AUPresses 2019 Book, Jacket, and Journal Show Catalog by AUPresses

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BOOK, JACKET, AND JOURNAL SHOW

2019

20I9

AUPresses

Association of University Presses Book, Jacket, and Journal Show

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Association of University Presses Book, Jacket, and Journal Show

PURPOSE

Since 1965, the Association of University Presses Book, Jacket, and Journal Show has fulfilled its mission to “honor and instruct”: honoring the design and production teams whose work furthers a long tradition of excellence in book design, and—through a traveling exhibit and acclaimed annual catalog of selected entries—visually teaching the tenets of good design. The Book, Jacket, and Journal Show is a juried design competition, open only to AUPresses member publishers. Every autumn the call for entries is distributed, and each January, the jurors gather in AUPresses’ New York offices to examine hundreds of submissions and select the very best examples of book, journal, and cover designs. Jurors are esteemed interior and cover designers appointed by the annual show committee.

The show recognizes meritorious achievement in design, production, and manufacture of books, jackets, covers, and journals by members of the university press community. It also provides an evaluation of their work and serves as a focus of discussion and a source of ideas for intelligent, creative, and resourceful bookmaking. The 2019 show includes books published by AUPresses member presses in 2018 and jackets and covers of books published that year. Books may have been manufactured anywhere in the world, but imports and copublications from another publisher are not eligible. The 2019 Book, Jacket, and Journal Show will premiere at the AUPresses annual meeting in Detroit, Michigan, in June 2019. Afterward, the show will be exhibited at member presses around the country from September 2019 through June 2020.

2018–2019 RESULTS

Judging for this year’s Book, Jacket, and Journal Show took place on January 24–25 at the AUPresses Central Office in New York City.

STATISTICS

Member presses submitted 621 publications across the following categories:

The jurors selected 65 publications across the following categories:

54 Scholarly typographic 69 Scholarly illustrated 43 Trade typographic 47 Trade illustrated 13 Poetry and literature 2 Journals 6 Reference 387 Jackets and covers (includes 3 journal covers)

8 Scholarly typographic 7 Scholarly illustrated 8 Trade typographic 12 Trade illustrated 1 Poetry and literature 0 Journals 1 Reference 28 Book jackets and covers 0 Journal covers

CHARGE TO THE JURORS

To select approximately fifty books (representative of the categories on the entry form); five journals; thirty book jackets and covers and journal covers (including special issue covers, standing formats with image change each issue, and redesigns); and digital publications that exhibit excellence in design and manufacture To consider the different types of materials published by university presses and the problems they pose for the designer To give special consideration to academic book designs and creative solutions to short-run publications To write specific comments about books, journals, covers, jackets, and digital publications selected for the show To write general comments about the show for inclusion in the book show catalog To participate in the 2019 AUPresses annual meeting in Detroit, Michigan

Jurors 8 Scholarly Typographic 19 Scholarly Illustrated 37 Trade Typographic 53 Trade Illustrated 71 Poetry and Literature 97 Reference 101 Jackets and Covers 107 Index 139 Acknowledgments 144

Matt Avery Books and Journals

Matt Avery is the founder of the design studio Monograph. Previously, he worked at the University of Chicago Press for fourteen years, serving as the designer of record for the 17th edition of The Chicago Manual of Style. His work has been recognized by the Type Directors Club, 50 Books | 50 Covers, Communication Arts, the Design Museum of Chicago, Print, the Society of Typographic Arts, Book Cover Designs, the Chicago Book Clinic, and the AUPresses. He lives with his wife and two children in Chicago.

Thank you to the committee for the invitation to participate in this year’s judging. It’s an honor to be asked to evaluate the work of your peers. Because I spent some time working at a university press, this show in particular has meant a lot to me over the years. While design competitions seem to multiply every year, with some recent additions that seem to be not much more than cynical efforts to raise cash, the AUPresses show distinguishes itself by doing what many other competitions can’t—or won’t—do, including publishing this very catalog, having jurors write about the work, and sponsoring the jury’s participation in the AUPresses conference. Working alongside Sara Sauers was a pleasure, and our perspectives, particularly on what we deemed to be good typography, had much in common. In a first pass, we looked at the books on our own and flagged each one as a yes, a no, or a maybe. After we had completed our individual assessments, we reviewed together any book that either of us had flagged as a yes or a maybe. This final review gave us the opportunity to have a conversation about each book and to point out any merits or flaws that the other might not have noticed or fully appreciated earlier. One request to future entrants: I would like to encourage designers to take a minute to write something for the comments section on the entry form. It was what I most often looked for besides information about the typefaces used.

Regretfully, we did not select any journals. Of the two that were submitted, we didn’t feel that either rose near enough to the level of the other publications. The lack of journals in this year’s show doesn’t reflect upon the quality of design and production in journals at large. I hope in the future that more journals will be submitted to the show. Books found their way into this year’s selections by various criteria. Some books had an exceptional level of craft—Sally Mann designed by Margaret Bauer is a great example. Others were notable for the originality of their design. Ultimately, it was important that, whatever the approach to the design, it be well suited to the book. Fabulous designed by Sonia Shannon takes the bespoke treatment to the extreme and succeeds wonderfully. And there were yet other books that I initially approached with skepticism, but after I returned to them later I was ultimately won over by their designers’ own point of view—however different from mine. It was a wonderful opportunity to be tasked with giving close attention to so many different types of books and to have the time to discuss and reflect on them. It’s often been noted—but bears repeating—that university press designers are asked to do a lot with precious few resources. It is still exciting and inspiring to see what can be done with a standard trim and a typeface or two. A sincere and hearty congratulations to all who worked on the books appearing in this catalog.

Sara T. Sauers Books and Journals

Sara T. Sauers is on the faculty of the University of Iowa Center for the Book, where she teaches typography, book design, and letterpress printing in the MFA in Book Arts program. She is a practicing book designer and printer who incorporates both state-of-the-art and historical design and print technologies in her projects. Her work has been recognized by the AUPresses Book, Jacket, and Journal Show, and in 2002 she received the Carl Hertzog Award for excellence in book design. Sara was a vice president of the American Printing History Association from 2014 to 2018.

In its traveling version, the AUPresses Book, Jacket, and Journal Show has been part of my teaching at the University of Iowa for more than ten years. It’s an opportunity to show students real-world examples of materials and techniques. A collection of the show catalogs dating from the late 1980s is in our book arts program library—a useful and ongoing reference for students and instructors. Other AUPresses material is there too, including New Types for New Books by the late Will Powers of the Minnesota Historical Society Press—a guide that remains helpful for letterpress printers exploring the qualities of digital type. This is all to say that I have a long-standing appreciation for the AUPresses and the talents and generosity of its members. It truly was a surprise and very much an honor to be asked by the committee to be part of this year’s jury. It was my pleasure to share the task with Matt Avery. Having such a solid partner to confer with was a bonus during the intense two-day review of the towers of submissions stacked on narrow tables in a small room, with a never-ending supply of espresso and donuts nearby. It was also a treat to share the lunch hours with fellow jurors Nicole Caputo and Na Kim. They had entertaining nonacademic publishing stories, and hearing what they were seeing in their cover and jacket entries was informative. The path to becoming a book designer is often circuitous or accidental, and I appreciated learning how everyone had gotten to their current jobs. The time allotted for judging is one of the constraints that defines the show’s selections. I’m speaking only for myself, but if I’d had a week in that room—more time to take in the content of the books as well as their designs—some of my choices would have been different. That said, we were efficient and thorough within the limits—only needing to ask kind Kate Kolendo for one extra hour! We spent the first day independently labeling entries with notes, conversing now and then about practices that intrigued us. After a bit more independent review on day 2, we conferred at length to select the final choices.

Some of the books invited me right in and didn’t let me go. I responded to their materials, proportions, operating action, and haptics before reading much more than their front matter. Others I came to with time and growing appreciation. The number of successful designs in smaller-format paperbacks was a pleasant surprise. Structures of Indifference designed by Jess Koroscil is especially small but mighty. In the illustrated categories, it was often the more modest-sized work—books that still fit in one’s hands—that I responded to. Slab City designed by Emily Gutheinz stands out in that regard, with strength and balance in the treatment of both words and image. The richness of color printing on matte paper also appealed, used on its own, as in Art for a New Understanding designed by Erik Kiesewetter, or as one of a mix of paper stocks, as in Toward a Concrete Utopia designed by Bruno Margreth and Martina Brassel. And I always appreciate a typographic gem, and Miss Stephen’s Apprenticeship designed by Omega Clay is certainly that. It would have been interesting and helpful to be in discussion with all the designers, to learn more about the instructions they were given and the thinking behind their processes and choices. I kept repeating (to myself, about myself) a line from the movie The Big Lebowski: “Yeah, well, you know, that’s just, like, your opinion, man.” Very true. I have shared mine but, more significantly, I have learned from all of you.

Nicole Caputo Jackets and Covers

Nicole Caputo is a New York graphic designer specializing in book and book cover design. Formerly creative director at Hachette Book Group, she is the creative director of Counterpoint Press, art director of Catapult, and cofounder of She Designs Books, an organization that celebrates women in book design. She has received design awards from the One Show, AIGA/NY, HOW International Design, Print, the New York Book Show, the London International Creative Competition, Communication Arts, the Type Directors Club, the Art Directors Club, and the Publishing Professionals Network. Nicole’s work appears frequently in Spine Magazine, among others, and she wrote the foreword to Book Cover Designs.

I was completely delighted when the AUPresses team asked me to judge this year’s entries with Matt, Sara, and Na. I have read that this is the longest-running design competition— since 1965—and to be part of its history is meaningful to me. I am also intimately aware of the fact that university press covers are often overlooked or not even seen. I am happy that this seems to be changing as social media becomes a tool for sharing work and bringing awareness to books whose print runs may be small and whose covers may not be shown face out on shelves or stacked on tables at bookstores. I was so pleased to finally meet Na Kim in person and to learn that she and I would be working closely together on the covers. From the start we worked naturally together, and our process emerged organically. We decided to look at each cover together and separate them into three categories: those that we were immediately drawn to, those that we felt did not work for one reason or another, and those that required a closer look. We then surveyed all of them as a whole and discussed each one individually. Because many of the covers were sent in as untrimmed flat printed samples, we laid each one down, isolating just the front, to make sure that our decisions were firmly based on its design and that we were not distracted by decisions made on the spine, flaps, and back. Typographic choices were definitely the topic that Na and I discussed most. Several covers had beautiful, clever, evocative image choices, but the type was unrefined or poorly executed. Sometimes an inconsistency with alignment or type placed much too close to the trim or other items made for a cluttered appearance. Sometimes a type pairing felt inharmonious, or there was a kerning issue. At other times a designer used a typeface meant to look like hand-lettering as a central design element but did not put in the extra effort to manipulate repeating characters to make each letterform unique. Since typography is integral to making a design work, if decisions related to type are not well thought out, the entire design will suffer.

