Tugra of Suleiman the Magnificent

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The Tugra, or imperial monogram, of Suleiman the Magnificent, c. 1550–65. From the calligraphy section of the Islamic art collection at the Los Angeles County Museum of Art.

Previously on { feuilleton }
Ottoman calligraphy and Arabic typography
Flourishes
Ghubar
Calligraphy by Mouneer Al-Shaárani
The Journal of Ottoman Calligraphy
Word into Art: Artists of the Modern Middle East

Design as virus 5: Gideon Glaser

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New York magazine, April 8, 1968. Design by Milton Glaser.

Part of an occasional series.

It’s probably only coincidence that the sleeve of the second High Llamas album resembles the cover of the first (?) issue of New York magazine. But many of the other High Llamas albums feature design elements borrowed from the Sixties and Seventies and the music on this one owes much to American music of the period, notably Pet Sounds-era Beach Boys.

New York magazine celebrated its fortieth anniversary this year. I tried my hand a couple of years ago at designing the magazine’s High Priority graphic for an online competition. I didn’t win but I did make the runners-up list (along with 120 others).

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Gideon Gaye by The High Llamas (1994). Art by Kevin Hopper, design by André & Brown, Tony Lyons.

Previously on { feuilleton }
Design as virus 4: Metamorphoses
Design as virus 3: the sincerest form of flattery
Design as virus 2: album covers
Design as virus 1: Victorian borders
High Priorities 2
High Priorities

Ottoman calligraphy and Arabic typography

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Above: Ottoman calligraphy from a selection at the Library of Congress. Below: contemporary Arabic typography from the Experimental Typography Flickr pool.

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Previously on { feuilleton }
Ghubar
Calligraphy by Mouneer Al-Shaárani
The Journal of Ottoman Calligraphy
Word into Art: Artists of the Modern Middle East

Recovering Bond

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Penguin is really coming up with the goods these days, living up to their reputation as a house with high standards of cover design, unlike Picador and the shabby way they treated Cormac McCarthy recently.

Ian Fleming’s Bond novels are the latest to receive a makeover with some fabulous art from illustrator Michael Gillette. 2008 is Fleming’s centenary so the books have been republished as demi-format hardbacks with these new designs adorning the jackets. Each cover features a different girl matched to the theme of the book (yes, I know they’re women but in Bond’s world women are always girls unless they’re Miss Moneypenny); each cover also features groovy period type which alludes to the hand-drawn elaborations of the Sixties and Seventies. The effect is reminiscent of the poster art for the 1967 film of Casino Royale (below) which used a naked girl as the focal point; all Bond posters before and after this place oo7 himself centre stage. Penguin even dare to push the level of pastiche by making On Her Majesty’s Secret Service look rather like an old romance novel, not such a surprising decision since this is the book where Bond gets married.

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My favourite Bond covers remain the old Pan paperbacks from 1963 but that’s just me; these look great. There’s been a persistent moan recently from authors and publishers worrying about file sharing as they foresee the publishing world going the same way as the music business. The solution is obvious: you can’t stop texts being copied and distributed but you can make the books themselves desirable objects so make them worth buying and owning. Penguin has numbered the spines of the new Bond books as they did with their recent Sherlock Holmes reprints, a smart appeal to book collectors as well as a tip to read them in the order they were written. “Smart” is the key word here; Picador take note.

Update: The Pan covers mentioned above were designed by Raymond Hawkey. Bond site MI6.co.uk has some details about the designer.

Elsewhere on { feuilleton }
The book covers archive

Previously on { feuilleton }
Repackaging Cormac
The World’s Greatest Detective
James Bond postage stamps
Boys Own Books