AUPresses 2022 Book, Jacket, and Journal Show Catalog by AUPresses

2022 Association of University Presses Book, Jacket, and Journal Show

Association of University Presses Book, Jacket, and Journal Show

The 2022 show includes books published by AUPresses member presses in 2021 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 Book, Jacket, and Journal Show is a juried design competition, open only to AUPresses member publishers. Every autumn the call-forentries 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 2022 Book, Jacket, and Journal Show selections were first announced on April 20, 2022 on design. up.hcommons.org. The traveling exhibition will premiere at the AUPresses Annual Meeting in Washington, DC, in June 2022. Afterward, the show will be exhibited at member presses around the country from September 2022 through May 2023.

SincePurpose1965, the Association of University Presses (AUPresses) 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.

2021–2022 Results Judging for this year’s Book, Jacket, and Journal Show took place on January 27–28 at the AUPresses Central Office in New York City. MemberStatisticspresses submitted 488 publications across the following categories: 50 Scholarly Typographic 31 Scholarly Illustrated 34 Trade Typographic 31 Trade Illustrated 13 Poetry and Literature 3 Journals 7 Reference 322 Jackets and Covers The jurors selected 91 publications across the following categories: 9 Scholarly Typographic 13 Scholarly Illustrated 10 Trade Typographic 12 Trade Illustrated 3 Poetry and Literature 0 Journals 4 Reference 40 Jackets and Covers Charge to the Jurors To select approximately fifty publications (representative of the book and journal categories on the entry form) and thirty book jackets, covers, and journal covers 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 design and creative solutions to short-run Topublicationswritegeneral comments about the show for inclusion in the book show catalog To participate in the 2022 AUPresses Annual Meeting

Contents 8 Jurors 13 Scholarly Typographic 33 Scholarly Illustrated 61 Trade Typographic 83 Trade Illustrated 109 Poetry and Literature 117 Reference 127 Jackets and Covers 169 Index 175 Acknowledgments

Having worked as a book designer for twenty-two-plus years, I so appreciated the skill with which my fellow designers handled complex interiors, masterfully selected and combined type, and juggled the challenges—many completely out of their hands. Large workloads, paper shortages, unpredictable digital printing results—to name a few obstacles—yielded stunning innovative solutions in impressive numbers. More than 50! We welcomed new presses and new creative designers as well as several veterans who turned out beautiful designs with confident hands once again. Thank you AUPresses for shining a light on designers and their designs.

Statement Judging the Book, Jacket, and Journal show was an unexpected pleasure for me. I didn’t realize how much I would enjoy sitting for two days, paging through the fine efforts of my partners in crime. Never have I had the opportunity before to contemplate book design in this way. It was gratifying.

Lisa LisaBooksHammandJournalsHammisnowan independent designer. After twenty-two years and hundreds of books, she recently retired from her job as senior designer for Columbia University Press. Her work has been acknowledged by the New York Book Show and AUPresses Book, Jacket, and Journal Show. Before CUP, Lisa worked at Adobe as a senior graphic artist, but her roots are in fine art. Her goal going forward is to meld all her skills in a more personal way.

Stephen co-founded the websites Typographica (an annual review of new typefaces) and Fonts In Use (a crowdsourced index of typographic design) and wrote the book The Anatomy of Type In 2017, he joined the nonprofit library and museum Letterform Archive as Associate Curator and Editorial Director. With his background in design and journalism, combined with an obsession for type history, Stephen is responsible for the online face and voice of the Archive and helps to shape the future of the collection.

Statement As a university press outsider, I enjoyed discovering the diversity of design that academic publishing can offer. We saw dozens of books representing the kind of competent and restrained approaches that I (perhaps unfairly) associate with the field. But we also saw many new ideas and bold choices. I was especially pleased to discover designers who find ways to break free from traditional typography—not just to call attention to themselves, but to enlighten the content, or simply to delight the reader. Weeks after judging I remember Jenny Chan’s atypical paper and typeface choices that subtly reflect the subject matter of Conchophilia. And I still think about Jill Shimabukuro’s expert handling of Lines of Thought; in which she managed to make a complex topic both understandable and enjoyable. As an advocate for typographic diversity I welcomed those who broke free of the usual Renaissance classics and Adobe/Linotype standbys and dipped into the deep well of new type made by new designers for new books. Thank you, Roy Brooks, for thinking beyond Futura for mid-century modernism; Matt Avery for picking Arnhem, Atlas, and Graphik and setting them with such care; Matthew Tauch for putting the underused Portrait and Canela to work on an important topic, and Erin Kirk for seeing the whimsy in Windsor.

Stephen Coles Books and Journals Stephen Coles (he/him) was raised in Salt Lake City where he was drawn to publishing by his father, who ran a local magazine, and was hooked on fonts the moment his family got a Mac. In college, he learned about type (and life) as a designer at his university newspaper, The Daily Utah Chronicle. After a brief stint as a freelancer in Stockholm, Stephen moved to San Francisco in 2004 to serve as FontShop’s creative director and a member of FontFont’s TypeBoard which evaluated submissions and developed the pioneering library of digital type. He was also an independent consultant, connecting font makers with font users and advocating for the interests of both groups.

Lucy JacketsKimand Covers Lucy Kim is an Art Director at Little, Brown & Co, a division of Hachette Book Group North America. In her 20+ year career designing book covers she has also worked for the Penguin Group, Simon & Schuster, and the Macmillan Group. Her work has been recognized by the New York Book Show and featured in Lit Hub, Buzzfeed, and Spine Magazine. She currently resides in New York City where she was born and raised.

Statement I don’t think I can convey what an honor it was to be asked to be a judge for this year’s book jacket show without acknowledging the context of how challenging the past two years of the pandemic have been for most of us. As we shifted to working remotely, we had to become even more resourceful in how we go about the work of putting books out into the world, and the fact that university presses tend to have even more limited budgets and resources than commercial ones made it all the more satisfying to see the amazing variety and quality of work in the submissions this year.

It felt almost surreal to me when I headed to midtown Manhattan in January to the AUPresses offices for the judging as well as meeting this year’s chair, Barbara Bourgoyne, in addition to the other judges and staff in person. It had been so long since I’d interacted with professional peers face-to-face, and it turned out to be a wonderful two days of discussion and camaraderie. The experience reinforced how much I missed “talking shop” with my fellow designers, and it made me excited for the day when we could all return to offices and social gatherings again. As Tim and I methodically went through all of the submissions over the course of the two days, we found ourselves in agreement for pretty much all of our evaluations, despite our different backgrounds and experiences—Tim, with his outstanding work in branding and at Faceout Studio, and me with my background solely in commercial book publishing. It’s always difficult to determine what constitutes “award-winning” work, but I believe all the covers we selected were the most successful at communicating their ideas to an audience in truly beautiful ways. I’m grateful to have been a part of this year’s competition and I want to thank everyone at AUPresses for making this process such an enjoyable one. But most importantly I’d like to thank all the university press designers who submitted entries, whether they were in the final selection or not. One of the best things about designing book covers, I believe, is that your hard work is always rewarded with the production of this magical object—a book.

Statement When I told some of my non-designer friends that I would be judging a book cover competition, no less than 5 of them made the same joke about not judging books by their covers. But I was undaunted by such comments and deeply honored and excited to have this opportunity. Then I found out that Lucy Kim would be a fellow jacket judge, and I immediately felt extremely cool by association. My wife and I hopped on a plane and soon found ourselves in a hotel with a view of the Empire State Building. So far so good. Everything in New York is famous. From Times Square to Shake Shack—everything is noteworthy. I was especially surprised by the number of Canada Goose jackets I saw on the subway. I was not familiar with these jackets prior to the trip, and when I searched them out online to see what the big deal is, I did a double take at the price. Must be a golden goose filling those down jackets. The first morning of judging, I was feeling a bit nervous. I didn’t have a Canada Goose jacket and I wasn’t sure how the other judges would respond to my Oregonian ways and “dad core” style. But I was pleased to discover that everybody was extremely cool—just a bunch of design nerds like me. Next, we set about the task of judging.

Tim JacketsGreenand Covers Tim Green is Creative Director at Faceout Studio. His work has been recognized by Graphis Design Annual, AIGA 50 Books 50 Covers, and the New York Book Show. When he is not at his desk designing, he is most likely to be found at home, with his lovely wife and 3 children. If he’s not with them, it’s a safe bet you’ll find him at a coffee shop, probably designing something.

Lucy and I entered a room full of books, with caffeine in our veins and design on our brains. We quickly settled into a rhythm and began sorting books into “yes,” “no,” and “maybe” piles. We were quite kind at first, with a pretty sizable “maybe” pile taking shape. We would make the tougher calls after first going through all the books with a quick evaluation. The process was very smooth, and I was glad to find that Lucy and I agreed on most of the selections. We returned the second day to go through the selections once more and sort out the maybe pile into either “yes” or “no”. This was more difficult, but even with the tough calls we faced, we were largely in agreement. It was a lot of fun to see the variety of excellent work on display, and to talk through our thoughts openly. We ended the day with a strong set of books to honor for this year’s Myshow.congratulations to the winners and to everybody who submitted work! And my sincere thanks to the AUPresses committee for the chance to be involved with this year’s competition. It was a great honor, as I have followed the jacket and journal show for many years, and I continue to be impressed by the quality of design on display across the spectrum of university presses. To my fellow judges, I still think we should get matching tattoos. Or at least some matching Canada Goose jackets.