We also came upon images that did not say enough on their own, especially when paired with a nondescript title, images that were unappealing, and images that worked well but lacked contrast. We took into consideration the fact that many university presses print digitally, which can lay a murky cast over the colors, and we made sure to keep this in mind when reviewing covers that had a great design but perhaps suffered due to the printing process—which is often beyond a designer’s control or unknown when he or she is preparing the file. We discussed compensating in advance when possible by adjusting the file to add contrast to an image to help designers come closer to a pleasing printed result. Na and I were in perfect agreement on all our choices. We ended up with a broad range of covers spanning a variety of subjects and styles and an even number of covers designed by women and by men. Typography, legibility, color palette, originality, concept, type and image pairing, risk taking, and image selections that respected the subject matter were all taken into account. Some examples stood out. Amanda Weiss’s hand-lettering for Beyoncé in Formation gives a weighty and important topic a personal and accessible feel. Penis Envy and Other Bad Feelings designed by Julia Kushnirsky has a clever concept and fun image and typography pairing. A title created using the negative space of letterforms emerges slowly but has a delightful impact in The Art of Dying designed by David Drummond. And Chris Ferrante’s well- balanced, clean design for Music by the Numbers uses perfectly suited image and type pairing. Thank you to all those who boldly submitted entries to this long-standing and important competition. It was an honor to review your work. And thank you to Na Kim for being my copanelist for covers. Our process sparked some great conversations. Finally, thank you to the Association of University Presses for asking me to join in this process. I am looking forward to Detroit!

Na Kim Jackets and Covers

Na Kim is a freelance illustrator and senior designer at Farrar, Straus and Giroux. Her work has been recognized and featured by associations such as AIGA, American Illustration, Juxtapoz, and the New York Times. Notable clients include the New York Times, the New York Times Magazine, Simon and Schuster, and Penguin Random House. A graduate of the Maryland Institute College of Art, Na lives and works in New York City.

Designing for academia is a unique task. Academic covers need to go beyond being a decorative accessory to serve as a window onto the possible explorations within. Rich with information, they dare us to visualize the relationship between music and mathematics, for example, and to ponder the philosophical and cultural impacts of Beyoncé in the modern age. They succeed at the laborious task of tackling difficult topics with nuance and demand our attention through bold colors and typography. The designers featured in this catalog took risks, and the results were sublime. Although there is no single formula for creating an exceptional book cover, one commonality among all the covers in this catalog is the fact that every component was strongly considered and placed on the cover with intent. Rest assured: design within academic presses is alive and well. Jurying design, always a critical process, asks for hypervigilant attention to detail. Each choice made by the designer is scrutinized and dissected until only the best of the best are left standing. At the end of the day, it is a competition. Overall, the yeses were easy. It was the maybes that required most of our time during the judging.

The maybes broke down into a few categories. Some covers had beautiful imagery, but the placement of type felt arbitrary. Others were almost there, but a misplaced subtitle prevented them from being selected. We often said to ourselves, “If only the designer had put five more minutes of consideration into this.” However, the most difficult eliminations occurred when the covers were beautiful but lacked originality. To those who did not make the cut, do not despair. This catalog shows only the preferences of two people. Keep on, keep designing, and remember that there’s always next year. Many thanks to my fellow jury members and the AUPresses for inviting me. I’m so honored and grateful to have participated in this timeless tradition.

Scholarly TYPOGRAPHIC

UNIVERSITY OF ALBERTA PRESS

Sam Steele: A Biography Rod Macleod Designer Alan Brownoff Production Alan Brownoff Acquiring editor Peter Midgely Project editor Mary Lou Roy Trim size 6 × 9 inches Number of pages 432 Number of copies 850 Compositor Alan Brownoff Text type 9.4/15.4 Fayon Standard Display type Euclid Paper 55# Enviro natural Inks Black Printer/binder Houghton Boston Printers Method of binding Smyth sewn, perfect Method of printing Offset Binding materials 1/2 ml matte lamination Jacket designer Alan Brownoff Jacket printer Houghton Boston Printers MA We noticed a few book designs where the running heads were set turned in the thumb margins. Too often this created an unnecessary distraction without any apparent good reason. This design is an exception: the running heads are well managed and balanced. The open leading in the text corresponds with the generous white space on the page. STS It was refreshing to see a flush left, ragged right text paragraph style in this category. The generous leading was balanced by generous margins. I did note the small point size used for the half title—both Steele the man and the overall design seem worthy of larger. Our review copy had notable variability in the amount of ink on the pages.

Scholarly Typographic

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UNIVERSITY OF CHICAGO PRESS

Interacting with Print: Elements of Reading in the Era of Print Saturation The Multigraph Collective Designer Jill Shimabukuro Production Joseph Claude Acquiring editor Alan Thomas Project editor Yvonne Zipter Trim size 51/2 × 81/2 inches Number of pages 366 Number of copies 800 Compositor Jill Shimabukuro Text type 10.5/14 Arnhem Blond (Our Type) × 24p Display type Sackers Gothic Medium, Chronicle Paper 60# natural, 420 ppi Inks Black (with 4-color insert) Printer/binder Sheridan Books Method of binding Notch Method of printing Offset Binding materials 3-piece Rainbow Black and Fern case with Fern endsheets, black and white bands and gold spine foil Jacket designer Jill Shimabukuro Jacket printer Phoenix Color

INTERACTING WITH

PR I N T ELEMENTS OF

R E A DI NG IN THE ERA OF PR INT S ATUR ATI ON

Design comment This book is a reworking of the history of print through a unique effort in authorial collaboration. The greatest design challenge was finding a way to treat the “author” on the cover and in the interior so that it didn’t look like part of the title. The fact that “print” is repeated in the title and subtitle drove certain decisions about the typography as well. A pleasure to work on. MA It’s natural to expect more from a design for a book about print culture, and this one doesn’t disappoint. The setting of Arnhem Blond seemed a bit large at first glance but was ultimately convincing. The larger point size does help create a dark text page. STS Fred Smeijers’s types are among my favorites, and it was a pleasure to see these richly textured paragraphs in Arnhem Blond. It was a smart solution to place the names of the many coauthors below a collective wordmark on the verso of the title spread, keeping the title clear.

Scholarly Typographic

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FRONTISPIECES LT

L E C T

ELEMENTS OF M a r k a lgee-Hew it t a ngel a BorcHert D av i D B r e w e r t Hor a Bry l ow e Juli a carlson Br i a n c owa n susa n Da lt on M a r ie- cl au De F elt on MicH a el ga Mer Pau l k e e n MicHelle lev y

R E A DI NG

MicH a el M acovsk i nicHol as M ason toM Mole

IN THE ERA OF

a nDrew PiPer

PR INT S ATUR ATI ON

Da Hli a Porter Jonat H a n sacHs Di a na soloMon

The Multigraph Collective

a n Dr e w s tau F F er r i c H a r D t aw s

tHe university oF cHicago Press

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CONTENTS List of Illustrations vii Preface; or, What Is a Multigraph? xi

Introduction 1 1. Advertising 15

10. Index 155

2. Anthologies 33

11. Letters 169

3. Binding 49

12. Manuscript 185

4. Catalogs 66

13. Marking 204

5. Conversations 85

14. Paper 223

6. Disruptions 97

15. Proliferation 243

7. Engraving 113

16. Spacing 260

8. Ephemerality 126

17. Stages 274

9. Frontispieces 141

18. Thickening 288

Epilogue 305 Works Cited 311 About the Multigraph Collective 343 Index 349

A frontispiece is a full-page image that occupies a privileged place at the beginning of a book, and it is intended to structure readers’ expectations and interactions with that book. Frontispiece designs fall into three general categories: architectural, portrait style, or illustrative. While some frontispieces come discretely from one category, they are often found blended or in combination. As the frontispiece became more common in the seventeenth and early eighteenth centuries, the meaning of frontispiece itself shifted from its original architectural sense, meaning the facade of a building, to refer instead to the front matter of a book. Moreover, the architectural nature of the frontispiece is encoded not only into its etymology but also into its medium, since engraving was understood to be a form of relief carving. Frontispieces are closely related to title pages, which also regularly included architectural elements, often taking the form of an engraved portico. The printed doorway welcomes readers into the space of the text at the same time it references the material structure of the book. Architectural design elements signal a book’s monumentality. The title page of the 1747 Biographia Britannica, for example, declares itself “a kind of MonuMent erected to the most deserving of all ages.” Of course with big folios or quartos like the Biographia, architectural monumentality suggests the imposing presence of the book itself. However, architectural frontispieces also index the cultural importance of the material contained within and often suggest a monument “erected” posthumously to the author. Portrait-style frontispieces might be said to place a head onto

: cHaPter 3

states of dress and undress, Lamb’s essay trades on the rhetoric of bibliomania and the bibliomaniac, a collector whose love of literature was lodged in the pleasures of possessing the book as a physical object (Lynch 108). The book as object exerted immense allure for many of Lamb’s contemporaries (Lynch; Ferris), and binding thus became a site of bibliophilic desire and exchange. For example, in 1808 Robert Southey was settling his family and his books into a permanent residence at Greta Hall in Keswick in the Lake District. The prospect of having his book collection gathered together, and more important, housed with him, provokes thoughts of beautifying their bindings: Southey writes to his friend Mary Barker that “one set of six folios is lettered in gold upon bister . . . & the volumes connected with chain work, but the gold-leaf is exhausted & two links are yet wanting to the chain” (1804–1809, letter 1471). To complete the decorative bindings, Southey writes to “beg, intreat & desire” two things of Barker: to send him “as much gold leaf as a frank will carry” and to visit him so they can “juniperize” (or add gold leaf to) the bindings together (1804–1809, letter 1472). Through this playful, sexually charged epistolary exchange, the practice of decorating bindings produces personal intimacy between people by way of their mutual desire to possess and dress the rare and expensive volume. The lavish bindings of Southey’s folios stand in direct contrast to his “ducks,” books with tattered covers that were housed at the “dark end” of his library, out of public view. This collection of ugly ducklings certainly included the books Southey’s daughters and their friends rebound in colored cotton cloth with handwritten labels on the spines (fig. 3.2, plate 5; and fig. 3.3). In 1836 Southey wrote, “One room is almost fitted up with books of their binding: I call it the Cottonian library; no patchwork quilt was ever more diversified” (1849–1850, 6:284). Whether or not, as has been speculated, this material came from the discarded dresses of Southey’s wife and daughters, it is clear that women in the Southey household learned and practiced the craft of rebinding. Southey’s son estimated that some

3.2. Cottonian bindings on Robert Southey’s copies of J. Griffith’s Travels in Europe, Asia Minor and Arabia (London, 1805). Photograph: Courtesy of The Wordsworth Trust, Grasmere.

