Founders Grotesk used for the “Poëzie aan de Waterkant” (poetry at the river banks) poster by the multi-talented Matthijs Sluiter in Den Haag, The Netherlands
Lists are always problematic, but CBC Books longlist of Canada’s Most Iconic Book Covers seems strangely underwhelming somehow. Setting aside what counts as ‘Canadian’ (some of the books on the list were not designed by Canadians for example), ‘iconic’ covers are inevitably those that have stuck around and we are most familiar with, not necessarily those that are well designed or particularly interesting to look at. Needless to say, the list says more about our fondness for certain books and authors than about the current state of Canadian book cover design. Perhaps it isn’t really fair to judge the CBC’s contest this way, but it makes the list less interesting than it might otherwise have been (to me, at least).
That said, I am terrible, no good Canadian. 10 years and one Canadian passport later, I still feel like the immigrant I am. It’s not that I feel particularly British any more (if I ever did), it’s more like I haven’t finished unpacking yet (which might literally be true come to think of it)! In nearly five years of blogging I haven’t dedicated a single post to Canadian book design. To remedy to that, below are 50 (FIFTY!) recent book covers designed in Canada. Some of them are well-known, some of them are award-winners, some of them were recommended, some I’ve posted before, and some are just personal favourites. I can’t say they’re ‘iconic’ but they are all great covers. Enjoy. (Pictured above: The Bedside Book of Beasts by Graeme Gibson; design by Scott Richardson; published by Doubleday Canada).
Alligator by Lisa Moore; design by Bill Douglas (House of Anansi Press)
The Amazing Absorbing Boy by Rabindranath Maharaj; design Jennifer Lum, illustration by Michael Cho (Knopf Canada)
Autobiography of Childhood by Sina Queyras; design by Ingrid Paulson (Coach House Press)
The Carnivore by Mark Sinnett; design by Ingrid Paulson (ECW Press)
Cheers! An Intemperate History of Beer in Canada by Nicholas Pashley; design by David A. Gee (HarperCollins Canada)
Come Late to the Love of Birds by Sandra Kasturi; design by Erik Mohr (Tightrope Books)
The Culprits by Robert Hough; design by Terri Nimmo (Random House Canada)
Dead Man’s Float by Nicholas Maes; design by David Drummond (Vehicule Press)
A Good Catch by Jill Lambert; design by Naomi MacDougall (Greystone Books)
Half Blood Blues by Esi Edugyan; design by Michel Vrana (Thomas Allen)
Heaven is Small by Emily Schultz; design by Ingrid Paulson (House of Anansi)
House of Spells by R. Pepper-Smith; design by Kisscut Design (NeWest Press)
I’ll Seize the Day Tomorrow by Jonathan Goldstein; design by Michel Vrana (Penguin Canada)
Kesu’ by Jennifer Kramer; design by Jess Sullivan (Douglas & McIntyre)
Listening to Trees by A.K. Hellum; design by Kisscut Design (NeWest Press)
The Mechanical Bird by Asa Boxer; design by David Drummond (Vehicule Press)
Monstrous Affections by David Nickle; design by Erik Mohr (CZP Books)
My Life in Hockey by Jean Béliveau; design by Jess Sullivan (Greystone Books)
The Oil Man and the Sea by Arno Kopecky; design by Jess Sullivan (Douglas & McIntyre)
The Outlander by Gil Adamson; design by Bill Douglas (House of Anansi Press)
Personals by Ian Williams; design by Kisscut Design (Broadview Press)
Rasputin’s Bastards by David Nickle; design by Erik Mohr (CZP Books)
The Rent Collector by B. Glen Rotchin; design by David Drummond (Vehicule Press)
Seven Good Reasons Not To Be Good by John Gould; design by David A. Gee (HarperCollins Canada)
A Short History of Progress by Richard Wright; design by Bill Douglas (House of Anansi Press)
This Will Be Difficult To Explain by Johanna Skibsrub; design by Michel Vrana (Hamish Hamilton Canada)
Ticknor by Sheila Heti; design by Bill Douglas (House of Anansi Press)
A Whale for the Killing by Farley Mowat; design by Jess Sullivan (Douglas & McIntyre)
Photo by Anthony Gelot
Photo by Anthony Gelot
Photo by Anthony Gelot
Artist Philippe Pasqua recently completed installation of an impressive Tyrannosaurus Rex skeleton that now stands watch over the Seine river in Paris. The structure is made from 350 chrome molded bones and measures a full 21′ x 12′ (3m by 6m). Photographs above courtesy Anthony Gelot. If you liked this, also check out Huang Yong Ping’s stainless steel snake skeleton, Ressort.
“IMPRESSION” Series by Justin Bartel, showing what women wear to attract men and how that literally hurts/binds/imprints them. Image titles come from actual women’s fashion magazines.
Elements and birthdays have been intertwined for me since boyhood, when I learned about atomic numbers. At 11, I could say “I am sodium” (Element 11), and now at 79, I am gold. A few years ago, when I gave a friend a bottle of mercury for his 80th birthday — a special bottle that could neither leak nor break — he gave me a peculiar look, but later sent me a charming letter in which he joked, “I take a little every morning for my health.”
