, 2008-01-18 07:49:00
That Camus series is gorgeous. Simple geometry often is the best design solution…
Well, it’s not that simple per se, but the concepts behind the geometry are.
— Roy N., 2008-01-20 19:58:00
Does anyone know the typefaces used for the Camus covers?
— Tom Wilson, 2008-01-23 12:29:00
the camus cover takes the cake
— shruti, 2008-03-05 09:38:00
Tom Wilson: it’s Berthold Akzidenz-Grotesk and Century
— Roque Strew, 2008-04-29 04:18:00