3.3. Binding on Anna Seward’s Letters of Anna Seward: Written between the Years 1784 and 1807 (London, 1811). Photograph: Courtesy of The Wordsworth Trust, Grasmere.

DUKE UNIVERSITY PRESS

Black and Blur/Stolen Life/The Universal Machine Fred Moten Designer Amy Ruth Buchanan Production Venus Bradley Acquiring editor Ken Wissoker Project editor Susan Albury Trim size 6 × 9 inches Number of pages Varies from volume to volume Number of copies 2,625–3,000 Compositor Westchester Text type Miller Text Display type Miller Bold, Montserrat Paper 50# natural Inks Black Printer/binder Edwards Brothers Method of binding Notch Method of printing Offset Binding materials 10 pt C1S Jacket designer Amy Ruth Buchanan Jacket printer John P. Pow Company

Scholarly Typographic

Design comment These three volumes form a trilogy titled “consent not to be a single being.” MA Creating a design that strives to be more than an unassuming template and still holds up over several volumes is a unique challenge. STS This trilogy features an impressive variety of dynamic chapter title arrangements.

DUKE UNIVERSITY PRESS

Laughing at the Devil: Seeing the World with Julian of Norwich Amy Laura Hall Designer Heather Hensley Production Venus Bradley Acquiring editor Miriam Angress Project editor Liz Smith Trim size 51/2 × 81/4 inches Number of pages 144 Number of copies 1,300 Compositor Copperline Books Text type 9.8/13.4 Quadraat Pro × 22p9 Display type Scala Pro Condensed (title page only) Paper 55# natural Inks Black Printer/binder Sheridan Books Method of binding Perfect Method of printing Offset Binding materials 10 pt C1S Jacket designer Heather Hensley/Julienne Alexander Jacket printer John P. Pow Company STS Elements from the cover artwork are successfully brought into the interior. The Quadraat has excellent color on the page and seems just right for Julian of Norwich and a good match for the rough-hewn drawings used in the space breaks.

Scholarly Typographic

LOUISIANA STATE UNIVERSITY PRESS

Audubon on Louisiana: Selected Writings of John James Audubon Ben Forkner Designer Michelle A. Neustrom Production Michelle A. Neustrom Acquiring editor Margaret Lovecraft Project editor Catherine L. Kadair Trim size 6 × 9 inches Number of pages 432 Number of copies 750 Compositor Michelle A. Neustrom Text type 10.4/14.4 Whitman (Font Bureau), 27p0 × 41p6 Display type TPTC CW Title Page Condensed, AT Sackers Italian Script, Filosofia Paper 50# Natures Natural, 440 ppi Inks Black Printer/binder Sheridan Books Method of binding Smyth sewn Method of printing Offset Binding materials Patriot Rainbow paper, tan headbands, gray stamping Jacket designer Michelle A. Neustrom Jacket printer Sheridan Books STS An inviting book that has strong continuity from the cover through the interior. The typography alludes to Audubon’s era with headings in Filosofia and the use of an engraved script. While the CW condensed display does evoke nineteenth-century printing, it does so by pointing to inferior work, worn type, and too much ink. These are undesired traits in any era, and I would have preferred a healthy specimen in its place.

Scholarly Typographic

UNIVERSITY OF MANITOBA PRESS

Structures of Indifference: An Indigenous Life and Death in a Canadian City Mary Jane Logan McCallum and Adele Perry Designer Jess Koroscil Production Glenn Bergen Acquiring editor Jill McConkey Trim size 41/4 × 71/8 inches Number of pages 192 Number of copies 1,000 Text type 11/14 Garamond Premier Pro Display type Cheap Pine Sans Paper 45# Alternative Book cream Inks Black Printer/binder Friesens Method of binding Perfect Method of printing Offset Binding materials 10 pt C1S cover FSC white Jacket designer Mike Carroll Jacket printer Friesens MA Another example of good use of a smaller trim size. STS The mass-market trim size and 45-lb paper set this book apart from any other we reviewed—and apart from the expected university press book. But these features give this book about a crime against humanity a sense of immediacy and accessibility. The narrow dense display type adds to the sense of urgency, while clean text typography and details such as the shortened line measure in the captions show the attention paid to all elements.

Scholarly Typographic

NEW YORK UNIVERSITY PRESS

Eight Stories: Tales of War and Loss Erich Maria Remarque Designer Charles B. Hames Production Charles B. Hames Acquiring editor Amy Klopfenstein Project editor Dorothea Stillman Halliday Trim size 5 × 7 inches Number of pages 192 Number of copies 1,500 Compositor Charles B. Hames Text type 13/18 Adobe Arno Pro Regular × 20p6 Display type Futura, DS Fette Gotisch Regular Paper 60# Glatfelter B-18 Antique Finish, 330 ppi Inks Black Printer/binder Thomson-Shore Method of binding Perfect Method of printing Offset Jacket designer Charles B. Hames Jacket printer Thomson-Shore Design comment The manuscript was quite short. I found images to boost the extent based on the story’s content. The images primarily came from the Library of Congress. MA As the designer notes, this was a short manuscript to work with. The open and breezy text page takes good advantage of the length of the text without feeling overly padded. I also appreciate the fact that the designer took the initiative to find and incorporate images that didn’t come as part of the manuscript. The section title pages—with large drop caps set opposite the opening of the text—are very nice.

Scholarly Typographic

UNIVERSITY OF TENNESSEE PRESS

Whispering in the Daylight: The Children of Tony Alamo Christian Ministries and Their Journey to Freedom Debby Schriver Designer Kelly Gray Production Stephanie Thompson Acquiring editor Scot Danforth Project editor Jon Boggs Trim size 6 × 9 inches Number of pages 352 Number of copies 3,000 Compositor Kelly Gray Text type 11.25/15 Adobe Jenson Pro Display type Adobe Jenson Pro Paper 50# Natures Natural Inks Black Printer/binder Thomson-Shore Method of binding Smyth sewn Method of printing Offset Binding materials Gray spine, Rainbow opaque boards with custom stamp Jacket designer Kelly Gray Jacket printer Thomson-Shore Design comment The wings illustration is based on artwork by one of the survivors. I wanted to use it to separate the sections written by the survivors. STS This must have been an emotionally demanding book to design. The multifaceted story about a cult and its abused child survivors includes interviews, timelines, photos, and appendixes along with poetry, essays, and other creative work from the children. Defining these elements is handled with care, and a surprisingly effective use of small caps helps unify them.

Scholarly Typographic

SCHOLARLY ILLUSTRATED

GETTY PUBLICATIONS

Harald Szeemann: Museum of Obsessions Glenn Phillips and Philipp Kaiser Designer Catherine Lorenz Production Michelle Deemer Project editor Nola Butler Trim size 91/2 × 12 inches Number of pages 416 Number of copies 2,500 Compositor Diane Franco Text type 10–16pt Suisse Neue/Suisse Fonts Paper 150 gsm Sappi GalerieArt Volume Inks 4-color process Printer/binder Cantz Method of binding Smyth sewn Method of printing Offset Design comment The contemporary Suisse Fonts connect us to Harald Szeemann’s Swiss heritage as well as to the original home of the archive. The font also references Szeemann’s use of Helvetica and follows through with a simple, clean, Swiss approach to the design and layout. MA The page-within-a-page design used in sections of this book is fresh and effective and prevents this lengthy book from becoming monotonous. STS A clean Swiss type and a flush left, ragged right paragraph style give breathing room to effectively present the relics of Szeemann’s collections. The screen tints that virtually reduce the page size of the interviews are ingenious.

Scholarly Illustrated

NATIONAL GALLERY OF ART, WASHINGTON

Corot: Women Mary Morton, David Ogawa, et al. Designer Brad Ireland Production Chris Vogel Acquiring editor Emiko Usui Project editor John Strand Trim size 9 × 11 inches Number of pages 180 Text type OurType Fakt Pro Paper Condat matt Périgord Inks 4-color process plus spot varnish Printer/binder Conti Tipocolor Method of binding Smyth sewn Method of printing Offset Jacket designer Brad Ireland MA A very handsome design. I particularly appreciated the handling of the titles and captions in the plate section.

Scholarly Illustrated

NATIONAL GALLERY OF ART, WASHINGTON

Sally Mann: A Thousand Crossings Sarah Greenough, Sarah Kennel et al. Designer Margaret Bauer Production Chris Vogel Project editor Julie Warnement Trim size 103/4 × 113/8 inches Number of pages 332 Text type Adobe Caslon, Benton Sans Display type Adobe Caslon Paper Phoenix Motion Xantur Inks 4-color process plus 3 PMS inks Printer/binder Brilliant Graphics Method of binding Smyth sewn Method of printing Offset Jacket designer Margaret Bauer MA Flawless! STS The design handles a myriad of Mann’s photo categories elegantly. An exquisite pairing of silvery gray Caslon italic with black Benton Sans small caps was used throughout.