Scholarly Typographic

The choice of the fonts Sentinel and New Rail Alphabet in typography also contributes to this. Every larger paragraph in the book is indented, which creates a blank space, that is a reference to the empty seats on the cover of the book. The content of the book depicts the problem that an increasingly large number of children are absent from schools. The cool green colour of the cover recurs in the body matter too and is used both in the graphic design of illustrations and graphs, as well as in the text itself. Likewise, the red colour appears in the empty chairs on the cover as well as in text passages throughout the book.

Empty chairs in the classroom are both a theme in the book and a framework for the design. The intent for this title was to create a book that was simultaneously pleasant to hold and easy to read. Visually stimulating graphs and figures are used to make the subject of the book easy to understand and perceive.

SC An excellent use of color, both in typography and paper. And it’s nice to see a rare use of a slab among all the oldstyle serifs in academic publishing. The designer acheived their goal of a pleasant reading experience. LH Thoughtful design.

14 Scholarly Typographic Aarhus University Press Fra fravær til fællesskab: Hvad kan skolen gøre? Gro Emmertsen Lund Designer Nethe Ellinge Nielsen Production Coordinator Cecilie Harrits Acquiring Editor Cecilie Harrits Project Editor Cecilie Harrits Trim Size 14 × 21 cm Number of Pages 204 Print Run Compositor1,200Nethe Ellinge Nielsen Text Type Sentinel (Hoefler&Co.), New Rail Alphabet Display(A2-TYPE)Type Sentinel, New Rail Alphabet Paper 100 g Munken Lynx Inks Printer/BinderLED-UV Narayana Press Method of Printing Offset Method of Binding Burst binding Binding Materials Softcover book, 4 creases with page glue. Coating 4+4 colors with neutral overprint varnish. Jacket/Cover Designer Nethe Ellinge Nielsen Jacket/Cover Printer Narayana Press Designer Comments

16 Scholarly Typographic Aarhus University Press Marsilius af Padua: Middelalderens revolutionære filosof Claus DesignerBryldCarl-H.K. Zakrisson Production Coordinator Ulrik Hvilshøj Acquiring Editor Ulrik Hvilshøj Project Editor Søren Hein Rasmussen Trim Size 12.2 × 20 cm Number of Pages 208 Print Run Compositor600Carl-H.K. Zakrisson Text Type Arno Pro (Adobe) Display Type Arno Pro (Adobe) Paper 120 g Munken Pure Inks Printer/BinderLED-UV Narayana Press Method of Printing Offset Method of Binding Smyth sewn Binding Materials Full binding 2 mm board with round spine and head/tailband dark red 589. Black text embossing on front and back and blind embossing with adhesive small posters, 150 g Silk, FSC. Separate endpapers 135 g Surbalin Linea ruby red 5080. Jacket/Cover Designer Carl-H.K. Zakrisson Jacket/Cover Printer Narayana Press Designer Comments With a format of just 12.2 × 20.0 cm, this is a small hardcover book about a big subject. Set in Arno, a font designed after Renaissance typographic ideals and proportions; named after the Tuscan river that cuts through Florence, it corresponds directly—both geographically and temporally—with the life of the author, Marsilius of Padua. Another contemporary influence, Aldus Manutius, Italian humanist, scholar, educator, and the founder of the Aldine Press also plays a part: The inventor of compact, portable printed volumes to be taken with you and enjoyed at leisure (eg., in a pocket or saddlebag), the format of this book is likewise kept small, compact, and durable. An intimate subject, Defensor Pacis, in an intimate format. SC The typography is spot on and the images are masterfully treated—whether full-bleed or silhouetted. The Aldine pocket book experience is marred only by the tight, hardcover binding. Perhaps a flexi or softcover would do more justice to the form.

18 Scholarly Typographic Duke University Press African DesignerCajetanEcomediaIhekaAimee C. Harrison Production Coordinator Chris Granville Acquiring Editor Elizabeth Ault Project Editor Susan Albury Trim Size 6 × 9 Number of Pages 336 Print Run 550 pb / 40 litho Compositor Tseng Information Systems Text Type Portrait Text (Berton Hasbe/Commercial DisplayType) Type Bluu Next (Jean-Baptiste Morizot/ Velvetyne Type Foundry) Paper 70 lb house white matte, 739 ppi Inks 4-color Printer/BinderprocessPorter Print Group Method of Printing Offset Method of Binding Perfect Binding Materials 10pt C2S 4/4CP / printed litho for Jacket/Covercase Designer Aimee C. Harrison Jacket/Cover Printer Porter Print Group SC The idiosyncratic type in curved blocks is a great way to nudge the reader that we’re headed away from traditional, Eurocentric content.

Scholarly Typographic 19

Scholarly Typographic 21

22 Scholarly Typographic Duke University Press Nervous Systems: Art, Systems, and Politics since the 1960s Johanna Gosse and Timothy Stott Designer Courtney Leigh Richardson Production Coordinator Chris Critelli Acquiring Editor Elizabeth Ault Project Editor Lisl Hampton Trim Size 6 × 9 Number of Pages 304 Print Run 475 pb / 35 hb Compositor Westchester Text Type 10.2/13.8 Minion Pro (Adobe) × 25p9 Display Type Helvetica Paper 50 lb natural Inks Printer/BinderBlack Sheridan Books Method of Printing Offset Method of Binding Perfect Binding Materials 12pt C1S / printed litho for case Jacket/Cover Designer Courtney Leigh Richardson Jacket/Cover Printer John P. Pow Company Designer Comments Love a good sturdy Helvetica/ Minion combo! SC Solid, refined typography throughout, (with the odd exception of a few captions that are too tightly tracked). LH Nicely designed. Wish there was less paper see-through.

24 Scholarly Typographic Leuven University Press Congoville: Contemporary Artists Tracing Colonial Tracks Edited by Pieter Boons Designer La Villa Hermosa Production Coordinator Patricia Di Costanzo Acquiring Editor Veerle De Laet Project Editor Sandrine Colard Trim Size 195 × 295 mm Number of Pages 272 Print Run Compositor1,000La Villa Hermosa Text Type EB Garamond Display Type Numberplate Paper 90 gr Munken Lynx Rough / 115 gr Arctic Volume White / 80 gr Olin Regular Absolute White Inks LED-UV full color Printer/Binder Die Keure Method of Printing Offset Method of Binding Smyth sewn Binding Materials Hardback, linen with foil stamp on front and spine, printed back Jacket/Cover Designer La Villa Hermosa Jacket/Cover Printer Die Keure, Printing and Binding SC Sections are set apart in novel ways, such as varying page trim, adding a background frame, or going white type on black. Unfortunately, the type isn’t its best at the smallest sizes and presents readability issues in the reversed settings. Still, this is such an innovative package it deserves special mention. LH Overall, very nicely done. Solid typography. Interesting touch binding two page trims together. The smaller trim is carried through by carving out that size on the larger sheet using black margins to define the shape. Great paper.

26 Scholarly Typographic Louisiana State University Press Charting the Plantation Landscape from Natchez to New Orleans Edited by Laura Kilcer VanHuss Designer Barbara Neely Bourgoyne Production Coordinator Barbara Neely Bourgoyne Acquiring Editor Jenny Keegan Project Editor Catherine L. Kadair Trim Size 6 × 9 Number of Pages 256 Print Run Compositor750Barbara Neely Bourgoyne Text Type 10.4/14 Garamond Premier Pro (Adobe) × 25p Display Type Garamond Premier Pro (Adobe) Paper 55 lb Natures Natural, 360 ppi Inks Printer/BinderBlack Sheridan Books Method of Printing Offset Method of Binding Smyth sewn Binding Materials 80 lb Rainbow Graphite with Buckram Jacket/CoverembossingDesigner Barbara Neely Bourgoyne Jacket/Cover Printer Sheridan Books LH Solid handling of type. Nicely designed. Charting the PlantationLandscape om Natchez to New Orleans Edited by Laura Kilcer VanHuss

Edited by Laura Kilcer VanHuss State University Press Baton Rouge of Emancipation 131 of Emancipation A ican American Liberation William Horne

Landscapes

Contents 1 Introduction 14 Construction and Construct: Architecture of the Louisiana Plantation Laura Ewen Blokker 49 The Plantation Landscape: Spectres of an Unseen Imprint Suzanne Turner 79 Severed Heads to Statehouse: The Political Landscape of the Sugar Coast Charles D. Chamberlain III 97 Plantations as Landscapes of Medicine Christopher D. E. Willoughby 130 Landscapes of Emancipation: Plantations and African American WilliamLiberationHorne 157 After Persac: Imagining the Plantation Landscape from the Civil War to the Great Depression Jochen Wierich 191 The Rise and Fall of Uncle Sam Plantation Christopher Morris 223 Epilogue 229 Contributors 233 Index Cane for the Mill, by George François Mugnier, Courtesy of the Collections of the Louisiana State Museum, 09813.0807.1. Charting the PlantationLandscape om Natchez to New Orleans

