Bugger Boy

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I think we’d guess the content even without the illustration. I love the phallic arch; no doubt if this was a Gothic style it would be Perpendickular (ouch!). From a collection of gay pulp novels at Homobilia. In a similar fashion there’s a page of book covers at Miss Magnolia Thunderpussy’s Flickr collection which I see is now discontinued following copyright warnings from the Yahoo! watchdogs. Bugger Flickr, say I. Finally, let’s not forget the splendid Gay on the Range.

Elsewhere on { feuilleton }
The book covers archive

Previously on { feuilleton }
Phallic worship
Gay book covers

Designs on Doctor Dee

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Some work news. I finished this CD design last year but, as is often the case with these things, it’s taken a while to make its way into the world. This was the final piece of the Mindscape of Alan Moore project and it’s probably the last thing I’ll do which makes use of the famous Sigillum Dei Aemeth of Doctor John Dee (1527–1608), wax versions of which can be seen in the British Museum. Alan Moore is a great Dee aficionado and since the sigil appears in the DeZ Vylenz documentary it made sense to use it for the DVD package and interface. This led in turn to a new poster design for the film (below) and—eventually—the soundtrack CD. The latter should be shipping shortly from Shadowsnake Films.

Lastly, and also design-related, the New York Times this week had a short piece about designer Barney Bubbles based around Paul Gorman’s Reasons to be Cheerful book. My quote about Barney’s Hawkwind work being “cosmic Art Nouveau” was borrowed from the book’s text and the piece features one of those slideshow selections the NYT does so well. Once again it’s great to see how Paul’s book is stimulating new interest and appraisal of work which was neglected for far too long.

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DVD menu.

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British Design Classics

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The Royal Mail issues this splendid set of stamps next month, celebrating their choice of “the greatest achievements of British design”. The set was designed by HGV with photography by Jason Tozer and regular readers will note two { feuilleton } cult items among the selection, the Penguin book jacket and Harry Beck’s London Underground map.

British Design Classics will be available from January 13th, 2009.

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Colorscreen

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Given the time of year it’s a temptation to vent spleen and post something by the great Charles Addams. But rather than burden you with churlishness I’ll point instead to Colorscreen, a piece of web abstraction inspired by Olafur Eliasson. By the same programmer, there’s also the Random Color Generator.

Previously on { feuilleton }
The New York City Waterfalls
Take Your Time: Olafur Eliasson
Olafur Eliasson’s BMW
Olafur Eliasson’s Serpentine Pavilion
New Olafur Eliasson

The art of Claude Fayette Bragdon, 1866–1946

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The Juggler Sun (1895).

On the shortest day of the year it seems fitting to post a picture of the sun and hope that in 2009 the clouds clear long enough for us Brits to see more than a month of it. Claude Fayette Bragdon’s poster is a remarkably stylised work for 1895 and might easily have been produced twenty or more years later. The Chap-Book was a periodical which included Bragdon among its illustrators although none of the cover designs to be found online are this striking. Bragdon wasn’t only an illustrator, however.

A man of many talents, Claude Fayette Bragdon (1866–1946) was an architect, artist, writer, philosopher, and stage designer. Bragdon’s work in these varied fields interrelated and overlapped, tied together by his theosophical belief in creating and communicating beauty. After a successful career as an architect in Rochester, NY, Bragdon entered the world of stage design in 1919, at the age of 53, by consenting to design a traveling production of Hamlet for actor-producer and personal friend Walter Hampden. Bragdon’s arrival in the world of theater came at a time when significant changes in staging techniques were on the horizon. (More.)

I usually celebrate polymathy but in Bragdon’s case his varied interests seem to have deprived us of more work by a unique illustrative talent. The indispensable VTS has further examples of his clean style from a 1915 treatise on architecture and design, Projective Ornament. It was increasingly common during this period to regard ornamentation in architecture as a 19th century evil to be purged from all future buildings, a concept expressed most notoriously by Adolf Loos in his 1908 essay, Ornament and Crime. Bragdon engaged with the argument by proposing that architects put aside historical and natural pastiche and look to geometry for a new style of decoration. His illustrations in Projective Ornament are beautifully done and some (like the one below) might almost be the work of an Art Deco illustrator such as George Barbier.

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Elsewhere on { feuilleton }
The illustrators archive

Previously on { feuilleton }
The Decorative Age
Images of Nijinsky