Scholarly Illustrated

NATIONAL GALLERY OF ART, WASHINGTON

Tintoretto: Artist of Renaissance Venice Robert Echols, Frederick Ilchman et al. Designer Wendy Schleicher Production Chris Vogel Acquiring editor Emiko Usui Project editor Tam Curry Bryfogle Trim size 91/2 × 12 inches Number of pages 312 Number of copies 9,535 Text type Vendetta OT, FF Fago Display type Vendetta OT Paper 150 gsm Périgord Inks 4-color process Printer/binder Conti Tipocolor Method of binding Smyth sewn Method of printing Offset Jacket designer Wendy Schleicher MA Vendetta is well used in this very beautiful book. The use of the grid is both subtle and dynamic. STS Front matter, section, and essay openings are all elegantly signaled with screen tints. Color-coded captions for all artwork on each spread are grouped—above and away— allowing for the spacious presentation of the art.

Scholarly Illustrated

UNSW PRESS / NEWSOUTH PUBLISHING

Hand and Mind: Conversations on Architecture and the Built World Ainslie Murray and Xing Ruan Designer Pfisterer + Freeman Production Rosie Marson Acquiring editor Elspeth Menzies Project editor Paul O’Beirne Trim size 279 × 224 mm Number of pages 256 Number of copies 1,500 Compositor Pfisterer + Freeman Text type Akkurat, Trade Gothic Paper 115 gsm matte art Inks 4-color process Printer/binder 1010 Printing International Method of binding Smyth sewn Method of printing Offset Jacket designer Pfisterer + Freeman Jacket printer 1010 Printing International Design comment The readership for this book is highly visually educated: architects, landscape architects, design professionals, artists—people interested in process and design. It was important to create a design that speaks at a more experimental level. We played with generous white space, interesting grid arrangements, and a minimal typographic approach. For the drawings on white backgrounds, we removed the edges of the pages so they become quite dynamic. MA A dynamic use of space and grid that results in an engaging presentation throughout the book. STS The uneven yet artfully balanced lines of the chapter openings match the full-on hard rag of the narrow text columns, while offering contrast because of their spacious setting and generous letterspacing.

Scholarly Illustrated

PENN STATE UNIVERSITY PRESS

Study in Black and White: Photography, Race, Humor Tanya Sheehan Designer Regina Starace Production Jennifer Norton Acquiring editor Eleanor Goodman Project editor Suzanne Wolk Trim size 81/2 × 91/2 inches Number of pages 216 Number of copies 600 Compositor Regina Starace Text type 10/14.75 Adobe Janson Display type Windsor (Bitstream) Paper 150 gsm Munken Polar Inks 4-color process Printer/binder Asia Pacific Offset Method of binding Smyth sewn Method of printing Offset Binding materials Saifu cloth, PMS Warm Gray 11 endpapers Jacket designer Regina Starace Jacket printer Asia Pacific Offset MA I really love this design. It manages a stark beauty that doesn’t overpower but exercises the right amount of restraint.

Scholarly Illustrated

UNIVERSITY OF TEXAS PRESS

São Paulo: A Graphic Biography Felipe Correa Designers Neil Donnelly and Ben Fehrman-Lee, book photographs by Kris Graves Production Dustin Kilgore Acquiring editor Robert Devens Project editor Robert Kimzey Trim size 91/4 × 115/8 inches Number of pages 348 Number of copies 4,000 Compositors Neil Donnelly and Ben Fehrman-Lee Text type 10.25/12 Folio and Life × 24p Display type Folio and Life Paper endpapers 120 gsm Rainbow light blue; interior 230 gsm Rainbow intensive green, 120 gsm Rainbow light blue, 150 gsm ProfiMatt Inks 4-color process Printer/binder DZA Druckerei zu Altenburg GmbH Method of binding Smyth sewn Method of printing Offset Binding materials 120 gsm Rainbow intensive green over 2.5 mm boards, 3-sided flush trim Jacket designers Neil Donnelly and Ben Fehrman-Lee Jacket printer DZA Druckerei zu Altenburg GmbH

Scholarly Illustrated

Design comment This book collects research on the past and present of the urban design of São Paulo along with proposals for the future. Bilingual texts run concurrently in two typefaces that distinguish Portuguese from English. Distinctions between papers differentiate between the image-heavy research and design chapters and the essays, and the flush trim along the edges makes the structure visible on the outside of the book. Dividers on cover stock signal the start of each section, with accumulating die cuts that allude to the verticality of the city and the brise-soleil common to its architecture. MA This book—oversize like the great megalopolis it’s about—could’ve felt oppressive. It mostly uses a simple twocolumn grid, with relatively small margins and a large trim (and a high page count). However, the use of the different paper stocks allows the book (and its reader) to breathe a bit. The typography, which at first struck me as ungainly, seems appropriately direct.

TRADE TYPOGRAPHIC

UNIVERSITY OF CHICAGO PRESS

The Future of Conservation in America: A Chart for Rough Water Gary E. Machlis and Jonathan B. Jarvis Designer Jill Shimabukuro Production Joseph Claude Acquiring editor Christie Henry Project editor Yvonne Zipter Trim size 5 × 7 inches Number of pages 98 Number of copies 2,500 Compositor Jill Shimabukuro Text type 11.5/13.5 Adobe Arno Pro × 20p6 Display type Ziggurat Paper 60# natural, 420 ppi Inks Black Printer/binder Sheridan Books Method of binding Notch Method of printing Offset Jacket designer Jill Shimabukuro Jacket printer Phoenix Color MA The careful attention paid to the smallest details was one aspect that set this book apart. STS The combination of types and their meticulous kerning and letterspacing in display are exemplary. The portable trim size, paperback binding, and framed chapter opening photos all enhance this book’s call to citizen action.

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CONS E RVATION

in America

A C H A R T F O R R O U G H WAT E R

WITH A FOREWORD BY TERRY TEM PEST WILLIAMS

Contents Totality: A Foreword

THE FUTURE OF

Terry Tempest Williams

C O N S E RVAT IO N

VII

in America

A C H A RT F O R R O U G H WAT E R

CHAPTER ONE

Watershed 3

CHAPTER TWO

An Enduring Responsibility 13

GARY E. MACHLIS CHAPTER THREE

J O N AT H A N B . J A R V I S

A Chart for Rough Water 31

W I T H A F O R E W O R D B Y T E R RY T E M P E S T W I L L I A M S T H E U N I V E R S I T Y O F C H I CA G O P R E S S

CHAPTER FOUR

C H I CA G O A N D L O N D O N

Strategies for the Future of Conservation 43

CHAPTER FIVE

Toward a Unified Vision 69

Service was established, with Mather as its first director. The new agency was assigned an enduring responsibility: “to conserve the scenery and the natural and historic objects and the wild life therein and to provide for the enjoyment of the same in such manner and by such means as will leave them unimpaired for the enjoyment of future generations.”2 Our contemporary proposals for meeting this enduring responsibility extend beyond the National Park Service and are based on several premises. First, for over 150 years, a passion for conservation in America has thrived in periods of growth and persisted in times of challenge. Second, the most successful individual actions (such as Mather’s artful camping trip) have strategic intentions that lead toward larger conservation goals. Third, there have been several generational transformations—key opportunities when a new generation of Americans comes of age and empowerment. And fourth, conservation actions are most effective when tested, experienced, refined, and shared. ⁂

Coming out of World War II, the national parks had been intermittently closed and often neglected; the parks required a restoration of public commitment to their care. In 1953, popular writer Bernard DeVoto even penned an article for Harper’s Magazine titled, “Let’s Close the National Parks.” He sarcastically called for the park closures because they were so underfunded and their condition so deplorable that they were an embarrassment to the nation. His caustic critique as well as congressional demands to improve park conditions drew the attention of National 14 :

C h a p t e r T wo

CHAPTER FIVE

Toward a Unified Vision Conservation in America currently resembles a deeprooted tree at a mature stage of growth, with its older, large branches bent far apart. Nature conservation organizations and historic preservation groups share little in the way of strategies, tactics, or resources, and often (as in lawsuits by wilderness advocates to remove historic structures) actively oppose each other. The American health community is minimally involved in the protection of clean air and clean water, though continued protection of air and water is absolutely vital for American’s health. Outdoor recreation and resource management agencies are only just now beginning to realize their potential as health-care providers capable of contributing to mental and physical well-being, aiding recovery from posttraumatic stress disorder, and reducing obesity. Environmental justice activists struggling to clean up urban neighborhoods are often disassociated from wildlife protection activists struggling to maintain biodiversity, missing opportunities to form rural-urban alliances as well as the potential of local communities to collectively serve as monitors and protectors of urban and regional environmental quality. The people of rural communities and regions often take their access to public lands for granted—and some support political agendas that would divest, develop, 69

UNIVERSITY OF GEORGIA PRESS

A High Low Tide: The Revival of a Southern Oyster André Joseph Gallant Designer Erin Kirk New Production Melissa Bugbee Buchanan Acquiring editor Patrick Allen Project editor Jon Davies Trim size 6 × 9 inches Number of pages 256 Number of copies 1,200 Compositor Erin Kirk New Text type 10/14 Miller Text × 26p6 Display type Southwark Paper 60# Natures Natural Inks Black Printer/binder Thomson-Shore Method of binding Smyth sewn Method of printing Offset Binding materials Arrestox B Pewter, Rainbow Antique Putty Jacket designer Erin Kirk New Jacket printer Thomson-Shore MA Very nicely done overall. The placement of the illustrations is especially well handled. STS With the endsheet and screen-tint colors, textured display type, and photographs, the designer conveys both the roughness and the beauty present in the business of oysters. Adding a few more photos is one way to have eliminated the occasional blank recto.

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UNIVERSITY OF IOWA PRESS

Miss Stephen’s Apprenticeship: How Virginia Stephen Became Virginia Woolf Rosalind Brackenbury Designer Omega Clay Production Karen Copp Acquiring editor Catherine Cocks Project editor Susan Hill Newton Trim size 51/4 × 81/2 inches Number of pages 118 Number of copies 600 Compositor Omega Clay Text type 9.6/14 Neacademia × 22p6 (Rosetta Type Foundry) Display type Requiem ornaments (Hoefler and Company) and Alegreya Sans (Huerta Tipográfica) Paper 60# Glatfelter Natural Recycled Inks Black Printer/binder McNaughton and Gunn Method of binding Perfect Method of printing Offset Binding materials 10 pt C1S cover stock Jacket designer Omega Clay Jacket printer McNaughton and Gunn MA I appreciate the gentle but deft touch of the designer here. The decorative embellishments are used with restraint. A quietly elegant design. STS Some contend that typographic ornaments are unnecessary or even unwelcome, but I prefer this thought from W. A. Dwiggins: “Ornament is a music of space.” Requiem fleurons in the chapter openings enhance the invitation to read and allude to the flowers and foliage in Woolf’s Hogarth Press collaborations with her sister, Vanessa Bell.