On March 24, 1900, Raymond Breaux, editor of the St. Landry Clarion, reprinted an article from the East Feliciana Columbian. e Columbian article invited its readers, “us Democrats, the white people, to pause and glance backward at some of the scenes enacted under the Republican regime.” e essayist cautioned that “it is still within the memory of man when John Gair, a negro, was our state senator; when Bob Ray, a negro, was in the state legislature as member from East Feliciana . . . with Tony Clark, a negro clerk of court.” “Magistrates and constables were negroes,” the Columbian complained, and threatened to be so again if readers voted Republican. e writer celebrated the impossibility of this outcome. “No more will it be necessary for the white men to break up a court of justice,” he wrote, “and drive judge, sheri and all from the land.” Even a quarter of a century later, the tenure of Gair, Ray, and Clark in o ce troubled the minds of white supremacists in East Feliciana. e memory of these Black o ceholders, whose race was their primary shortcoming, apparently motivated white voters decades a er they drove them from the parish under the threat of death. e experiences of John Gair, Robert Ray, and Tony Clark point to the need to understand the political landscape that emerged during and a er Reconstruction, a landscape de ned by its occupants’ common goal of freedom and shared strategy of active political mobilization. e Columbian’s discomfort with the men was not simply an expression of loyalty to their own race but a reaction to the fact that these men and hundreds of other local African American o ceholders challenged the superiority of their former enslavers. Tony Clark had almost certainly been owned by East Feliciana Parish planter Benjamin F. Clark, while local carpenter James Gair had probably enslaved John Gair. eir trajectory from enslaved workers to postwar politicians grew from a web of kinship alliances founded in slavery. e relationships they formed in slavery had provided support and, in the wake of emancipation, formed the basis of African American political organizations. As a result, postwar plantations were not simply sites of labor but also provided the backdrop for grassroots organizing and resistance. From this perspective, postwar plantations were highly contested spaces—at once fetishized by former slaveowners who hoped to regain their antebellum elite status and weaponized by their formerly enslaved workers to throw o the yoke of oppression. is essay examines the landscape of political activity through which African Americans articulated a radical rejection of the established political topography. Together, they transformed the postwar plantation landscape and destroyed the e orts of former enslavers to resurrect slavery. The Antebellum Plantation Landscape Louisiana’s antebellum plantation labor camps were sites of brutal exploitation. Many of those who worked Louisiana’s plantations were victims of the so-called Second Middle Passage—the domestic slave trade through which enslavers in long-established slave states, especially Virginia, Maryland, and Delaware, sold Black men, women, and children into the Deep South. Some were also descended from Africans who were in St. Domingue during the Haitian Revolution. ese forced migrants were the backbone of Louisiana’s plantation landscape. ey built its levees, cleared and tilled its elds, harvested its crops, and loaded its steamers. eir bodies were far and away the most valuable assets in the region and it was through them that plantation owners secured their wealth. e proximity of New Orleans—the vortex of the antebellum slave trade—also meant that slaves lived in constant fear of losing friends and family to sale, either as punishment or as a consequence of plantation mismanagement. Both were common enough to warrant concern. Even under “normal” circumstances, slavery was brutal and dehumanizing. Men, women, and children were forced to work in the planter’s home, blacksmith shops, cooperages, barns, and sugar and cotton elds. Field slaves primarily labored in gangs and William Horne Landscapes of Emancipation

130

Plantations and

148 149

Like his comrades, Gair left the parish in July 1875 and had been unable to return due to the threats on his life. In October, he was living in Baton Rouge with little prospect of returning to office. Based on contemporary newspaper accounts, it appears that the white elites whom Gair had governed hoped to use their newfound control of the sheriff’s office and the courts to kidnap and kill him. They arrested his sister-in-law, Babe Matthews, on suspicion of attempting to poison local white supremacist physician Dr. J. W. Saunders. Saunders never showed any sign of illness. He claimed, however, that he suspected Matthews was trying to poison him, thus “uncovering” the supposed plot. Matthews al legedly confessed that Gair had conspired with her in the rumored poisoning— of which there was no contemporary evidence—and the local court issued a warrant for Gair’s arrest. We cannot know whether she actually confessed or not because Matthews would never have the opportunity to contradict their story. By the end of the night of October 13, masked white supremacists, in apparent league with local officials, lynched her from the oak tree on the front lawn of the courthouse (fig. 2). The Weekly Louisianan theorized that white supremacists had murdered Matthews to cover up the fraudulent basis of their assassination of Gair. Though the likely conspirators left no record in which they described their plot and confessed to the crime, the circumstantial evi dence supports the Louisianan’s theory. Matthews was almost certainly killed because of her relationship with Gair.42 John Gair’s story ended the same night as that of his sister-in-law. He was arrested in Baton Rouge by Deputy Sheriff Woodard under the authority of the warrant based on Matthews’s alleged testimony. As the Republican put it, “Mr. Gair was arrested as an accessory before the fact to an alleged attempt to poison a man who now lives and moves as free as the freest.”43 He was shot to death on the way back to Clinton to stand trial for the trumped-up poisoning charge. He was still in the custody of the deputy sheriff, who claimed Gair was murdered by between sixty and seventy masked vigilantes. As with Matthews’s poisoning “confession,” we have only Woodard’s word that he acted in good faith. These were, however, the very same people that purged the parish of Black officeholders on the premise that, in the words of the local conservative press, “the black man has proved his incapability to hold office.” We may take them at their word, but we do so at our own peril. Indeed, the accounts of the white elites of East Feliciana are credible only if we view their actions in isolation and ignore both the interrelationship and context of their program of destruction in the summer and fall of 1875. They organized around the total destruction of Black democracy in the parish. This was precisely what they said in the press and exactly what they accomplished.45 Testifying years after the official end of Reconstruction, George Andrew Jackson Swazie, state senator from neighboring West Feliciana Parish, identified two key components of the coup that ousted Gair and so many other demo cratically elected politicians of color. The first was the rabid white supremacy of plantation elites and the second was their alliance with white northerners. Swazie observed that “the moment any of these United States soldiers came up there, he was taken to the house of white men like you, and his hair was plaited, and whatever the [white] people wanted to do he turned his back on it.” Because of their friendliness with former enslavers, Swazie theorized, “the negro stood no chance with them.” This understanding between white northerners and planters, though hardly universal, laid the groundwork for the wave of white vigilantism that “commenced when John G[ai]r was killed, and never ceased until the State was in the hands of the Democratic party.” “It Figure 2. The East Feliciana Parish Court House, by Andrew David Lytle, 1899. This is the courthouse where white vigilantes lynched Babe Matthews. Andrew D. Lytle Collection, Mss. 893, 1254, Louisiana and Lower Mississippi Valley Collection, LSU Libraries, Baton Rouge, LA.

Louisiana

30 Scholarly Typographic University of Georgia Press Stargazing in the Atomic Age: Essays Anne DesignerGoldmanErin Kirk Production Coordinator Rebecca Norton Acquiring Editor Walter Biggins Project Editor Jon Davies Trim Size 6 × 9 Number of Pages 160 Print Run Compositor1,000Erin Kirk Text Type 10.15 Minion Pro (Adobe) × 26p9 Display Type Twentieth Century (Monotype) Paper 60 lb Natures Natural Inks Printer/BinderBlack Sheridan Books Method of Printing Offset Method of Binding Perfect Binding Materials Printed case over 3mm case boards, square back with reinforced spine, and 4-color printed Jacket/Coverendsheets Designer Erin Kirk Jacket/Cover Printer Sheridan Books Designer Comments I carried the Mandelbrot fractal imagery from the cover through to the text design to connect to the book’s focus on Jewish scientists and artists.

Scholarly Illustrated

34 Scholarly i llu ST raT ed University of Chicago Press The City Creative: The Rise of Urban Placemaking in Contemporary America Michael H. Carriere and David Schalliol Designer Monograph / Matt Avery Production Coordinator Joan Davies Acquiring Editor Timothy Mennel Project Editor Michael Koplow Trim Size 8.5 × 9 Number of Pages 336 Print Run Compositor810Monograph / Matt Avery Text Type Atlas Grotesk (Commercial Type) Display Type Dala Floda (Commercial Type) Paper 128 gsm Chinese matte white coated Inks 4-color Printer/BinderprocessC&C Offset Method of Printing Offset Method of Binding Smyth sewn Binding Materials Faimei FM-P06 Gold; Endpapers: 1-color Pantone 639 uncoated blue; Spine foil: Foiland GB-730 Silver; Head/Footbands: GF131 red and gold Jacket/CovercheckerDesigner Monograph / Matt Avery Jacket/Cover Printer C&C Offset Designer Comments This book includes photo essays and sections of the book where the photos are on par with the text in terms of importance. These aspects made this book design an enjoyable challenge. SC Beautifully produced all around, especially the generous treatment of the imagery. On type: Atlas is one of the few neo-grotesks that functions well in body text, and it’s easy to fall in love with Dala Floda, but the dazzling stencil typeface doesn’t quite resolve in the small heads. I would have tried for a typeface (like Ariata or Nocturno) that has both a stencil and standard version.

The CityTheRise of Urban Placemaking in AmericaContemporary CreativeMichaelhcarriere&DaviDSchalliol

The University of Chicago Press, Ltd., London 2021 by The University of Chicago All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations Chicago Press, 1427 E. 60th St., Chicago, IL 60637. Published 2021 Printed in China ISBN-13: 978-0-226- (cloth) ISBN-13: 978-0-226-72736- (e-book) DOI: Title:Names:Libraryhttps://doi.org/10.7208/chicago/9780226727363.001.0001ofCongressCataloging-Carriere,MichaelH.,author.Schalliol,David,author.Thecitycreativetheriseofurbanplacemakingcontemporary

If could do it, I’d do no writing at all here. It would be photographs; the rest would be fragments of cloth, bits of cotton, lumps of earth, records of speech, pieces of wood and iron, phials of odors, plates of food and of excrement. James Agee (1941) ing create and sustain public spaces that build strong communities.” The early twenty-first century found PPS employing the concept of creative placemaking as per haps the best mechanism with which to rebuild America’s urban centers. For PPS, placemaking was “a collabora tive process by which we can shape our public realm in order to maximize shared value.” While paying attention to the traditional world of city planning, placemaking is “more than just promoting better urban design.”

