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Sarah Habibi from Criterion (YES!) hired me to do this cover for Satyajit Ray's "The Mirror Room" (1958). She sent me the film (which I really enjoyed), and in it there was a chandelier which seemed to represent what we might call "old India" and the ways of the central character.
So I made a simple pattern based on chandelier crystals which I could use to make the image of the chandelier and the type.
Above, the DVD cover. Below, the booklet cover.
To order the movie for yourself, get it from Criterion!
Michael Salu, the Art Director for Granta Publications in the UK hired me to do this cover for Chris Adrian's A Better Angel. (Showing front cover and spine.) It's a companion piece for Adrian's The Great Night.
Michael Salu, the Art Director for Granta Publications in the UK hired me to do this cover for Chris Adrian's The Great Night. (Showing front cover and spine.) It's a companion piece for Adrian's A Better Angel.
This cover for Creative Review has my name on it because they wanted it, even over my slight objection. Well, there is a profile of me in the mag, so ...
The theme of the issue is "Dream Studios" so I imagined my dream studio, which is similar in location to what I have, but in a sleek modernist building with lots of windows.
It's printed on an uncoated textured paper with silver foil, so it's pretty bitchin'.
(btw, on the CR site you can also see a page spread which shows a photo of me by my friend Mark Mushet.)
Penguin and the RED charity joined forces on a special series of Penguin Classics, and Jim Stoddart at Penguin Books in the UK, asked me to be one of several designers creating typographic covers from words in each novel. I chose Sons and Lovers by D. H. Lawrence, with the words "I couldn't give her up now." You can read what you want into it.
This is painted in oils, which I haven't done in a while, so I was quite pleased with how it turned out. So was Jim. He sent me an email that was so effusive I thought maybe he was being sarcastic.
I did this in May, but the book only just arrived in my mailbox.
It was a tragedy when this cover for a Canadian magazine (name changed to protect the innocent) was rejected.
Given carte blanche to design a special edition cover in red, black and silver, this was my intended design. The job was killed part way through, but I liked it so much I decided to finish it.
This time, I was invited, along with 10 other designers (including Milton Glaser, Louise Fili, Neville Brody, Chip Kidd, among others) to design one of 10 special covers for GQ Italia’s 10th anniversary issue.
Of all the things I’ve done recently, this is my favourite. It’s structured, manly yet pretty, n’est-ce pas?
(printed in CMYK + silver)
My good friend Brian Morgan called in a favour to get me to do this cover for The Walrus. I then worked with Kelsey Blackwell toward the final.
They wanted me to illustrate the words “We’re Sorry” relating to a story about the Canadian propensity to apologize, and the troubles that ensue from public apologies for past national crimes. I had hoped to trick them into letting me draw snakes, but just as I was relishing the prospect of a triumphant coup in getting snakes on the cover of a magazine, they nixed that idea. Disappointed but not surprised, I switched to string … or the entanglement of yarn. I don’t think Brian thought I was serious when I suggested a fluffy kitten to go with it, but I was! Alas, no snakes, no kittens.
However, I quite like the way, from a distance this looks like some gruesome viscera … but on closer inspection it reveals itself to be only harmless, friendly yarn.
John Gall at Random House invited me to take part in a project whereby 21 designers are invited to create a cover for reissues of Nabokov’s books … but within the prescribed format of creating a specimen box (Nabokov collected butterflies) with pins and “paper”, to create the cover.
Ten of these new designs are just being issued now, with wonderful covers by Carin Goldberg, Sam Potts, Michael Bierut, Stephen Doyle and the ever-amazing Martin Venezky, among others.
My book was “Transparent Things” so I used the pins to suspend 4 layers of acetate, with dots of transparent ink on each later.
And below is the picture I took of it, in sunlight.
You can view all (or almost all) of the covers here, at Design Observer. (Including a more eloquent description of the project, by John Gall.)
I’ve been doing some work with the fabulous, and famous fabric company Maharam lately … work which is not ready to be shown yet (yet!), but they did use a piece of mine for the cover of their 2010 calendar.
I think you have to be a client of theirs to get this. Sorry.
After attending Design Indaba in Cape Town, South Africa, earlier this year, I was asked to do the cover for the next issue of the Design Indaba magazine. It’s a great conference, by the way, if you ever get a chance to go, do!
I am tardy at getting this piece up, because the issue is now almost off the stands. My good pals Mark Mushet and Gudrun Will asked me to design the cover for their 20th issue.
Don’t ask me why I envisioned a rubbery, bubble-gummy “20” in pink and blue … maybe because the magazine is anything but?
Anyway, Happy 20th, VR!
Way back in November, Flaunt magazine asked me to do the cover for their 10th Anniversary, I decided to do an oil painting of the whole cover and this was it.
They loved it! And then there was an edtorial change and they couldn’t use it. Shit happens.
Magazine Cover (not printed
This is a groovy isometric patterned cover I did for the “Signs, Symbols, Ornaments” issue of the German mag Slanted.
Oddly, something happened when the file was processed. The red (now pink) overprinted instead of knocking out … or is it the black? Anyway, my original design is below, but I’m not sure which i prefer.
And here’s the front and back cover together (before it was printed):
Lucas López from Argentina asked me to design the front and back cover for their magazine Acido Surtido. The theme was Alert.
I think I surprised them with this; maybe not pleasantly, as it is not what they were expecting. But I really like it … here’s the whole photo, which wraps to the back cover:
And that’s the actual photo, straight up; it is not a digital composite.