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UNIVERSITY OF NORTH CAROLINA PRESS

City of a Million Dreams: A History of New Orleans at Year 300 Jason Berry Designer Kim Bryant Production Kim Bryant Acquiring editor Mark Simpson-Vos Project editor Jay Mazzocchi Trim size 61/8 × 91/4 inches Number of pages 424 Number of copies 5,000 Compositor Tseng Information Systems, Inc. Text type 9.8/13.5 Miller × 26p6 Display type Desire Pro, Didot Paper 50# Natures Natural Inks Black Printer/binder Thomson-Shore Method of binding Smyth sewn Method of printing Offset Binding materials 80# Rainbow, foil stamping Jacket designer Kim Bryant Jacket printer Thomson-Shore MA The drop cap treatment—it hangs in an enlarged margin—is a nice touch and the treatment is well managed throughout. The illustrations are handled sensitively.

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PRINCETON UNIVERSITY PRESS

The Golden Rhinoceros: Histories of the African Middle Ages François-Xavier Fauvelle Designer Chris Ferrante, illustrations by Roland Sárkány Production Erin Suydam Acquiring editor Brigitta van Rheinberg Project editor Lauren Lepow Trim size 61/2 × 81/8 inches Number of pages 280 Number of copies 6,000 Compositor BookComp Text type 11/15 Adobe Text Pro × 27p Display type Gza Paper 60# Natures Natural, 360 ppi Inks Black Printer/binder Thomson-Shore Method of binding Notch Method of printing Offset Binding materials Arrestox B Slate Grey 14550 cloth, gold foil spine stamp, 80# Rainbow Gold endpapers, Antique Gold 555 headbands Jacket designer Chris Ferrante, illustration by Roland Sárkány Jacket printer Phoenix Color MA The slightly squat trim size together with the display typography combine to create a fresh and charming presentation that resonates with the rhino motif without going overboard. STS The Gza display type, with its extended triangular serifs, is an inspired match for the woodcut-like illustrations, particularly the rhino of the title. Each chapter has a full-page opening, and everything about them draws the reader into a grand adventure story. Even the extended paragraphs of bibliographic information are admirable. Well done!

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UNIVERSITY OF TEXAS PRESS

The Book of Merlyn: The Conclusion to The Once and Future King T. H. White Designer Derek George Production Sarah Mueller Acquiring editor Jim Burr Project editor Robert Kimzey Trim size 51/2 × 81/2 inches Number of pages 200 Number of copies 2,000 Compositor Derek George Text type 11.25/14 Brioso Pro × 23p (Robert Slimbach for Adobe) Display type Brioso Pro Paper 55# House Natural, 360 ppi Inks 1-color Printer/binder Sheridan Books Method of binding Notch Method of printing Offset Binding materials 84# C Neenah Starwhite Flash white Jacket designer Kimberly Glyder Jacket printer Phoenix Color MA At first glance, I questioned the choice of such a mannered typeface for body text, but I was ultimately won over. The extra flair of Brioso—its underlying structure is beautifully proportioned—drops away as you start to read. The choice of text type allows for a more overt look-and-feel without compromising readability.

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UNIVERSITY OF TEXAS PRESS

Night Moves Jessica Hopper Designer Amanda Weiss Production Dustin Kilgore Acquiring editor Casey Kittrell Project editor Lynne Chapman Trim size 41/2 × 7 inches Number of pages 184 Number of copies 7,500 Compositor Amanda Weiss Text type 11.25/16 Adobe Garamond Pro × 19p2 Display type Roboto (Google) and custom lettering Paper 55# Natures Natural, 360 ppi Inks Black Printer/binder Thomson-Shore Method of binding Notch Method of printing Offset Binding materials 100# C1S, gatefold flaps Jacket designer Amanda Weiss Jacket printer Phoenix Color MA The designer took it upon herself to hand-letter each section opener of the book, successfully extending the approach used for the cover. Whereas in some other books we looked at a connection between cover and interior seemed forced and awkward, here it resulted in a cohesive, well-considered package. A few books used a smaller trim size well, and this was one of them. STS The journal-like content is well suited to the smaller trim size. Extras like the photo printed on the inside covers and the black part-title spreads bring in the night. The problematic composing that comes with many short paragraphs is well done.

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YALE UNIVERSITY PRESS

Fabulous: The Rise of the Beautiful Eccentric Madison Moore Designer Sonia Shannon Production Maureen Noonan Acquiring editor Joseph Calamia Project editor Ann-Marie Imbornoni Trim size 51/2 × 81/4 inches Number of pages 280 Number of copies 5,000 Compositor Tseng Information Systems, Inc. Text type 9/14 Futura Book × 23p3 Display type Futura Medium, Bold Paper 50# House Natural HiBulk, 400 ppi Inks Black Printer/binder Sheridan Books Method of binding Smyth sewn Method of printing Offset Binding materials 80# Hot Pink Multicolor case, Rainbow endsheets Jacket designer Sonia Shannon Jacket printer Sheridan Books MA Wow! The level of effort and care that went into designing this book is exceptional. It’s surprising to see Futura used to this extent in a book that is actually meant to be read, not just looked at. The designer (and typesetter) completely pulled it off; the text is very readable. From the cover to the case materials, title pages, copyright page, contents, and on through the entire book, the designer created a total experience that is really impressive. With so much attempted, so many things could have gone awry, but there is nary a stumble. A+ for both ambition and execution. STS I will use this book to show printing students enamored with hot metal Futura a way to work with the not-so-hot digital versions.

Trade Typographic

TRADE ILLUSTRATED

UNIVERSITY OF ARKANSAS PRESS

Art for a New Understanding: Native Voices, 1950s to Now Mindy N. Besaw, Candice Hopkins, and Manuela Well-Off-Man Designer Erik Kiesewetter / constance Production Liz Lester Acquiring editor David Scott Cunningham Project editor Molly Rector Trim size 81/2 × 10 inches Number of pages 224 Number of copies 1,500 Compositor Erik Kiesewetter / constance Text type Duplicate Ionic 9/13.5 Display type Suisse Int’l Paper 80# Lynx Opaque Smooth White Inks 4-color process Printer/binder Friesens Method of binding Smyth sewn with 3/4 height jacket Method of printing Offset Binding materials Brillianta 4197 over 120 pt boards, matte black foil Jacket designer Erik Kiesewetter/ constance Jacket printer Friesens MA Great use of space on the page. Restrained typography that doesn’t feel tepid. The graphic motif is successfully used throughout the book with enough variation that it doesn’t become tiresome. STS Lively, clearly organized pages with a vibrant palette that has texture and depth printed on matte paper. The weaving motif used throughout is dynamic—almost animated. The comfortable-to-hold trim size contributes to the many satisfactions of this book.

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UNIVERSITY OF CHICAGO PRESS

Art in Chicago: A History from the Fire to Now Maggie Taft and Robert Cozzolino Designer M Wright Production Jill Shimabukuro Acquiring editor Susan Bielstein Project editor Joel Score Trim size 91/2 × 11 inches Number of pages 440 Number of copies 8,000 Compositor M Wright Text type 8.8/14.8 Musee (DSType) × 33p Display type Multiple fonts Paper 128 gsm Chinese matte coated Inks 4-color process Printer/binder C&C Offset Method of binding Smyth sewn Method of printing Offset Binding materials 2-piece lithocase with foil stamp on front and spine Jacket designer M Wright Jacket printer C&C Offset Design comment Part of the Terra Foundation for American Art’s yearlong Art Design Chicago initiative, this book is considered the standard account of Chicago art from the Great Fire in 1871 to the present. MA Impressive handling of many different elements. Wonderful opening sequence in the front matter. STS The chapter openings feature a series of bold decorative display types. I was drawn to the extended dash between the years in the chapter headings—it seemed to signal the significant range and extent of art in Chicago.

Trade Illustrated

INTRODUCTION M A G G I E TA F T AND ROBERT COZZOLINO

CHAPTER 3

THE MEANING OF PLACE 1933–1956

MAK I NG S PAC E , 1961 – 1976

M A G G I E TA F T CHAPTER 1

CHICAGO RISING

Contestation and Collectivity In the summer of 1967, as the Picasso and the Wall of Respect were being prepared for unveiling, other events were afoot in the world of Chicago arts. Given the riots and pro-

s i de ba r s

test happening around the country, there was every expectation that the city would have a

William McBride, Art Collector / Maggie Taft / 101

“hot summer” — that is, a very violent one. Acknowledging frustrations, the Chicago Daily Defender created a campaign urging, “Keep a Cool Summer.”

Hyde Park Art Center mission statement / 112

1855–1912

One of the programs the Defender highlighted was On the Beach, a multidisciplinary,

The Great Ideas of Western Man /

WENDY GREENHOUSE

open-air arts festival held at the 63rd Street beach house on the shores of Lake Michigan.37

Lara Allison / 118

Phil Cohran, one of the founders of the Association for the Advancement of Creative Musi-

The Taller de Gráfica Popular /

s i de ba r s

Bebop Artist Gertrude Abercrombie /

moment, coinciding as it did with the creation and unveiling of the Wall of Respect. Cohran’s

Finding Alice / Thomas McCormick / 25

Donna Seaman / 130

Artistic Heritage Ensemble played at the dedication of the Wall too, and Gwendolyn Brooks

cians (AACM) was the festival’s music director. The event galvanized black consciousness in Chicago: large crowds came, not only receiving culture but experiencing one another,

Victoria Sancho Lobis / 122

recognizing themselves as a culturally alive collective body. It was a particularly intense

mentions Cohran in her poem about the mural. In her description, his work is a synthesis of

Hull-House Arts / Heather Radke / 35

nature and culture:

Field Trips / Tony Jones / 38

CHAPTER 4

“Art for the Masses” / Wendy Greenhouse / 45

RAW NERVES

Phil Cohran gives us messages and music made of developed bone and polished and honed cult. It is the Hour of tribe and of vibration, the day-long Hour. It is the Hour

1948–1973

CHAPTER 2

ROUTES TO MODERNISM

of ringing, rouse, of ferment-festival.