Contents

The demolition of a former Back of the Yards brewery. Damiane Nickles of Closed Loop Farms describes the food raised at The Plant.

The University of Chicago Press Chicago and London Introduct I on A Brief History of the Recent Past

America Description: Chicago London The University of Chicago Press, 2021. Includes bibliographical references and index. Identifiers: LCCN 2020013473 ISBN 9780226727226 (cloth) ISBN 9780226727363 (ebook) Subjects: LCSH: City planning— History—21st century. City planning— History—20th century. Community development, Urban—United States. City planning—Citizen participation. Urban renewal— Citizen participation. Public spaces—Social aspects—United States. Classification: LCC HT167 .C37 2021 DDC 307.1/21609730905—dc23 LC record available at https://lccn.loc.gov/2020013473 This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper). Introduction: A Brief History of the Recent Past The (Near) Death and Life of Postwar American Cities: The Roots of Contemporary Placemaking 29 The Roaring ’90s 57 3 Into the Twenty-First Century 83 4 Growing Place: Toward Counterhistory of Contemporary Placemaking 113 Producing Place 155 6 Creating Place 197 Conclusion: Placemaking Is for People 265 Acknowledgments 283 Notes 285 Index 305 Producing Place165the Great American Cheese Collection, Bike a Bee (which produces honey products), the ice cream–maker Sacred Serve, the Whiner Beer Company, and Rumi Spice. There is little doubt that such companies are evidence of the site’s commitment to cultivating a hyperlocal food econ omy. Yet the example of Rumi Spice shows the potential global reach of the site. Rumi was founded in 2011 by the army veterans Emily Miller and Kimberly Jung, who, motivated by their tours of duty in Afghanistan, sought to provide an economic opportunity for Afghan farm ers to grow something other than poppies. It now works with over thirty farms—which employ approximately four hundred women—to bring the raw materials needed to create spices such as saffron from Afghanistan to the UnitedWhatStates.14isperhaps most innovative about The Plant, however, is that it developed nearly in tandem with a nonprofit organization called Plant Chicago. Plant Chi cago was created in 2011 and came to serve as the stew ard of the building, whether internal or external relations were involved. And, while Edel initially wanted it to focus on research connected to The Plant’s vision of a circular economy, current Plant Chicago education and outreach manager Kassandra Hinrichsen notes that the nonprofit

Instead, it “facilitates creative patterns of use, paying particular at tention to the physical, cultural, and social identities that define place and support its ongoing evolution.” And Detroit proved an appealing laboratory for such ideas, with Gilbert a more-than-willing partner. In fact, he would speak at PPS’s inaugural Placemaking Leadership Coun cil, held in Detroit in April 2013. Not surprisingly, his topic was the ability of placemaking to transform his city. Kent would work with Gilbert and others on “Opportu nity Detroit: A Placemaking Vision for Downtown Detroit,” a report issued in the spring of 2013. This report called for a “culture change” in city planning, one based on the core belief that an “intense focus on the public realm will trans form streets, sidewalks, promenades and buildings so that they relate to pedestrians on a human scale.” Rather than focusing on economic activity, it stressed the need to grow social activity—all sorts of development, includ ing economic, would soon follow. “The downtown core,” it noted, “will become all about activity on the streets, sidewalks, parks and plazas that draw more and more people.” The ultimate goal was to create spaces of “so ciability.” “When people see friends, meet and greet their neighbors, and feel comfortable interacting with strang ers,” the report concluded, “they tend to feel a stronger sense of place or attachment to their community—and to the place that fosters these types of social activities.” In the aftermath of this report, Gilbert became the city’s chief placemaker-in-residence. He placed whimsical fur niture in front of buildings and created a bike rental pro gram for his workers. He strung festive lights along Wood ward Avenue and gave food trucks and street performers Previous spread Detroit’s Belle Isle on the day the city declared bankruptcy, July 18, 2013. In August 2010, Quicken Loans founder Dan Gilbert moved the headquarters of his company—and its seven teen hundred employees—from the suburbs of Detroit to the city’s troubled downtown. At the time, the move stunned many observers as Detroit was still reeling from the effects of the Great Recession and the bankruptcies of Chrysler and General Motors. At the same time, Gilbert’s Bedrock Real Estate Services went on a buying spree, gobbling up countless historic buildings, empty skyscrap ers, and myriad other properties throughout the city. In December 2017, Crain’s Detroit Business forecasted that Bedrock would have over twenty-four million square feet under development by 2022, at an estimated value of ap proximately $4 billion. This level of investment in an American urban center was noteworthy in and of itself. Yet what was even more stunning was the way Gilbert began to use such invest ment as a means of redefining what it meant to live and work in downtown Detroit. The real estate, in other words, was just the first step in a broader process of reinvent ing urban living in a city still carving out its place in the twenty-first century. Still suffering from the aftershocks of deindustrialization, white flight, and more, Detroit’s rebranding would not come easy, particularly when—as would come back to haunt Gilbert—many of the neighbor hoods hit hardest would have to wait. But Gilbert had help. By early 2013, he was in close contact with Fred Kent, who in 1975 founded the New York–based Project for Public Spaces (PPS), nonprofit organization that declares itself to be “dedicated to help Facing Dmytro Szylak’s Hamtramck Disneyland. Above Kingsessing Morris Men dance at the Philadelphia Magic Gardens.

36 Scholarly i llu ST raT ed University of Chicago Press DesignerDavidIconoclasmFreedbergMonograph / Matt Avery Production Coordinator Joan Davies Acquiring Editor Susan Bielstein Project Editor Jenni Fry Trim Size 7 × 10 Number of Pages 360 Print Run Compositor1,500Monograph / Matt Avery Text Type Arnhem (Type By), Atlas Grotesk (Commercial Type) Display Type Graphik (Commercial Type) Paper 70 lb Opus white, 526 ppi Inks Printer/BinderBlack Friesens Method of Printing Offset Method of Binding Smyth sewn Binding Materials Brillianta 4070 (red); dusted foil; headbands: gray; endpapers: printed 1-side Pantone Warm Gray Jacket/Cover8UDesigner Monograph / Matt Avery Jacket/Cover Printer Friesens Designer Comments On the cover and title page “Iconoclasm” is broken to suggest the breakage/ defacement of images. Using a two-piece lithocase allowed us to do the foil stamping while staying within the budget. SC Beautifully typeset, with thoughtful image placement and caption treatment. I only wish there were more images given the subject matter, but I assume that wasn’t up to the designer. LH Well designed, strong display; love the handling of the chapter titles and the part opener numbers. Nice sized column width. Even color to the typeset page.

The University of Chicago Press Chicago and London Antwerp, Mosul, and Palmyra

Theology and T he Produc T ion of

Two important historical events should be mentioned first: the Antwerp iconoclasm of 1566 and the so called silent iconoclasm of 1584. The wave of iconoclasm that swept the Low Countries in 1566 (in Antwerp on August 21–22 of the same year), although long studied by historians,2 had been totally neglected by art historians until fairly recently. Much was destroyed, but some works of art were saved. Catholic services were soon restored. Artistic reputations—and in particular that of Maarten de Vos were made on the basis of altarpieces, or parts of altarpieces, commissioned to replace those that had been lost in the iconoclasm. Im mediately after the uprising a number of theological writers sprang to the defense of images, seeking to eliminate abuses in order to counter at least some of the Protestant criticism of image worship. The Council of Trent’s recommendation three years earlier of ecclesiastical supervision of images was used to the same end by these writers. The second event is the more peaceful iconoclasm (the “stille Beel destorm”) that took place in Antwerp in 1581, when the recently elected

31. Ambrosius Francken, The Charity and Martyr dom of Saints Cosmas and Damian two panels, each 237 × 89 cm. Antwerp, Koninklijk Museum voor Schone Kunsten.

