{design} – Page 265 – { feuilleton }

The Robing of The Birds

Yet another of those curious Eastern European film posters which, to our Hollywood-colonised eyes, seem to violate all the conventions of cinema marketing. This example is a painting by Josef Vyletal for a 1970 Czech release of Alfred Hitchcock’s The Birds. Surrealist art enthusiasts will immediately identify the floating figures as being cut loose from Max Ernst’s The Robing of the Bride (1940). Compared to some Czech and Polish posters, the associations here aren’t so surprising; Ernst identified his alter-ego as a bird-headed individual named Loplop. Birds and bird-headed humans recur throughout his work. Hitchcock, meanwhile, famously commissioned Salvador Dalí to design the dream sequences in Spellbound (1945). One of Ernst’s few appearances as an actor is in Hans Richter’s Dreams That Money Can Buy (1947) a very Surrealist film which also features scenes informed by Ernst’s work. It’s a shame more directors didn’t take the opportunity to employ these talents while they were still alive.

Previously on { feuilleton }
• Ballard and the painters
• Franciszek Starowieyski, 1930–2009
• Czech film posters
• Hitchcock on film
• Judex, from Feuillade to Franju
• Impressions de la Haute Mongolie revisited
• Dalí and Film

Samuel Beckett and Russell Mills

This 1979 Picador edition of The Beckett Trilogy is one of my favourite paperback cover designs. The “illustration” (as it’s described on the back) is a photograph of an artwork by artist/designer Russell Mills and the minimal credit gives no indication as to whether it was Mills who was responsible for the striking type layout. I’ve noted previously the equally striking Picador designs by the Quay Brothers who were responsible for both art and layout on their covers. Mills extended his work into graphic design later with album cover designs (and some book design) for Brian Eno, David Sylvian, David Toop and others so I’ll give him the benefit of the doubt in this case.

The Picador edition of Murphy was published in 1983 and comprises part of this week’s book haul. The three small Mills paintings suit the novel but I prefer his sculptural and collage works. I’ve taken to collecting more of these older Picador editions in recent years since they don’t turn up secondhand as often as they used to. As with the Quay Brothers and Italo Calvino, I wonder now how many Beckett covers Mills produced for Picador. The books list More Pricks than Kicks and Company in addition to these titles. He was still working for them up to 1986 when he and Brian Eno collaborated on the graphics for Don DeLillo’s White Noise. Unlike the world of Penguin collecting, this area lacks adequate documentation; further investigation is required.

Elsewhere on { feuilleton }
• The book covers archive

Previously on { feuilleton }
• Thursday Afternoon by Brian Eno
• Crossed destinies revisted
• Beckett directs Beckett
• Crossed destinies: when the Quays met Calvino
• The art of Shinro Ohtake
• Not I by Samuel Beckett
• Film by Samuel Beckett

The Best of Michael Moorcock

The first of the books I’ve been designing for Tachyon Publications appears this month. Two more are due to follow and I’m working on another at the moment; more about those titles later.

The Best of Michael Moorcock was a pleasure to be involved with not only because I’ve been reading Moorcock’s fiction for a very long time but I’ve also been fortunate during that time to get to know the writer and Linda Moorcock, his wife. Mike likes the work I’ve done in the past for Savoy Books and we did have an anthology of his favourite pieces by other writers planned for Constable & Robinson back in 2005. That book didn’t work out so this makes up for its cancellation. This is an excellent anthology, put together initially as a private enterprise by editor John Davey who managed the difficult task of compiling a collection which ranges over forty years of writing. Ann and Jeff VanderMeer came aboard as co-editors for the Tachyon edition.

I’ve been working mainly on the interior design of the Tachyon volumes (although I’ve also done the cover for Jeff VanderMeer’s forthcoming Booklife) and for this title I took a cue from Ann Morn’s cover design which features a pair of gates emblazoned with large letter Ms. The title spread above takes the letter M from the typeface used for the author’s name and multiplies that to create an equivalent set of gates for the reader to pass through. I try to play down the pyrotechnics for fiction—the words are the important thing, not the graphic design—but since this was a story collection I thought I’d try illustrating each piece using the title typography alone. Most of these are done by using a suitable typeface but for a few pieces I managed to create an arrangement that reflected the story. Behold the Man (below) is the Nebula Award-winning story of a journey back in time to find the historical Jesus. The cross shape not only relates to the Biblical theme but also implies the crossed time streams and Moorcock’s layered, cross-cut narrative.

The Best of Michael Moorcock is available now from the usual sources and received a glowing review in the Guardian. Later this month, and other work permitting, I’m hoping to make a start on what will effectively be a companion volume, Savoy’s long-delayed Into the Media Web, another collection by John Davey which this time collects the best of Moorcock’s copious essays, reviews and other non-fiction.

Previously on { feuilleton }
• Designing Booklife
• The Sonic Assassins
• Revenant volumes: Bob Haberfield, New Worlds and others
• An announcement redux

Gramato-graphices

Or Gramato-graphices. In quo varia scripturae emblemata, belgicis, germanicis, italicis, hispanicis, gallicis characteribus exaata… scripta, aeri incisa, et impressa per Cornelium Boissenium Enchusanum to give the full title. A treatise on penmanship and calligraphy from 1605 by Cornelis Dirckszoon Boissens. Also another free scan at the Internet Archive. Searching for better reproductions turned up this stunning engraving by Boissens in the Rijksmuseum collection.

Elsewhere on { feuilleton }
• The illustrators archive
• The etching and engraving archive

Previously on { feuilleton }
• John Bickham’s Fables and other short poems
• Letters and Lettering
• Studies in Pen Art
• Flourishes

Marbled papers

left: Serpentine pattern; right: Bouquet pattern, both 19th c.

Regular readers here will have seen a number of posts recently concerning psychedelic culture, a perennial fascination/obsession of mine. One of the notable qualities of movements such as psychedelia or Surrealism is the way they highlight what seem to be previous manifestations of themselves which, until their emergence, lacked a specific label. Borges examined the literary version of this phenomenon in his 1951 essay, Kafka and His Precursors. In art and design, the vivid and chaotic appearance of psychedelic visuals cause us to class certain products of earlier centuries as psychedelic even though they were never intended as such. The Victorian era is especially rich in this regard with its proliferation of Paisley textile designs—which saw a resurgence in the 1960s—the fractal cats of artist Louis Wain, and incredible marbled papers such as these, the samples above being from a University of Washington collection. Of particular interest is the details of their creation; the look is familiar enough but one rarely sees any mention of how paper manufacturers went about designing or even making new works. I selected a red and black marbled paper for the endpapers of The Adventures of Little Lou which we produced at Savoy Books in 2007. The sheets used for that book were handmade, not printed copies, and had to be ordered from a specialist supplier in Scotland.

Via Design Observer.

Previously on { feuilleton }
• Paisley patterns
• The Adventures of Little Lou