ROBERT COZZOLINO

Diverging somewhat from the AACM’s focus on playing original compositions that emphasized individual creative freedom, Cohran emphasized the didactic role music could play

13 5

(“messages and music”) in conveying black history and culture. The Affro-Arts Theater developed in this direction following the experience of On the Beach. Cohran identified a possible location to enable the festival to continue once colder weather set in: the former Oakland

s i de ba r s

1913–1943

Chicago Experimental Music, Part I /

JENNIFER JANE MARSHALL

John Corbett / 142

Square Theater at 3947 South Drexel Boulevard, in the heart of Bronzeville. A few months after the unveiling of the Wall of Respect, in November 1967, he began renovations in earnest.38 With community donations of cash, materials, and sweat equity, and Cohran’s personal commitment, a run-down old movie palace would become the Affro-Arts Theater. (“Af”

Vivian Maier / Pamela Bannos / 154

was for Africa and “fro” meant “from.”)39 As he reshaped the space, Cohran hoped to create

Hef and LeRoy / Travis Vogan / 163

s i de ba r s

something more than just an entertainment venue. On the model of the programming that had occurred at On the Beach, he and his collaborators planned workshops and classes as well

The Fate of Regional Exhibitions /

as performances. In the spring of 1968, he hosted a speech by Stokely Carmichael and began

Studs Terkel / 171

The Lane Tech Murals / Sylvia Rhor / 61

having trouble with the police. The building had been operated as a movie theater until a few months before he opened, but suddenly there were issues with codes and permits. He was told

Small Wonders / Erin Hogan / 67

he could not sell tickets, so he offered free admission. “So we operated that Friday night,” as

Little Rooms / Liesl Olson / 72

Cohran told it, “and then Saturday morning . . . the policeman came in with his hand on his gun. And he said ‘You’re going to have to close, now.’ So that was the theater closed.” He posted

The Better Homes Institute / Erin Hogan / 90

a notice on the marquee: “We are closed by deceit.”40 Meanwhile, at Columbia College, the president, Mirron Alexandroff, planned a conference called “The Arts and the Inner City.” Held May 12–15, little more than a month after the assas-

5.7 Barbara Jones-Hogu, Be Your Brother’s Keeper, 1968.

Silkscreen, 25 × 26 ¼ in.

sination of Martin Luther King Jr. and the West Side uprising that followed, the conference

202

203

CHAPTER 1

Chicago life means a hurlyburly-skurry for money. When one has time to think of art it is time to take a train to New York and the steamer for a trip abroad to “hunt for blossoms in other fields.” “Studio Life as It Is,” Chicago Tribune, January 19, 1890

CHICAGO R ISING 1855–1912 WENDY GREENHOUSE

When in 1892 Lucy Monroe surveyed “art in Chicago” for the New England Magazine, she devoted much of her account to the holdings of Chicago collectors — and by extension to the fledgling Art Institute of Chicago.1 Monroe listed significant artists who had worked in the city in the past, ruefully noting that many had since departed. It was in terms of the evolution of elite taste, however, that Monroe measured the progress of art in Chicago. She capped her account with a description of the Art Institute’s grand new building and an acknowledgment of the internationally famous — that is, nonresident — sculptors whose works would soon grace the World’s Columbian Exposition. Her hopes that Chicago would attain a position of “eminence” in art were based, that is, on evidence of its participation in the international art world, not on the vitality of local art production. For Monroe, the art of Chicago was almost peripheral to “art in Chicago.” The creative tension between the two was a defining theme of Chicago’s art life in its early decades. The struggles of Chicago artists for recognition and patronage reflected the city’s

In fact, the artistic sense has always existed among us surreptitiously.

insecurity about the worthiness of homegrown production measured against a venerated external tradition that put the young boomtown at a signal disadvantage. Chicago was perennially torn between pride in its own and eagerness for acceptance. Fleetingly, around the turn of the twentieth century, local boosters entertained the illusion of congruence between the conflicting goals of belonging and leading: for the moment, Chicago seemed destined — by virtue of its vitality, wealth, and native authenticity — to become the capital of a national art expression that appeared finally to be coming into its own. But the role of anxious ingénue

Elia W. Peattie, “The Artistic Side of Chicago,”

arriving late to the feast would persist as a feature of the city’s cultural self-identity for decades

Atlantic Monthly, December 1899

to come, even when this self-deprecating perception was at odds with actual achievement.2 This attitude explains much of the continuing neglect of the early history of fine art in a city whose architectural, literary, and musical legacies are internationally renowned.3 Another cause is the unavoidable fact that this history, at least as documented in surviving records and the artworks themselves, is almost entirely a story of elite taste and values; of practitioners and patrons who, with a few important exceptions, shared conditions of social and racial if not economic privilege; and of artists for whom success was measured in terms of marketability rather than modern values of individual self-expression. This is, to a great extent, a story of cultural conformity as peculiarly expressive of Chicago.

UNIVERSITY OF CHICAGO PRESS

Chicago by the Book: 101 Publications That Shaped the City and Its Image The Caxton Club

Design comment A rewarding collaboration with the Caxton Club of Chicago, an institution dedicated to the literary study and promotion of the book arts, this book profiles 101 landmark publications that have helped define Chicago and its image. The range of selections required a framework that comfortably paired with a variety of design styles. In keeping with the Chicago theme, the book’s primary typefaces are by Chicago type designer Jackson Cavanaugh of Okay Type. MA Great contrast and range in the typography. Every detail exquisitely handled. STS This stellar design draws on historically symbolic iconography from the Chicago city flag and two typefaces by a Chicago foundry, Okay Type. Although it honors the traditions celebrated by the city’s Caxton Club bibliophiles, it also feels fresh. I had a hard time putting this book down.

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✦✦✦✦✦✦✦ ✦✦✦✦✦✦ ✦✦✦✦✦✦✦ ✦✦✦✦✦✦ ✦✦✦✦✦✦✦ ✦✦✦✦✦✦ ✦✦✦✦✦✦✦ ✦✦✦✦✦✦ ✦✦✦✦✦✦✦ ✦✦✦✦✦✦ ✦✦✦✦✦✦✦ ✦✦✦✦✦✦ ✦✦✦✦✦✦✦ ✦✦✦✦✦✦ ✦✦✦✦✦✦✦ ✦✦✦✦✦✦ ✦✦✦✦✦✦✦ ✦✦✦✦✦✦ ✦✦✦✦✦✦✦ ✦✦✦✦✦✦ ✦✦✦✦✦✦✦ ✦✦✦✦✦✦ ✦✦✦✦✦✦✦ ✦✦✦✦✦✦

 k

i i i i i i i i

CHICAGO ✶

BY THE BOOK

✶

101 PUBLICATIONS THAT SHAPED THE CITY AND ITS IMAGE THE CAXTON CLU B

⎧ ⎨ ⎩

Designer Jill Shimabukuro Production Joan Davies Acquiring editor Timothy Mennel Project editor Ruth Goring Trim size 81/2 × 91/2 inches Number of pages 276 Number of copies 4,000 Compositor Jill Shimabukuro Text type 9.2/13.5 Harriet Regular × 26p4 (Okay Type) Display type Alright Sans (Okay Type), Elephant (Matthew Carter) Paper 128 gsm Chinese matte white coated Inks 4-color process Printer/binder C&C Offset Method of binding Smyth sewn Method of printing Offset Jacket designer Jill Shimabukuro Jacket printer C&C Offset

✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶ ✶

ChiCago by the book

✶

101 Publications ThaT Shaped The CiT y and iTS image THE CAXTON CLU B

⎧ ⎨ ⎩ Introduction by Neil Harris The UniverSiTy of ChiCago preSS ChiCago and London

62 Native Son riChard W righT, aU Thor of unClE

m A r sh A l l e V er et t,

Lond on: harper & BroTherS

History of Chicago from the Earliest Period to the Present Time, 1884–86

The Chap-Book, 1894–98

The Great Chicago Theater Disaster, 1904

pUBLiSherS , 19 40

A l f r ed t. A n dr e A s ,

her bert s. ston e , P a u l F . g e h l / 50

k a t h l e e n n e i l s C o n z e n / 36

Contents

Entries

Preface and

xiv

Narrative of the Massacre at Chicago, 1844

ol msted, VAu x & Co ., Report Accompanying the Plan for Laying Out the South Park, 1871

Listing Chicago

a n n D u r k i n k e a t i n g / 16

v i C t o r i a P o s t r a n n e y / 26

Acknowledgments,

J u liet te A. K in zie ,

by Neil Harris, 2

A . J. VA A s , “Zouave Cadets Quickstep,” 1860

edWA r d P. roe , Barriers Burned Away, 1872

a l i s o n h i n D e r l i t e r / 18

n e i l h a r r i s / 28

JA mes W. she A h A n , Chicago Illustrated 1830–1866, 1866–67

roebuCK , Catalogues, 1872–1985,

D a v i D B u i s s e r e t / 20

r u s s e l l l e w i s / 30

Joh n m. W ing ,

The Great Chicago Lake Tunnel, 1867

The Lakeside Annual Directory of the City of Chicago, 1875–1917 r i C k F i z D a l e / 32

C a r l s m i t h / 22

Joh n s. W r igh t,

Chicago: Past, Present, Future, 1868 e r i C s l a u t e r / 24

John P. A ltgel d , Reasons for Pardoning Fielden, Neebe and Schwab, 1893

Fergus’ Historical Series Relating to Chicago and Illinois, 1876–1903 r u s s e l l l e w i s / 34

n e i l h a r r i s / 64

rossit er Johnson , A History of the World’s Columbian Exposition, 1897–98 n e i l h a r r i s / 52

r o n g r o s s m a n / 38

hen ry b. f u l l er , The Cliff-Dwellers: A Novel, 1893

Rand, McNally & Co.’s Bird’s-Eye Views and Guide to Chicago, 1893

J u l i a B a C h r a C h / 66

C h a r l e s F a n n i n g / 54

idA b. W el ls ,

The Reason Why the Colored American Is Not in the World’s Columbian Exposition, 1893 t o n i P r e C k w i n k l e / 44

m i C h a e l P . w a k e F o r D / 56

t heodor e dr eise r ,

Sister Carrie, 1900 e l l i o t t J . g o r n / 58

f r A n K nor r is ,

The Epic of the Wheat: The Pit, 1903 t i m o t h y s P e a r s / 60

m a r t i n e . m a r t y / 48

The Jungle, 1906

george P. u P ton ,

Musical Memories: My Recollections of Celebrities of the Half Century 1850–1900, 1908