Contents Preface ix Antwerp, Mosul, and Palmyra: Theology and the Production of Violence II Iconoclasm: The Material and Virtual Body 17 III Art and Iconoclasm, 1525–1580: The Case of the Northern Netherlands 51 IV The Representation of Martyrdom during the Early Counter-Reformation in Antwerp 95 V The Structure of Byzantine and European Iconoclasm 113 VI Iconoclasts and Their Motives 133 VII Joseph Kosuth and the Play of the Unmentionable 151 VIII From Defamation to Mutilation: Reason of State and Gender Politics in South Africa 179 IX Charlottesville 203 X The Wag in the Tail: Image, Iconoclasm, Art 221 Appendix 1: Damnatio Memoriae: Why Mobs Pull Down Statues 239 Appendix 2: The Power of Wood and Stone 243 Notes 247 Bibliography 301 Index 321 FreedbergDavid

1. Destruction of the Temple of Baalsha min at Palmyra by ISIL Forces in August 2015. Photograph: Dabiq 2. Mass Executions by ISIL Forces at Palmyra in July 2015. Photograph: Dabiq. 94 Chapter t hree IV work that shows the massive and clearly idolatrous image erected by the king of Babylon, while in the background, unmistakably, are the three holy children—Shadrach, Meshach, and Abednego—who were prepared to die for their opposition to the idol that so offensively dominates the scene and is so grossly venerated there. It is hard to imagine how the topical significance of the scene could have gone unnoticed by anyone in the Netherlands in the years covered by this exhibition (and the same subject was also represented in print by Heemskerck). But we are still left with the puzzle of how exactly a work such as this would have been read and for whom it could have been painted. Perhaps it would be as well not to push the possibility of topical reference too far, since the same subject was painted by Aertsen’s son, Pieter Pietersz., for the Haarlem Guild of Bakers—for whom the subject was oddly, indeed perversely, appropriate—in 1575.215 But those were different times. We still know too little about Pieter Aertsen. His work seems to pose in acute form many of the questions suggested in this last section of my discussion. Even if the case of Aertsen fails to provide the answers, no one could deny the extraordinary pertinence of the kinds of issues gener ated in the great debates around him and the cataclysmic events from which he suffered. They are pertinent to our understanding of Dutch history, pertinent to our understanding of Dutch art, and pertinent to the very roots of the way in which we think about all art. In the period between 1525 and 1580 every doubt that had ever been raised about the artistic endeavor was aired and then subjected to the most critical scru tiny imaginable. Every aspect of the validity and the worth of art was raised and raised again; it was debated, discussed, and argued in count less treatises, sermons, and polemics. In the northern Netherlands, just as in the south, these momentous debates coincided with extraordinary social and political pressures to culminate in a brief but fierce assault on images. What resulted, astonishingly, was not resignation and defeat but rather a sustained and extraordinarily imaginative reevaluation of the Dutch artistic tradition. If ever there was a period that testifies most eloquently to commit ment in the face of criticism it is this one. One might have thought that the controversies about images would wither the roots of art or that iconoclasm would remove the evidence of its growth—but that did not happen at all. Not only did art survive; it flourished. It built innovatively on the past and prepared the way for a magnificently inventive future. But it would be wrong to see the period between 1525 and 1580 solely in terms of transition: its achievements stand distinctively on their own.

The Representation of Martyrdom in Antwerp

30. Ambrosius Francken, The Martyrdom of Saints Crispin and Crispinian panel, 271 × 217 cm. Ant werp, Koninklijk Museum voor Schone Kunsten.

PartlyViolencebasedonalecturegiven at the Getty Research Institute on March 1, 2015, and subsequently at the Asia Society, London, on December 16, 2015. If ever the iconoclastic impulse seemed to be out of control, it was in the course of ISIL’s campaign against images in Iraq and Syria between February and September 2015. Beginning with their destruction of the objects in the museum at Mosul and ending with the blowing up of the temples of Bel and Baalshamin in Palmyra (fig. 1), they laid waste to the art and architecture of the entire region. Using the very sites of violence against monuments as backdrops for violence against people, they held public hangings of the guardians of those monuments and staged execu tions such as that of twenty-five captives who were neatly lined up, bound, and ordered to their knees before being shot in front of an invited audi ence in the amphitheater at Palmyra (fig. 2). The next day ISIL blew up the proscenium itself. Though had long argued the need to understand not only why people make images but also why they break them, had not imagined the scale of the calamities that began in late 2014, when the self-proclaimed Is lamic State started accompanying its murderous assaults on people with assaults on images. In the course of its conquests and attempted con quests, it conducted some of the most violent and extensive campaigns of image-breaking ever known. The list of ISIL’s destructions filled one with despair. I had spent most of my adult life studying iconoclasm, but the scale of what ISIL wrought was unparalleled—though not without prec edent. The need to see if any lessons could be drawn from the past—as well as from current science—could not have been more urgent. hope that the studies in these pages may illuminate some of the broader issues at stake in any study of image destruction—if only be cause now, in the age of digitization, when one might have thought that images had become more innocuous (as implied by the many claims that

ISBN-13: 978-0-226-74308-0 ISBN-10: 0-226-74308-X 0 ISBN-10:0-226-74308-X CHICAGO

SC This is one of those you flip through and say, “My goodness, how many years did that take to produce?”

I can’t imagine the effort required to typographically interpret these diagrams, in all their various forms, presumably without an existing templating system to work with. And yet it is all done so deftly, quietly, clearly.

The chapter opening diagrams are a delightful break from a dense topic, and the openness and feel of the book adds to its usability. Chef’s kiss! My favorite of the LHshow.Thoughtfully designed with very well-handled variety of elements: charts, tables, branch diagrams— Careful thought paid to small details.

LINES THOUGHTOF Branching Diagrams and the Medieval Mind

THOUGHTOFLINES EVEN-AYELETEZRA

LINES OF THOUGHT Branching Diagrams and the Medieval Mind We think with objects—we conduct our lives surrounded by external devices that help us recall information, calculate, plan, design, make decisions, articulate ideas, and organize the chaos that fills our heads. Medieval scholars learned to think with their pages in peculiar way: drawing hundreds of tree diagrams. Lines of Thought is the first book to investigate this prevalent but poorly studied notational habit, analyzing the practice from linguistic and cognitive perspectives and studying its application across theology, philoso phy, law, and medicine. These diagrams not only allow a glimpse into the thinking practices of the past but also constitute chapter in the history of how people learned to rely on external devices—from stone to parch ment to slide rules to smartphones—for recording, storing, and processing information. Beautifully illustrated throughout with previously unstudied and unedited diagrams, Lines of Thought is histor ical overview of an important cognitive habit, pro viding a new window into the world of medieval scholars and their patterns of thinking.

AYELET EVEN- EZRA

38 Scholarly i llu ST raT ed University of Chicago Press Lines of Thought: Branching Diagrams and the Medieval Mind Ayelet ProductionDesignerEven-EzraJillShimabukuroCoordinatorJoan Davies Acquiring Editor Karen Merikangas Darling Project Editor Caterina Maclean Trim Size 8.5 × 11 Number of Pages 256 Print Run 1,100 jacketed cloth Compositor Jill Shimabukuro Text Type 11/13.5 Arno Pro SmText (Adobe) × 25p10 Display Type Din Paper 60 lb natural, 420 ppi (text); 80 lb white gloss coated, 566 ppi (insert) Inks Black (text), 4-color process (insert) Printer/Binder Sheridan Books Method of Printing Offset Method of Binding Smyth sewn Binding Materials Arrestox 15200 Vanilla Linen; Rainbow Wedgewood endpapers; Fimband #222 Wedgewood Blue Cotton head/foot bands; GRL S33 Copper Lustrofoilon spine Jacket/Cover Designer Jill Shimabukuro Jacket/Cover Printer John P. Pow Company The University of Chicago Press www.press.uchicago.edu AYELET EVEN-EZRA is a senior lecturer in the History Department at the Hebrew Univer sity of Jerusalem. She is the author of Ecstasy in the Classroom: Trance, Self, and the Academic Profession in Medieval Paris and her articles have appeared in Harvard Theological Review Traditio and the Journal of Ecclesiastical History among many other Forpublications.information on books of related interest or for a catalog of new publications, please visit www.press.uchicago.edu.jacket front Oxford, Balliol College 195, fol. 141v, detail: an inked revision of an erased, draft HT, courtesy of the Master and Fellows of Balliol College, Oxford; detail from Basket and Pyramidals by Greg Dunn. Jill

ShimabukuroIsraelMalovani

“Even-Ezra’s study is an excitingly original contribution to the histo ries of cognitive psychology and in formation design that explores the question of how people were think ing, not just what they thought. Focusing on the logical horizontal tree diagrams that are ubiquitous in the margins of European medieval university manuscripts and early printed books, she demonstrates with much detailed evidence how these diagrams—too often dismissed by historians as mere ‘doodling’ by bored beginners— functioned as a primary means for medieval scholars to visually com prehend their learning. A compel ling example of the Extended Mind Theory now prominent in modern neuropsychology, this book will be of interest not only to medieval his torians, art historians, and scholars of the book, but to anyone with an interest in information design and associative learning practices.” Mary Carruthers New York University “Even-Ezra roots the history of ideas in her probing analysis of habits of reading materialized in the horizontal tree diagrams that fill the margins of medieval university manuscripts. Lines of Thought places the relationship between spati alized patterns of visualization and scholastic thought, famously formulated by Erwin Panofsky, on an entirely new footing. Applying concepts from linguistics and cog nitive science within framework inspired by Extended Mind Theory, the author reconstructs coordinated habits of hand and mind that remain as critical today in literary criticism, cognitive studies, and computational linguistics as they were to medieval theology, philosophy, literature, logic, law, and medicine. A brilliant and utterly original book.” Jeffrey F. Hamburger author of Diagramming Devotion: Berthold of Nuremberg’s Transformation of Hrabanus Maurus’s Poems in Praise of the Cross

Designer Comments

A historical overview of how medieval scholars learned to think with their manuscripts, by drawing tree diagrams. The design challenge was to find a way to eliminate several gatefold inserts that had been planned; the final layout features a larger trim size with generous margins that accommodate the placement of diagrams in the margins and across spreads. A pleasure to work on.