Aquí vienen los comentarios en contra de la publicación de este post. Sin embargo, en este sitio nos gusta el fútbol en general, y es raro que un equipo de fútbol realice algo para presentar un jersey en nuestro país. Todo queda en presentación de los medios, fotos en el estadio y a vender.
Uno de los equipos más populares de México presentó esta semana el nuevo jersey que usará para las siguientes dos campañas (A menos de que salgan campeones, que se ve difícil). En un comercial encierran, pasión, historia, leyendas, presente y futuro. Este es el comercial con el que las Chivas de Guadalajara, mostró su nueva playera de juego.
With this new 3D-printed exoskeletal cast idea, the incredibly fun and funky looking design provides a bit of leeway when it comes to scratching that itch halfway down your arm or balancing one leg outside of the shower so as not to get the cast wet. Victoria University of Wellington Architecture and Design school graduate Jake Evill recently developed this concept, called Cortex.
According to Evill, the exoskeletal cast provides a strong fractured-bone support system featuring lightweight protection that is ventilated, recyclable, and shower friendly. Evill says, "After many centuries of splints and cumbersome plaster casts that have been the itchy and smelly bane of millions of children, adults and the aged alike, the world over, we at last bring fracture support into the 21st century."
To produce the cast, the patient receives an X-Ray scan during which the break is identified. That specific area is then 3D scanned and the data is fed into the computer to generate a 3D-printed cast. The final product has one open side that is eventually snapped closed with strong fasteners. This modern creation is durable enough to protect the broken area during the healing process while it also potentially alleviates a large portion of the agony that goes along with a broken bone.
Jake Evill's website
"The thing you learn as an actor is that you never approach playing a villain as playing a villain"...
Hitler flirting with Eva Braun.
I don’t know how this makes me feel
It makes me feel very uncomfortable
You know what’s so uncomfortable about this? It shows that perhaps one of the most evil men in history, was a human being. That, on occasion, he could be nice, even flirty. That’s not all. You want to see evil people as evil, screaming horrible stuff over a desk with 20 microphones with 20, 000 people saluting them. The evil is clear and recognizable then. This shows a completely different image, it scares you because that means that evil isn’t a stereotype, that evil is not recognizable, that evil could be anyone. It scares you because this shows that could be lurking inside anyone and you’ll never ever know. Maybe in you?
i reblogged this literally like 2 minutes ago, but i want this version because of that comment ^
That comment is one of my favorite post commentaries, because it’s completely right. People aren’t inherently evil. Like good, it’s a role they grow and live into. We have just as much potential to destroy as this man exhibited. And it’s a very eye opening experience to realize that.
does anyone even remember that one time hitler attended that luncheon between world leaders, some guests of which even included china’s socialist leader as well as Stalin. And then when they were ordering, everyone was gladly ordering impressive dishes one after the other, but Hitler placed an order for barley tea and a pheasant (considered a peasant’s meal by standard). When he was questioned as to why he would order something like this in something as grand as a world leader’s congress, he replied,
“I don’t smoke when my people cannot smoke, and I cannot eat when my people are going hungry.”
He wasn’t evil for its own sake, let’s try to remember that despite the countless murders, but for a moment, he did actually believe he was doing something for the good of his countrymen.
WHAT IS WRONG WITH YOU PEOPLE
No, he’s right. Hitler, though extremely wrong in his views, did everything for what he thought would better the lives of his people. It was wrong. It was disgustingly, horribly wrong. But he did not do it because it was evil and he was evil. He did it because he believed it would help Germany and those who needed a better life. Those who don’t understand or even try to understand the human brain will always label men like him as ‘evil’ because it is easier to accept. But he wasn’t ‘evil.’ He felt love and loyalty and responsibilities. He simply took these aspects and morphed them into a twisted, violent thing.
Tumblr is probably the only place we could have this conversation and not be lynched.
All the awards for this post.
To put into context, Germany was one of the countries heavily affected by WW1. The country was riddled with the debt of war, the Treaty of Versailles was unfair for them and pretty much fucked them over, the crazy hyperinflation in their economy… The people were angry and suffering from a war they were (in a basic view) dragged into. For all the horrible things Hitler commanded, at the root of those actions was a belief that it was all for the benefit of Germany, for its people, to bring them out of their suffering toward a better future.
I’m not saying Hitler’s actions are forgivable or that people shouldn’t be mad for what he and those under his command (Himmler!) did, but people aren’t black and white. And since history is basically a record, or a story, of the developments and actions of humans over the ages, it would be a mistake to view the characters who play their parts in it so one-dimensionally.
Also he might have been on meth (as medicine) during the entire war so he made extreme decisions kind of really quickly
The thing you learn as an actor is that you never approach playing a villain as playing a villain. Everyone has their own motivations and villains don’t usually think they’re the villain. We’re all the hero in our own story, we see things from our self-centered point of view.