“Brrrrrrriiiiiiiiiiiiiiiiiiinng.” An abrasive alarm clock awakens the Thomas family to their “dark and silent” piece of inhumanity. The family is cramped into a small corner of Chicago’s overcrowded South Side black community. Confined to a one-room kitchenette apartment, the two sons search for a place to avert their eyes as mother and sister quickly dress. Then a foot-long rat fills up any space that may be left for modesty, and the family jumps into action. The older son, Bigger, stands toe to toe with the rat, both baring their teeth as the only logical response to being cornered with nowhere to hide. Driven by fear, the rat emits a “long thin song of defiance” before Bigger kills it with a skillet. The boys regard the carcass of their formidable adversary with “awed admiration.”1 Trapped and terrified and therefore dangerous and defiant, Bigger is that rat. And so opens Richard Wright’s Native Son. In this master-

C e l i a h i l l i a r D / 70

29 dA n iel h. bu r n h A m A n d edWA r d h.

l e o n F i n k / 46

W il li A m t. ste A d , If Christ Came to Chicago!, 1894

u P ton sinCl A ir , D o m i n i C a . P a C y g a / 68

Joh n de W e y , The School and Society, 1899

W illi A m h. C A rWA r din e , The Pullman Strike, 1894

Davarian L. Baldwin

dW igh t he A l d Per K ins,

Mr. Dooley in Peace and War, 1898

f in l e y Pet er du n n e ,

k e n n e t h n e B e n z a h l / 42

26 Report of the Special Park Commission on the Subject of a Metropolitan Park System, 1905

a l i C e s C h r e y e r / 40

mon tg omery WA r d A n d se A r s,

1894–2003

tom’s ChildrEn ✶ ne W yorK and

The Lakeside Classics, 1903–present

k i m C o v e n t r y / 62

ben n et t , Plan of Chicago, 1909 C a r l s m i t h / 72

JA n e A ddA ms ,

Twenty Years at Hull-House, with Autobiographical Notes, 1910 r i m a l u n i n s C h u l t z / 74

f r A n K l loy d W r igh t, Ausgeführte Bauten und Entwürfe, 1910–11

{ 138 }

D a v i D v a n z a n t e n / 76

97 Jimmy Corrigan: The Smartest Kid on Earth ChriS Ware ✶ ne W yorK : panTheon BooK S, 20 0 0

Hillary Chute

faCing On this page of Jimmy Corrigan, Jimmy’s father (as a child) and grandfather visit the 1893 Chicago World’s Columbian Exposition; they climb to an observation platform overlooking outsized classical-style sculptures. One depicts a mother proudly extending her baby toward the heavens. A few minutes later Jimmy’s grandfather will walk away, disappearing from his son’s life forever.

{ 208 }

Chris Ware, arguably the most important cartoonist writing and drawing today, has a great line he told me about the United States: if New York is the brains of the country and Los Angeles is its asshole, then Chicago is its heart. Born in Omaha in 1967, Franklin Christenson “Chris” Ware moved to Chicago in 1991 to attend graduate school at the School of the Art Institute, and he never left. Set mainly in Chicago, Jimmy Corrigan: The Smartest Boy on Earth began as a weekly comic strip in Newcity and was published as a 380-page book in 2000. It traces filial sadness across four generations of Corrigan men; eschewing chronology, it interweaves the nineteenth century with the 1980s. Jimmy Corrigan has two main plotlines—both featuring lonely characters named James, or “Jimmy,” Corrigan—that eventually intersect. One is an eight-yearold boy living with a cold, unsympathetic single father on Chicago’s South Side in the early 1890s. We encounter the other in late-twentieth-century Chicago, first as a child—a guileless Superman fan with a single mother—and then as an isolated thirty-six-year-old office employee. The two Jimmys are grandfather and grandson, each dramatically abandoned by his father. The intensity of the response to the book—in both publishing and finearts contexts—demonstrates Ware’s success in harnessing the unique properties of comics to mimic processes of remembering, dreaming, and imagining.1 Different typefaces—from neat script within panels to stylized block letters framed as taglines in colorful blue and red boxes (“Later,” “Anyway,” “Suddenly”)—give readers access to characters’ interiority and a sense of the complete control of the storyteller as a visual artist orchestrating every detail. Each panel exists in meaningful relation to others on the page, not only building the story but also creating a stunning graphic whole. Ware uses color as patterning to great effect, helping readers to see the page as a complete composition, an aesthetic unit. Throughout Jimmy Corrigan, Chicago is visualized in Ware’s stylish, masterfully precise lines and swaths of subtle hues. The city comes to life through detailed topographies, with buildings both prosaic and grand: ordinary residences, businesses, schools, parks—and the magnificent display of Chicago’s 1893 World’s Columbian Exposition, which is a central plot point and presence in the book. The defining—and most crushing—moment of Jimmy Corrigan is when Jimmy Corrigan is abandoned by his father atop the Manufactures and Liberal Arts Building at the 1893 Exposition. With decisive lines, Ware drew the outsized building in intricate architectural detail, inside and out. “I followed him like a loyal animal right up to the edge of the largest building in the world,” tiny black cursive explains, floating in the sky above father and

son, who stand looking out from the top of the building.2 The weight and yet the ephemerality of this big fairground building capture the inexplicable, affective contradictions of family ties.3 Ware’s work confronts the interrelation of past and present; it is about the arbitrary and difficult process of sifting through the past, and how memories intertwine and collide. We see this in his Building Stories (2012), also set in Chicago, whose stories readers must themselves “build” by piecing together fourteen different unordered print elements, contained in an 11 × 17 inch box. If in Jimmy Corrigan Chicago buildings are so lovingly rendered as to feel like characters, in Building Stories they actually speak, narrating their occupants’ lives, tallying every orgasm, broken bone, birth, replaced radiator. In his meticulous attention to Chicago’s spaces and spirit in the spatially sitespecific medium of comics, whether in turn-of-the-century neighborhoods, fairgrounds, or contemporary skyscrapers, Ware’s work presents a Chicago attuned to the past yet full of possibility. { 209 }

THE MIT PRESS

The Jean Freeman Gallery Does Not Exist Christopher Howard Designer Marge Encomienda Production Jim Mitchell Acquiring editor Roger Conover Manuscript editor Matthew Abbate Trim size 51/2 × 81/2 inches Number of pages 416 Number of copies 2,000 Compositor Marge Encomienda Text type 9.75/13.75 New Century Schoolbook Display type Trade Gothic Paper 70# offset white Inks 4-color process Printer/binder Versa Press Method of binding Smyth sewn Method of printing Offset Binding materials Preprinted Jacket designer Marge Encomienda Jacket printer Versa Press Design comment The cover image is of a fictitious avatar of a gallery that did not exist. She appeared in much of the fake marketing collateral and remained an enigmatic mystery. The cover is kept intentionally spare, allowing her gaze to be the focal point. The interior emulates the style of ads and press releases used to create the conceptual illusion. MA The design, both spare and blocky, feels perfect for this book. STS Using Trade Gothic and Century Schoolbook on uncoated paper, the interior of this book is an allusive typographic flashback referencing the fake press releases and ads for a 1970s art gallery that didn’t exist. The irony inherent in this design is timely.

Trade Illustrated

THE MIT PRESS

Slab City: Dispatches from the Last Free Place Charlie Hailey and Donovan Wylie Designer Emily Gutheinz Production Jim Mitchell Acquiring editor Roger Conover Project editor Matthew Abbate Trim size 7 × 9 inches Number of pages 192 Number of copies 2,000 Compositor Emily Gutheinz Text type 9.75/14 Arnhem Pro × 25p Display type Vinyl Paper 80# Garda Silk white Inks 4-color process Printer/binder Friesens Method of binding Smyth sewn Method of printing Offset Binding materials 120 pt. exposed board, printed case panel Jacket designer Emily Gutheinz Jacket printer Friesens Design comment Slab City and its contradictions are explored in this collaborative book. Both text and images are given equal weight. There is even a fold-out map, allowing readers to explore on their own. The simple exposed board cover, meant to mimic a block of concrete, contrasts nicely with the colorful photographs and bright orange type. STS The exposed board binding suggests the concrete slabs that underlie the Slab City squatters’ community. The design references elements of field notebooks, including a handy map pocket on the inside back cover. Text and image are superbly balanced, and the overall presentation respects the scale and circumstances of the community.

Trade Illustrated

MUSEUM OF MODERN ART

Adrian Piper: A Synthesis of Intuitions, 1965–2016 Christophe Cherix, Connie Butler, and David Platzker Designers Adam Michaels and Siiri Tännler, IN-FO.CO Production Hannah Kim Acquiring editor Christopher Hudson Project editor Emily Hall Trim size 91/2 × 12 inches Number of pages 352 Text type Media77, Alternate Gothic, Atlas Grotesk Paper 150 gsm Magno Matt Printer/binder Graphius Method of binding Smyth sewn Method of printing Offset Jacket designers Adam Michaels and Siiri Tännler, IN-FO.CO Jacket printer Graphius MA The bold—almost severe—display typography works well with the size of the book.

Trade Illustrated

MUSEUM OF MODERN ART

Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980 Martino Stierli and Vladimir Kulić Designers Bruno Margreth and Martina Brassel Production Matthew Pimm Acquiring editor Christopher Hudson Project editor Stephanie Emerson Trim size 91/2 × 12 inches Number of pages 184 Text type Times New Roman Seven MT Paper 150 gsm Magno Satin, 130 gsm Schleipen Fly Printer/binder Gorenjski Tisk Storitve Method of binding Smyth sewn Method of printing Offset Jacket designers Bruno Margreth and Martina Brassel Jacket printer Gorenjski Tisk Storitve MA The illustrations are treated wonderfully. Times New Roman Seven set at this size and leading does seem like an aesthetic choice that comes at the expense of the reader. STS A captivating forty-eight-page series of photographs of concrete architecture opens the book. I appreciate the use of coated and uncoated stock to signal varying content. The tightly leaded, large-point-size Times New Roman Seven paragraphs could be seen as a metaphor for concrete. This is a book that grew on me.