Structures of Concepts Distinctions

Those Who Don’t Know, Those Who Don’t Care: Levels of Execution The manuscripts sampled also differ greatly in level of execution of paradig matic writing and thus demonstrate the deep reach of this practice beyond specialists of fine writing and decoration. The great majority of Porphyrian trees, as well as most squares or hexagons or octagons of oppositions in the surveyed manuscripts were executed by the principal scribe, mostly in a prearranged space inside the column, sometimes in the margins. Almost all the HTs, however, are written in scripts different from that of the original scribe and are marginal. Very few annotators seem to err in the act of arborizing itself, but the few errors betray the very fact that HT diagramming is a practice that had to

While the first split makes sense, instead of dividing the upper category further, the author merged the lines and repeated the content of the upper category and then split it again into two branches that should in fact be one. These converge again to form what should have been the second category of the first split. It is easy to imagine here someone hearing the words “Omnis disputatio aut est ad habitum cognoscendum aut ad habitum generamdum. Si est ad habitum . . .” and continuing to write without understanding that the division of the upper branch is now introduced, rather than new content. The correct way to arborize this content must have been something like figure 2.17, which I found in the margins of another manuscript long after I produced a similar reconstruction.39

Scholarly i llu ST raT ed 39 LINES THOUGHTOF Branching Diagrams and the Medieval Mind AYELET EVEN- EZRA The University of Chicago Press Chicago and London structures of concepts 89 { 3 }

The most popular and probably the earliest subject matter for horizontal tree diagrams (HTs) was distinctiones Distinctiones were concise lists enumerat ing and distinguishing (hence their name) different senses of a concept or a word, different purposes of an action, different causes, and so on.1 They em bodied, therefore, the cognitive procedure of distinction, an essential tool for clarification, articulations, and problem solving in scholastic theological discourse, as well as in philosophical, legal, and medical fields. A classic solution for a problem that involved conflicting authorities, for instance, could be offered by showing that one author intended the first, more general meaning of a certain term, while the other opted for a second. Difficulties and doubts benefited from clear distinction as well. According to a famous story about Thomas Aquinas, while he was still a young and shy student in Albert the Great’s school, he was assigned the role of respondent during a disputation on a difficult issue. He refused out of modesty but being forced to obey, he prepared himself well. On the day of the disputation he responded to the question at stake with arguments and with three-membered, most beautiful distinction, so brilliantly and clearly that one could make no other determination. Friar Albert therefore said: “My son, you should not take the place of respondent but that of the determiner.” Thomas most reverently replied: “Master, cannot see how I could respond otherwise to the question.” “Well,” said Albert, “now solve the question with this distinction,” and presented him with four arguments which were so difficult that he believed Thomas would not be able to solve them. Thomas responded most sufficiently, to the amazement of Albert, who is said to have said, in spirit of prophecy: “We used textual unit, by which one may refer to a place in the text, e.g. 'book 1 distinction 3', as in Peter Lombard's Sentences or Gratian's Decretum. the cognitive procedure of distinguishing one thing or sense from another. Note: 'Distinctio' may refer to the result of such procedure, which may be expressed orally, written in regular lines, or as HT. short units of the type above, distinguishing diverse senses or causes of spiritual senses in biblical theology and preaching. This is a particular case of nr. 3.

Table 2.2 Distribution of Diagrams according to Texts within Middle-Range Manuscripts 263 261 11 170 2 238 242 70 267 5 66 72 180 148 281 698 ARISTOTELES LATINUS NO. 1 4 0 0 8 2 0 7 16 Isagoge 8 3 0 0 0 3 14 0 8 5 Predicamenta 0 0 5 0 0 1 2 0 3 Perihermeneias 0 0 0 3 0 9 3 1 5 2 31 4 4 14 13 11 Topica 0 3 10 3 6 3 13 9 4 0 9 1 6 23 10 17 An. priora 0 0 0 0 5 2 0 8 0 0 4 3 6 7 1 3 2 An. posteriora 1 0 0 1 2 0 0 1 1 0 8 0 4 0 12 12 Elenchi 0 0 0 0 0 0 1 Six Principles 2.15 Expected share of diagrams in texts versus actual share 353025201510 Actual ExpectedShareShare toppostelepripredperiISSIX 10%15%20%25%30%35%5% six isa predperi pri postele top35302520151050 Actual ExpectedShareShare toppostelepripredperiISSIX Actual ExpectedShareShare to know a habit then it is a tentative always true The aim of every disputation is either if it is to know habit if it is to generate a habit, it generates a habit [that is] either or always false, for [...] or to generate a habit disputation or sometimes true and sometimes false to know a habit, and this is a tentative disputation Every disputation is either always true, and this is the demonstrative disputation or to generate a habit, and then it is a habit that is or always false, and this is the sophistic disputation or sometimes true and sometimes false, and this produces faith or opinion, and this is the dialectic disputation 2.16 Vienna, ÖNB 2370, fol. 124v, translation 2.17 Paris, BnF Lat. 6576, fol. 1v, translation

However, these are the exceptions. Most diagrammers were versed in the technique of graphical division. But this habit also had a technical aspect of design: knowing how to plan the space properly and to allocate adequate space for nodes by estimating their number and the length of the words. Elsewhere I have shown in detail that in browsing BAV Vat. Lat. 782, one can follow the scribe’s improvement from one page to the next.40 Yet fine execu (considering the lengths of the texts and the number of manuscripts they appear in). Results appear in figure 2.15. This graph shows that the type of text does indeed influence frequency, but only slightly. The Isagoge Categories and Prior Analytics are annotated two or three times more than expected; the Posterior Analytics, far less than expected. The Sophistici elenchi, Topics, Perihermeneias, and the Six Principles are annotated at around their expected share. This is too small a sample, of course, but together with the table, it strongly suggests that the amount of paradigmatic writing was influenced by the text in question, but to a small degree. Some texts mildly “invited” their annotators to visualize them more than others, whether because they contain more explicit divisions and sub ject matters more easily converted into such trees or simply because they were studied more than others. Note, however, that different texts within one manuscript differ, sometimes considerably, in the number of glosses, whether verbal or diagrammatic, in their margins—a datum I have not taken into account. Thus, it is possible that what we see here reflects differences in the general annotating activity.

Contents Introduction, 3 PART I 1 } The Form: Chronological, Linguistic, and Cognitive Perspectives, 15 1.1 Form: A Chronological Perspective, 16 1.2 Form: A Linguistic Perspective, 25 1.3 Form: A Cognitive Perspective, 36 2 } The Habit: On What, Where, Who, When, and How Often, 50 2.1 Diagramming as a Form of Marginal Annotation, 57 2.2 Parasitic, Embedded, and Tapestry Forms, 75 2.3 Beyond the Classroom, 79 2.4 Conclusion, 81 PART II 3 } Structures of Concepts: Distinctions, 89 3.1 Natural Philosophy, Metaphysics, Ethics, 91 3.2 Biblical Distinctions, 99 3.3 Canon and Civil Law, 109 3.4 Medicine, 114 3.5 Conclusion, 118 4 } Structures of Language, 119 4.1 Verse and Rhyme, 119 4.2 Letter Writing ( Ars Dictaminis ), 129 4.3 Grammar, 135 5 } Structure of Texts, 145 5.1 Orientation and Composition: Theological Questions, 146 5.2 Analysis: Argument, 156 5.3 Analysis: Biblical Narrative, 170 5.4 What HT Diagramming Tells Us about the Scholastic Perception of Texts: Authors as Architects, Texts as Wisely Made Constructions, 180 chapter { 2 } the habit72 73 be learned. Complete misunderstanding is rare, and the two examples I have found do not come from this survey. BAV Pal. Lat. 634 is a rare example of someone who tried to imitate the form of HTs but failed in understanding its principles. This codex of Gregory IX’s Decretales (canon law) contains multiple notes which look like HTs until one actually reads the nodes. These are simple sentences whose parts were divided arbitrarily between nodes according to no paradigm, and the division makes no sense as such. Assisi, BC 298 shows a similar mock HT. While such annotators show complete ignorance of the technique ex cept for its appearance, Vienna, ÖNB 2370, folio 124v, betrays a more acci dental mistake. It has four HTs in the lower margin of Sophistici elenchi 2, 165a38–b9, the third of which attempts to explain what distinguishes the four types of disputatio from each other (figure 2.16).

40 Scholarly i llu ST raT ed Fordham University Press Form and Feeling: The Making of Concretism in Brazil Antonio Sergio Bessa Designer Jonathan Lo Production Coordinator Mark Lerner Acquiring Editor Fredric Nachbaur Project Editor Eric Newman Trim Size 9 × 9 Number of Pages 264 + 8 pg color insert Print Run Compositor1,200Jonathan Lo Text Type 9.5/14 Univers 55 (Adobe) × 32p Display Type Univers Extra Black Paper 80 lb Accent opaque Inks Black (text), 4-color process (insert) Printer/Binder Integrated Books International Method of Printing Digital Method of Binding Perfect Binding Materials Perfect bound paperback, matte lamination with spot gloss UV Jacket/Cover Designer Jonathan Lo Jacket/Cover Printer Integrated Books International SC The wide trim, extra heavy display type, and sansserif text all echo the bold brutalism of the artwork without distracting or making it tough to read

Scholarly i llu ST raT ed 41

42 Scholarly i llu ST raT ed Getty Publications The Metropolis in Latin America, 1830–1930: Cityscapes, Photographs, Debates Idurre Alonso and Maristella Casciato Designer Catherine Lorenz and Jim Drobka Production Coordinator Victoria Gallina Acquiring Editor Michele Ciaccio Project Editor Laura Santiago Trim Size 10.5 × 11 (landscape) Number of Pages 324 Print Run Compositor1,200Tina Henderson Text Type Hoefler Text regular Display Type Epilogue regular Paper 115 gsm Kasadaka white paper Inks 4-color MethodPrinter/BinderprocessArtronofPrintingOffsetMethodofBindingSmyth sewn Binding Materials Paper laminated case; 3mm boards Jacket/Cover Designer Catherine Lorenz and Jim Jacket/CoverDrobka Printer Artron SC Love the Art Deco display type for the title and the way it’s mirrored on cover and interior. The captions— centered with ornaments—are slightly overwrought for me, but at least they offer a break from the expected and further echo the period. LH Nicely done.