Here’s a close up of the fabric with the pins. Alert!
Fabric construction / photo
I actually did this back in September 07, but only recently found that the project is live. It’s all quite complex. Darren Wall from Faber books in the UK contacted me about this new project that they were doing creating one-off, on-demand books (see below). For this they were going to have a computer program generate unique covers based on border patterns that I would make.
The borders needed to go with a custom font designed by Michael C. Place, and although each would be different, they needed to have fairly distinct personalities for 4 categories: arts, fiction, children’s and non-fiction.
So this is what I provided, attempting to create something that I thought a computer program might be able to differentiate, somehow, while randomly interpreting. I think.
There’s a great write-up about the process by Karsten Schmidt, who was involved in the programming.
The results are as follows … the next 4 pics show the variety …
The following 4 pics show the variety generated from just the curly borders …
And then some from the angular borders …
More information on the books, and many more borders and books are viewable at http://faberfinds.co.uk/.
September 2007 / Spring 2008
Pretty! I worked on this edition of Pablo Neruda’s Love Poems with Rodrigo Corral, for the publisher New Directions. Rodrigo is the designer for this lovely little pocket-sized edition, and I’m really enchanted with his choice of copper foil on pink for the artwork. It’s for sale in fine bookstores everywhere, and of course, on Amazon.
April 2007 / January 2008
Richard Turley is maybe my favourite Art Director. Another great—if I do say so myself—cover for The Guardian’s G2. This ran on December 24, 2007.
This time I worked with Christopher Moisan at Houghton Mifflin to do the paperback edition of The Canon by Natalie Angier. Now a bestseller, this version is due out in April 2008.
This project was for Bruce Mau Design. I worked with Carolina Soderholm to create this emboss pattern for the cover of a book of lectures given at the Alberta College of Art + Design, in Calgary.
I’ve always been fascinated by the beautiful abstractions of earth when flying over the prairies: particularly the area around Lethbridge where the land seems to be divided into circular shapes. With the help of Google Earth, I combined these shapes with tose of city streets: bloack, roads, sections and crops. This speaks to the intersection of the arts and the community; the urban and the rural; landscape as metaphor for connection.
I did the artwork for this Brazilian typography magazine quite some time ago, but it is now published and out. The art wraps around the front and back, including flaps.
With thanks to Tony de Marco.
Pen & Ink
(November 2005) April 2007
This is the limited edition cover I did for Wallpaper* Magazine.
It’s printed in silver and gold (and other colours), and the theme is “The Future,” so of course it has to have space ships! It also has 18 wishes for you for the future. I won’t tell you what they say, as it would spoil the fun of reading them. Perhaps in the future, I will reveal all.
I was excited as shit to be asked to do this, and a big thanks to Wallpaper’s Art Director, Tony Chambers, for doing so, and for working with me on it. He’s a sweetheart.
This was originally done for a 2-page spread in The Guardian’s features section (G2), but was moved to the cover. I was surprised when Art Director Richard Turley suggested adapting the G2 logotype to match. People are usually so precious about the logo, so just to be sure I asked “So, how much can I fuck with this logo?” His response has to be one of the all-time greatest quotes from a client: “Fuck away!”
This ran on March 5, 2007. Here’s a detail:
The Dec. 2 2006 issue of the New York Times Books. Here’s my cover:
Knitting in vector art is way harder than you’d expect, by the way, and takes a surprising amount of computer fire-power.
Here’s some titling inside (tho the scarf got changed to b&w):
And here’s the cover version that never made it, with a deer, a pug and a moth:
With thanks to Nicholas Blechman and special thanks to Steve Heller.
I was hired by designer Michaela Sullivan at Houghton Mifflin to work with her on this cover for a book by Natalie Angier to cover a wide range of basic science for those of us who are interested in science but overwhelmed by our lack of knowledge. Given the breadth of topic, I decided to go with particles, and then alluded to galaxies (astronomy), veins (biology), the double helix (chemistry), etc.
Personally, I can’t wait ‘til the book comes out, as I will be reading it.
I was thrilled to death to be asked to do the cover for Print, as well as given [almost] free reign over eight interior pages. Actually, both came from the content I was given to work with for the interior: predictions of the future of graphic design as made by designers 40 and 50 years ago.
The predictions ranged from the wacky to the remarkably prescient, and as one can imagine they focussed quite a bit on technology. When thinking about technology then and technology now, I decided that one of the few things we’re still using are little wires. Those fine, coloured wires that make a nice, colourful line.
But I wanted to add an element of humanity for the fallibility of predictions, and so came the little hands, which then started doing things related to the text.
For the text itself I chose a typeface I felt evoked the 50s & 60s in Poster Bodoni Bold; and broke yet another of my own typographic rules never to use a display face for text, by choosing StormType’s Rondka: a quirkly little number evocative of all the mistakes humans make.
The display text is custom.
With thanks to Joyce Rutter Kaye, and Kristina DiMatteo.
And special thanks to Debbie Millman for hosting the fabulous New York party in honour of the issue, with 80 people turning out. I wish I had more pictures but I was too busy having fun. (Pictured, Kristina & Joyce, about to eat their words.)
Cover and 8 pages interior
I designed the Vancouver Review in 2004, and was the designer for it for its initial 2 years. The above cover features a work in sequins by myself. It was fun working with Mark Mushet and Gudrun Will on this.
The page spread below also has an illustration of mine.
March 2004–March 2006