Trade Illustrated

UNIVERSITY OF TEXAS PRESS

Dawoud Bey: Seeing Deeply Dawoud Bey Designer Derek George Production Dustin Kilgore Acquiring editor David Hamrick Project editor Robert Kimzey Trim size 11 × 12 inches Number of pages 400 Number of copies 5,000 Compositor Derek George Text type National 2 by Klim Type Display type National 2 Paper 150 gsm Magno Volume matte Inks 4-color process Printer/binder Cantz Method of binding Smyth sewn, flat back Method of printing Offset Binding materials 150 gsm Tauro Offset uncoated endsheets, Brillianta black cloth over 3.5 mm boards Jacket designer Derek George Jacket printer Cantz MA A fantastic photo book. The landscape images that run across the spread are so carefully placed that the disruption from the gutter is minimized.

Trade Illustrated

UNIVERSITY OF TEXAS PRESS

The Street Philosophy of Garry Winogrand Geoff Dyer Designer Erin Mayes/EmDash Design Production Dustin Kilgore Acquiring editor David Hamrick Project editor Robert Kimzey Trim size 10 × 12 inches Number of pages 400 Number of copies 6,500 Compositor Erin Mayes Text type Century Expanded BT Display type Knockout Paper 150 gsm Magno Volume matte Inks 6/6c, 4-color plus Pantones 179C and 405C Printer/binder Cantz Method of binding Smyth sewn, flat back Method of printing Offset Binding materials 150 gsm Tauro Offset uncoated endsheets, Halflinnen cloth over 3.5 mm boards Jacket designer Erin Mayes/EmDash Design Jacket printer Cantz MA An unusual challenge for the designer, where most of the images in this photo book are paired with about half a page of text. Expertly handled.

Trade Illustrated

YALE UNIVERSITY PRESS AND PULITZER ARTS FOUNDATION

Lola Álvarez Bravo: Picturing Mexico Stephanie Weissberg and Karen Cordero Reiman Designer Ryan Polich, Lucia | Marquand Production Leah Finger Acquiring editor Amy Canonico Project editor Donna Wingate Trim size 81/2 × 101/4 inches Number of pages 96 Number of copies 3,500 Compositor Maggie Lee Text type 9.375/14 Bw Nista International, Branding with Type, 320pt measure Display type Bw Nista Grotesk Paper 200 gsm Chinese OJI matte art Inks 4-color process Printer/binder Artron Art Group Method of binding Smyth sewn Method of printing Offset Binding materials Bodoniana binding, clothbound case with 4-color tip-on, square-backed spine, head-and-tail bands, colored signature thread Jacket designer Ryan Polich Jacket printer Artron Art Group Design comment A primary goal of this book (and the accompanying exhibition) was to bring Lola Álvarez Bravo out from under the shadow of her husband, whose photographic work has received far more attention. As a result, materials were carefully chosen to create a serious, sumptuous, and confidently minimalist presentation as befit the quality of the work within. MA I appreciate the consideration of the materials and colors but would have liked to see a little more contrast between the text and the display type. STS A sumptuous binding from the tactile dark gray cloth-over-boards case to the surprise of yellow thread. The trim size suits the intimate scale of this photographer’s work. The text type is well composed, though the uniform sans serif font feels far from the world of the photos.

Trade Illustrated

YALE UNIVERSITY PRESS

On Color David Scott Kastan with Stephen Farthing Designer Sonia Shannon Production Aldo Cupo Acquiring editor Jennifer Banks Project editor Jeffrey Schier Trim size 6 × 73/4 inches Number of pages 272 Number of copies 7,000 Compositor Tseng Information Systems, Inc. Text type 11/16 Fournier × 25p6 Display type Fournier Paper Woodfree, Stock Info “UPM” Inks 4-color process Printer/binder World Print Method of binding Smyth sewn Method of printing Offset Binding materials Wibalin 588 Blue/Buckram, house foil 244 Jacket designer Sonia Shannon Jacket printer World Print STS The way into this book is brightly lit by the colorful jacket flaps and endsheets, which make for a smooth transition from the cover. The interior use of color is comparatively spare, yet wisely so—it would have been easy to get carried away. I particularly admire the layout of the contents page, and the Fournier italic in the epigraphs, running heads, and captions is lovely.

Trade Illustrated

YALE UNIVERSITY PRESS

Serious Play: Design in Midcentury America Monica Obniski and Darrin Alfred Designer Jena Sher Production Mary Mayer Acquiring editor Katherine Boller Project editor Heidi Downey Trim size 91/2 × 11 inches, portrait Number of pages 256 Number of copies 4,500 Compositor Jena Sher Text type Galaxie Polaris Book 8.85/15.275 Display type Champion HTF Middleweight Paper 140 gsm Gold East matt Inks 4-color process Printer/binder 1010 Printing International Method of binding Smyth sewn Method of printing Offset Binding materials JHT cloth Jacket designer Jena Sher Jacket printer 1010 Printing International MA The element of play was introduced without pushing it too far. STS The colorful chapter guides at the fore edge are helpful when reading and inviting when the book is closed. The composition is a fine example of a smooth rag on flush left, ragged right paragraphs—one with only a smattering of hyphens. The lightweight font used for extracts was difficult to read.

Trade Illustrated

AND

UNIVERSITY OF ALBERTA PRESS

Magnetic North: Sea Voyage to Svalbard Jenna Butler Designer Alan Brownoff Production Alan Brownoff Acquiring editor Peter Midgely Project editor Mary Lou Roy Trim size 51/4 × 9 inches Number of pages 120 Number of copies 500 Compositor Alan Brownoff Text type 9/15 Freight text Display type Freight italic Paper 55# Enviro natural Inks Black Printer/binder Houghton Boston Printers Method of binding Perfect Method of printing Offset Binding materials 1/2 ml matte lamination Jacket designer Alan Brownoff Jacket printer Houghton Boston Printers MA The tall proportions of the book are elegant. I wish the design for the cover had not been reused for the title page. STS The exaggerated horizontal crop of the voyage photos offers glimpses that are visual matches to the short pieces of poetic travelogue that follow. It’s a very appealing presentation—I wanted to be part of the journey.

Poetry and Literature

REFERENCE

LOUISIANA STATE UNIVERSITY PRESS

New Orleans: The Underground Guide, 4th Edition Michael Patrick Welch Designer Barbara Neely Bourgoyne Production Barbara Neely Bourgoyne Acquiring editor Jennifer Keegan Project editor Catherine L. Kadair Trim size 5 × 81/2 inches Number of pages 280 Number of copies 2,500 Compositor Barbara Neely Bourgoyne Text type 9.5/13.2 Ingeborg × 22p Display type DubTone, Helvetica Neue, Clarendon BT Bold Paper 55# Natures Natural, 360 ppi Inks Black Printer/binder Sheridan Books Method of binding Smyth sewn, perfect Method of printing Offset Jacket designer Barbara Neely Bourgoyne Jacket printer Sheridan Books MA The tone of the design is appropriate to the subject matter. The complex material is capably handled, resulting in a book that is easy both to navigate/browse and to read.

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Reference

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UNIVERSITY OF CHICAGO PRESS

The Human Condition, 2d Edition Hannah Arendt Designer Drohan DiSanto Art director Jill Shimabukuro Illustrator Drohan DiSanto Production coordinator Sierra Wilson Typefaces Gotham (Hoefler and Company), Miller Display (Carter and Cone) Paper 10 pt C1S Inks 4-color process Coating Scuff-resistant matte layflat laminate Printer/binder Phoenix Color Method of printing Digital NC Nice typographic choices, and I enjoy the abstract illustration paired with the title. NK Great visualization of the human condition and its paradoxes.

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Jackets and Covers

COLUMBIA UNIVERSITY PRESS

Penis Envy and Other Bad Feelings: The Emotional Costs of Everyday Life Mari Ruti Designer Julia Kushnirsky Art director Julia Kushnirsky Illustrator Image © Geoff Spear Production coordinator Jennifer Jerome Typefaces Eloquent JF Pro by Jukebox, ITC Caslon Paper 100# C1S enamel Inks 4-color process Coating Matte Printer/binder Sheridan Books Method of printing Offset

Design comment A playful title called for a playful image and font. NC A lot of fun for a weighty topic. Which makes me want to pick it up. Also a clever concept, and the type is so joyful next to the quiet subtitle. Feels like a conversation is happening here. NK From type to image, this cover is so fun all around.

Jackets and Covers

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UNIVERSITY OF IOWA PRESS

Buddhism for Western Children Kirstin Allio Designer TG Design Illustrator Solar Lady/Shutterstock.com Production coordinator Karen Copp Typefaces Futura (Linotype) Paper 10 pt C1S cover stock Inks 4-color process Coating Nylon matte film lamination Printer/binder Versa Press Method of printing Offset NC An attractive palette and dynamic layout— plus I love the movement created by the type manipulation and the subtle transparency of the letterforms. Well balanced and very pretty. NK The poetic balance between the type and the illustrations guides you through the cover.

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Jackets and Covers

JOHNS HOPKINS UNIVERSITY PRESS

Reductive Reading: A Syntax of Victorian Moralizing Sarah Allison Designer Kathleen Lynch Art director Martha Sewall Production coordinator Patty Weber Typefaces Gladiate, Fournier Paper 80# C1S Inks 4-color process Coating Matte lamination Printer/binder Maple Press Method of printing Digital

NC The typography has a classic elegance while feeling fresh, and the image hints at an exploration or a going deeper that feels right for the content. NK A unique and appropriate approach to designing a book about Victorian moralizing.

Jackets and Covers

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LOUISIANA STATE UNIVERSITY PRESS

Audubon on Louisiana: Selected Writings of John James Audubon Ben Forkner Designer Michelle A. Neustrom Art director Laura R. Gleason Illustrator Detail of great blue heron from Audubon’s Birds of America Production coordinator Michelle A. Neustrom Typefaces TPTC CW Title Page Condensed, AT Sackers Italian Script, Filosofia (Émigré) Paper 100# enamel Inks 4-color process Coating Matte scuff-free soft touch lamination Printer/binder Sheridan Books Method of printing Offset Design comment The cropping of the heron creates a more personal feel and reflects the style of Audubon’s writings. NC A really elegant design. The typographic decisions are smart, and the design feels refined and well thought out. I also like the image selection and the creative crop that adds color but allows for white space. NK All the typefaces interact nicely here. I love how the illustration wraps around the entire jacket. Feels very considered.

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Jackets and Covers