44 Scholarly i llu ST raT ed Getty Publications Purity is a Myth: The Materiality of Concrete Art from Argentina, Brazil and Uruguay Zanna Gilbert, Pia Gottschaller, Tom Learner, and Andrew ProductionDesignerPerchukJimDrobkaCoordinator Clare Davis Acquiring Editor Michele Ciaccio Project Editor Mary T. Christian Trim Size 7 × 9 inches Number of Pages 336 Print Run Compositor800Tina Henderson Text Type TT Jenevers Display Type Unit Slab OT Paper 130 gsm Garda Ultramatt Inks 4-color Printer/BinderprocessPrinter Trento s.r.l. Method of Printing Offset Method of Binding Smyth sewn Binding Materials Paperback; 330 gsm Symbol 1-sided Jacket/Coverartboard Designer Jim Drobka Jacket/Cover Printer Printer Trento s.r.l. SC The contemporary typefaces feel out of sync with the modernist subject matter, but this book is expertly set and easy to follow. LH Well-handled art and solid design.

46 Scholarly i llu ST raT ed

to Goya Rena M. ProductionDesignerHoisingtonBradIrelandCoordinator Christina Wiginton Acquiring Editor Emily

Jacket/Cover Printer Verona

Designer

Project Editor Hilary Becker Trim Size 8.25 × 10.25 Number of Pages 288 Print Run Compositor3,150Brad Ireland Text Type 10/14.25 Ideal Sans (Hoefler

National Gallery of Art Aquatint: From Its

LH The quality of the paper and the care in the printing enhance a well-designed book. Origins Zoss & Frere-Jones) Libri, Italy Ireland Libri, Italy Comments

Method of Printing Offset Method of Binding Smyth sewn Binding Materials Printed paper over board Jacket/Cover Designer Brad

Display Type Ideal Sans Paper Munken Polar Inks 4-color process UV Printer/Binder Verona

A single column of text with a nice open measure was used to create a very readable experience of the narrative which is clearly organized into 10 chapters. The history of the medium of Aquatint is demonstrated with many illustrated examples interspersed with lots of close up details to help demonstrate the unique characteristics of the process. A vellum-finished paper was used to create a lush feel while reading and nods to the true nature of the works themselves. UV inks were used to achieve the best quality and detail in the printing on an uncoated paper.

SC A truly elegant experience from the cover to the endpapers to the interior. The sepia tone is so consistent I only wish the color of the title page type was closer to the other elements. (One other niggle: the folios are also uncomfortably close to the bottom edge.) Otherwise, this is a exemplar of how paper, typography, layout, and image can come together as a cohesive whole.

Penn State University Press The Prophetic Quest: The Stained Glass Windows of Jacob Landau, Reform Congregation Keneseth Israel, Elkins Park, Pennsylvania David S. Herrstrom and Andrew D. Scrimgeour Designer Regina Starace Production Coordinator Jennifer Norton Acquiring Editor Kathryn Yahner Project Editor Beverly Michaels Trim Size 8.25 × 11.25 Number of Pages 144 Print Run Compositor1,500Regina Starace Text Type 10/15 Sirba (TypeTogether) × 31p Display Type Scala Sans Pro (FontFont) Paper 157 gsm FSC Chen Ming matte Inks 4-color Printer/BinderprocessAsia Pacific Offset Method of Printing Offset Method of Binding Smyth sewn Binding Materials JHT Cloth Jacket/Cover Designer Regina Starace Jacket/Cover Printer Asia Pacific Offset SC I particularly appreciated the handling of Hebrew text in the index, using a typeface (uncredited) that pairs well with the Latin. It’s a small but important LHconsideration.Nicelydesigned. Beautiful saturated color throughout.

Scholarly i llu ST raT ed 49

SC Brilliant typeface choices—Mazius is a perfect display companion for Jenson and somehow perfectly reflects the curves and angles of a shell. (The all-caps heads in Jenson are too light, unfortunately. I would have used the font’s small caps or a heavier weight.) The irridescent endpapers are a stroke of genius. This book is special.

50 Scholarly i llu ST raT ed Princeton University Press Conchophilia: Shells, Art, and Curiosity in Early Modern Europe Marisa Anne Bass, Anne Goldgar, Hanneke Grootenboer, and Claudia Swan Designer Jenny Chan / Jack Design Production Coordinator Steve Sears Acquiring Editor Michelle Komie Project Editor Lauren Lepow Trim Size 7.5 × 10 Number of Pages 224 Print Run Compositor2,000Jenny Chan / Jack Design Text Type Jenson Pro (Adobe) Display Type Adobe Jenson Pro Paper 130 gsm matte Inks 4-color Printer/BinderprocessD’Auria Printing Method of Printing Offset Method of Binding Smyth sewn Binding Materials 130 gsm matte printed CMYK, matte lamination with spot gloss UV Jacket/Cover Designer Jenny Chan / Jack Design Jacket/Cover Printer D’Auria Printing Designer Comments

“Conchophilia ought to be a word, but it isn’t,” is the first sentence in the introduction. This idea of a unique and bespoke word that perfectly describes the phenomena documented in this book provided an interesting conceptual focal point for our cover design, in which we offset the word “Conchophilia” on a different alignment from the rest of the elements on the cover to highlight its unusual quality. The ornate, high-contrast look of the display typeface, Mazius, has a calligraphic richness that, like the artwork throughout the book, is elaborate, delicate, and lavish in its attention to detail. The section openers focus on the notion of close examination, isolating a specific detail in an artwork whose context is revealed in full on the following pages. For the endpapers, we wanted a simple entry point into this remarkable world with the use of an iridescent image that conveys a sense of the dazzling tones of shells, whose beauty is the starting point for all the artworks discussed in this book.

LH Nicely designed book with very well done reproductions. Unfortunately, it looks like there were printing problems on and off throughout that were not the fault of design.

Scholarly i llu ST raT ed 51

52 Scholarly i llu ST raT ed Princeton University Press Enchantments: Joseph Cornell and American Modernism Marci DesignerKwonJenny Chan / Jack Design Production Coordinator Steve Sears Acquiring Editor Michelle Komie Project Editor Terri O’Prey Trim Size 7.25 × 9.875 Number of Pages 272 Print Run Compositor1,750Jenny Chan / Jack Design Text Type Sentinel Display Type ITC Avant Garde Gothic Paper 130 gsm matte Inks 4-color Printer/BinderprocessConti Tipocolor Method of Printing Offset Method of Binding Smyth sewn Binding Materials 130 gsm matte printed CMYK, gloss lamination with spot matte UV Jacket/Cover Designer Jenny Chan / Jack Design Jacket/Cover Printer Conti Tipocolor Designer Comments We were excited to engage with such a broad range of Joseph Cornell’s work in this project. In particular, his graphic design projects offered a perfect inspiration for overall tone and for typography, with his playful use of type and collage. It was delightful to reference his whimsical use of typographic ornaments, decorative wood type, and exuberant layouts in this design. For the text type, Sentinel evokes a solid mid-century feel and provides a clean context for the eclecticism of the display types, which are intentionally idiosyncratic with the main geometric sans, ITC Avant Garde, influenced by Cornell’s design for a Surrealism catalogue. From the end papers to the color palette— gentle tones punctuated by a deep, rich blue—the idea of “enchantment” permeated all our design decisions. SC I admire the audacity to create chapter openers that typographically reference Cornell’s pieces. Most of them are pitch perfect. Sentinel is a good choice for text, but this weight may be a bit light and sparkly for some readers.

Scholarly i llu ST raT ed 53

54 Scholarly i llu ST raT ed Princeton University Press Mid-Century Modernism and the American Body: Race, Gender, and the Politics of Power in Design Katrina DesignerWilsonRoy Brooks / Fold Four, Inc. Production Coordinator Steve Sears Acquiring Editor Michelle Komie Project Editor Lauren Lepow Trim Size 7 × 9.75 Number of Pages 264 Print Run Compositor2,000Roy Brooks / Fold Four, Inc. Text Type Avenir Display Type Super Grotesk Paper 120 gsm uncoated off-white Inks 4-color Printer/BinderprocessD’Auria Printing Method of Printing Offset Method of Binding Smyth sewn Binding Materials 130 gsm matte printed CMYK, soft touch Jacket/CoverlaminationDesigner Roy Brooks / Fold Four, Inc. Jacket/Cover Printer D’Auria Printing Designer Comments Display and text type are both set in sans serif typefaces that were inspired by the clean lines and overt geometry of midcentury modern design. Despite the number and variety of images, the layout attempts to leave ample white space to echo the open floor plans, picture windows, and resultant illusions of space found in residential architecture of the era.

SC In designing a book based on an artistic movement it’s tempting to try to replicate the movement’s aesthetics, but that rarely works. Roy Brooks does a good job referencing the material within the functional parameters of contemporary design. The typefaces do the heavy modernist lifting. FF Super Grotesk is an unexpected but period-appropriate alternative to overused Futura, and Avenir works well as text. I’d only have upgraded to the more refined Avenir Next, which has a much better italic. LH Nice title page spread and chapter opener spreads. Well-handled art placement. Effective type choices.