Clearly people are different and capable of different things, though. Situations do have an effect on people and I think most people (if not all) are capable of doing “evil" things in the right circumstance. But I’m not capable of killing millions of people. First, I’d never seek out that kind of power, to put myself in a position to be able to do it. And I’d not be able to justify that to myself.
Hitler was insane. Yes I’m sure he was capable of love and had some tender moments with Eva and his dog, but he was ranting about the Jews and talking about Lebensraum long before he ever came to power. Mein Kampf was published in 1925. No amount of meth he took in WWII explains that. The horrible things that happened all followed out of his philosophy that was already formed many years earlier.
Herman Hesse, born on July 2, 1877, in Siddhartha.
And yet Hesse seems to have no trouble eloquently communicating his own wisdom…
Meanwhile, Tolstoy made history’s most enduring effort to counter Hesse with his famous Calendar of Wisdom.
Hay excelentes correctores que no saben de tipografía sino lo elemental, pero que se niegan a aprenderla porque la suponen ajena a sus actividades. [Roberto Zavala Ruiz, El libro y sus orillas, p. 267.]
Hace ya más de veinte años, recién licenciada en la Facultad de Filología, inicié mi andadura en el mundo editorial con un curso de corrección tipográfica de 50 horas, impartido por los avezados correctores de Editorial Anthropos. Las primeras lecciones trataron de la materia fundamental que distingue este tipo de corrección del resto: la tipografía. En aquellas intensas sesiones, al tiempo que aprendíamos a apreciar la proporción y la armonía en los textos compuestos y a manejar esa regla extraña llamada tipómetro,completos analfabetos tipográficos nos fogueamos en lo que iba a ser nuestro modus vivendi: aguzar nuestro «ojo tipográfico», la capacidad radiestésica de captar y discernir cualquier discordancia gráfica.
• Composición y disposición tipográficas:
2. Principios de funcionalidad, legibilidad, coherencia y estética tipográficas aplicados a la selección de:
La normativa ortotipográfica no es competencia de las academias de la lengua. Como todo saber tipográfico, se desarrolló en el mundo del impreso y se halla dispersa en infinidad de fuentes, algunas oficiales e internacionales (como las que afectan a los signos de corrección), pero la mayoría de origen particular y uso restringido (libros de estilo y códigos tipográficos).
3. El corrector tipográfico, la ortotipografía y la tipografía
1. Con el texto original corregido a mano (si este se ha corregido en papel), de verificar que todas las correcciones ortotipográficas realizadas en él se hayan trasladado fielmente a la maqueta de la obra, de enmendar las que se hayan malinterpretado y trasladado erróneamente, y de realizar aquellas correcciones ortotipográficas que puedan haberse omitido debido a un lapsus del corrector del original o del compaginador.
2. Con la ayuda de un tipómetro, y teniendo a mano las pautas de composición tipográfica y de compaginación de la obra establecidas por el diseñador gráfico —que eventualmente se habrán marcado (señalizado) en el texto original— y un catálogo con la escala de cuerpos de los tipos de letra empleados, de comprobar la correcta aplicación de los siguientes parámetros:
3. De corregir, con las marcas adecuadas:
4. De detectar y poner al editor sobre aviso de los problemas derivados de un diseño gráfico que incumple con los principios de funcionalidad, coherencia, legibilidad y proporcionalidad.
- Por su uso del collage y por su uso de los fondos blancos.
- Porque sus personajes me parecen de lo más entrañable.
- Por su sentido del humor absurdo e hilarante.
- Por los mensajes de algunos de sus libros (y porque no todos tienen mensaje).
- Por su caligrafía.
- Porque demuestra que para hacer un buen libro no hacen falta dibujos increíblemente complejos.
- Porque sabe cuándo dejar hablar a las palabras y cuándo a las imágenes.
- Por sus garabatos de plastidecor.
- Porque su último libro publicado aquí ("L'ant és meu"; de momento, solo en catalán) me tocó muy hondo.
- Porque cada libro suyo es una sorpresa, y se nota que se lo pasa bomba en cada uno de ellos.
- Página web oficial de Oliver Jeffers.
- Chafardeando en su estudio.
- Instrucciones para dibujar un pingüino o para dibujar un alce.
- "My name is Oliver Jeffers"
- Neither here nor there: la faceta artística de Oliver Jeffers.
[Oliver Jeffers participa en las jornadas "En otros charcos" del Ilustratour]
Thank you Nettie for crediting this wayward photo!
Nettie by me.
Artist Jeremy Mayer (previously) just completed this beautiful set of swallows using assembled typewriter parts. The pieces required Mayer to find multiple sets of identical parts adding a significant amount of time to sourcing materials, but as a happy accident the artist also discovered his design allowed for the wings to partially retract. If you’re unfamiliar with Mayer’s work it might surprise you to know that he doesn’t use solder or glue (or even objects that haven’t originated from a typewriter), but instead assembles everything using only native parts. You can follow his progress for this and other projects over on Tumblr.