56 Scholarly i llu ST raT ed RIT CommunicatingPress Knowledge Visually: Will Burtin’s Scientific Approach to Information Design R. Roger Remington and Sheila Pontis Ph.D. Designer Bruce Ian Meader Production Coordinator Marnie Soom Acquiring Editor Bruce A. Austin Project Editor Molly Q. Cort Trim Size 9 × 12 Number of Pages 188 Print Run Compositor500Bruce Ian Meader Text Type 10/13 Neutraface 2 Text Book (House Industries) × 3.6 in. Display Type House Industries Neutraface 2 Text Bold, Neue Haas Grotesk Display Black Paper 100 lb McCoy matte Inks 4-color MethodMethodPrinter/BinderprocessJostensofPrintingOffsetofBindingSmyth sewn Binding Materials 120 lb Endurance silk cover, 4.5-in. French flaps, layflat super matte film lamination on one side Jacket/Cover Designer Bruce Ian Meader Jacket/Cover Printer Jostens Designer Comments The main text typography is Christian Schwartz’s wonderful Neutraface 2 Text Book and Bold, which has beautiful old style numerals and real small capitals, rare for a sans serif typeface. The title is set in Neue Haas Grotesk Display Black, also a wonderful typeface designed by Christian Schwartz. Among the goals was to showcase Burtin’s elegant information design solutions by making them as large as possible throughout the book. It was my distinct honor to design a book for authors Remington and Pontis. LH Nice handling of a variety of elements and use of a grid. The black bar, although echoing the cover, seems unnecessary in the interior.

Scholarly i llu ST raT ed 57

58 Scholarly i llu ST raT ed Yale University Press Art and Graphic Design: George Maciunas, Ed Ruscha, Sheila Levrant De Bretteville Benoît DesignerBuquetJena Sher Graphic Design Production Coordinator Mary Mayer Acquiring Editor Amy Canonico Project Editor Kate Zanzucchi Trim Size 8 × 10 Number of Pages 232 pages Print Run Compositor1,250Jena Sher Text Type FF Scala Display Type Berthold Akzidenz and Schmalfette CP for the large type section openers Paper 128 gsm Gold East Inks 4-color Printer/BinderprocessRegent Publishing Services Method of Printing Offset Method of Binding Smyth sewn Binding Materials Wibalin Black buckram, 4-color printed jacket, matte lamination Jacket/Cover Designer Jena Sher Jacket/Cover Printer Regent Publishing Services SC The display type and bold design reflect the content well. I especially enjoy the big, cropped, rotated type on the introduction and conclusion openers. Something about the jacket, though, feels very 1990s for a 2020s book on 1960s–70s avant-garde design. LH Very nice display with a lovely placed ampersand in the title. Well-placed art. Attractive part openers, nice judicious use of color. Well-handled figure captions.

Scholarly i llu ST raT ed 59

Trade Typographic

Marshall McLuhan (1911–80) is best known as a media theorist—many consider him the founder of media studies—but he was also an important theorist of art. Though a near-household name for decades, McLuhan remains an underappreciated yet fasci nating figure in the history of twentieth-century art. His connections with that world have been largely unexplored before now. In Distant Early Warning, critic and art his torian Alex Kitnick delves into these rich relationships, arguing both that McLuhan was influenced by artists and that McLuhan’s work directly influenced the art of his time. Kitnick tells this story by carefully drawing out the links among McLuhan, his theories, and the artists themselves. The tale is packed with big names: Marcel Duchamp, Niki de Saint Phalle, Jasper Johns, Andy Warhol, Nam June Paik. Kitnick salts the narrative with McLuhan’s own words and his provocative ideas about what art is and what artists should do, showing him to be a richly multifaceted figure who transformed the role of the critic. Kitnick finishes the book by applying McLuhan’s ethos to contemporary and post-Internet art. “Finally we have a golden key to a previously locked door. By opening what has been an unexplored territory, Kitnick forcefully reveals not only McLuhan’s influences on the artists of his time but also the multitude of artists who deeply influenced this ‘master celebrity’ of the theory of media. Kitnick dives deeply into the true meaning of McLuhan’s engagements with media. Through Kitnick’s amazingly energetic re search and impeccable attention to both detail and form, similar to that of McLuhan himself, the reader is presented with the knowledge of who McLu han is for our times, adjoined by a postscript cast toward the future. This book constitutes a fantastic achievement both for the understanding of media and contemporary art.” Dara Birnbaum, video and installation artist “Crisply written and brimming with original insight, Distant Early Warning offers a concise and engag ing introduction to the work of one of the most influential thinkers of our current information age. Kitnick deftly reveals Marshall McLuhan’s decisive impact on some of the most important artists and movements of the second half of the twentieth century and, just as importantly, how his prophetic vision of media and its capacities to alter both society and individual psyches was itself informed by avant-garde artistic practices.” Robert Slifkin, New York University Alex Kitnick is assistant professor of art history and visual culture at Bard College. University of Chicago Press

ChicagoWarningEarlyDistantAlexKitnick

62 Trade UniversityTypographicofChicago Press Distant Early Warning: Marshall McLuhan and the Transformation of the Avant-Garde Alex DesignerKitnickJill Shimabukuro Production Coordinator Lisa Hein Acquiring Editor Susan Bielstein Project Editor Christine Schwab Trim Size 5.5 × 8.5 Number of Pages 216 Print Run 450 paper Compositor Jill Shimabukuro Text Type 10.2/14 Adobe Text Pro × 24p Display Type Helvetica Now, Whitney Index Paper 55 lb natural, 360 ppi Inks Printer/BinderBlack Versa Press Method of Printing Offset Method of Binding Notch Binding Materials 10pt C1S Jacket/Cover Designer Jill Shimabukuro Jacket/Cover Printer John P. Pow Company Designer Comments The design draws inspiration from Marshall McLuhan’s writings and publications. LH Very well designed. Cover elements nicely carried through into the interior. DISTANT EARLY WARNING Marshall McLuhan and the Transformation of the Avant- Garde ALEX KITNICK

The

www.press.uchicago.edu BOOK + COVER DESIGN: JILL SHIMABUKURO ISBN-13: 978-0-226-75345-4 ISBN-10: 0-226-75345-X 9 7 8 0 2 2 6 7 5 3 4 5 4 9 0 0 0 0 ISBN-13: 978-0-226-75345-4 ISBN-10: 0-226-75345-X ISBN-13: 978-0-226-75345-4 0-226-75345-X 9 7 8 0 2 2 6 7 5 3 4 5 4 9 0 0 0 0

DISTANT EARLY WARNING Marshall McLuhan and the Transformation of the Avant- Garde ALEX KITNICK

What It Means to Be Avant- Garde

62 / Chapter

The Artist, like Narcissus, gets his nose nearer and nearer the surface of Life. Wyndham Lewis, Blast (1914) McLuhan always imagined himself as a scion of the avant- garde. For him, however, avant-garde did not simply designate the early twentieth-century movements of Dada, Futurism, Surrealism, and Constructivism, which sought to merge art and life under the sign of politics. Rather, the term signaled a way of working that challenged convention in a much broader sense. In his 1962 The Gutenberg Galaxy McLuhan calls the fifteenth-century painters Masaccio and Jan Van Eyck avant-garde for introducing the hard rules of perspective into a pictorially amorphous world. To earn the epithet one had to be techni cally inventive, but innovation was also “politically daring”: for McLu han the rethinking of form had political effects.1 “The Charleston, with its aspect of a mechanical doll agitated by strings, appears in Russia as an avant-garde form,” he wrote in 1964, describing the effect of the jittery dance on a society accustomed to the elegance of ballet.2 The avant-garde rubs against society by introducing foreign elements, and by doing so it throws dominant tendencies into relief, even disarray. (In McLuhan’s Cold War example, dance has the power to shake up even the most authoritarian states.) For McLuhan, being avant-garde depends on context—one has to work against and within prevailing conditions to upset them—and, as such, nothing can be avant-garde in a vacuum or stay avant-garde forever. “Rimbaud’s avant-garde world of montage and transparency had become the old environment by 1911,” McLuhan wrote in 1967, which is to say that the modern world had caught up with the poet’s techniques.3 The avant-garde must constantly Three Lights On / 63 deal with the human habitat as something given to us by Nature,” he claimed. “We have now to accept the fact and responsibility that the entire human environment is an artifact, an art form, something that can be staged and manipulated like showbiz.”33 Art and showbiz stand in dialectical relationship in this formulation: each is a form of manipulation, but art, McLuhan hoped, would do showbiz one better by programming the environment in a responsible fashion. “In our time we can see that pop art consists in taking the outer environment and putting it in the art gallery, or indoors somewhere,” he wrote in 1967, “suggesting that we have reached the stage where we have begun to process the environment itself as an art form.”34 For McLuhan, the next step was to reach back out and manipulate the media environment. Andy Warhol, the Pop artist par excellence, had similar ideas, even if he did not see his work as a responsibility. “Pop Art took the inside and put it outside, took the outside and put it inside,” he wrote in POP ism, his memoir of the 1960s.35 For every painting Warhol pro duced depicting a commercial object, he also stepped out of the gallery and into the media at large— the magazine stand, the publishing industry, the movie theater. The two sides of art and commerce worked in each other’s service, with Warhol leveraging one against the other to create a hybrid enterprise that was neither art nor showbiz but somehow a nebulous gap world of its own. If McLuhan suggested a working schema for artists, he also offered a model of how one might move in the world. “There were two types of people doing counterculture-type things,” Warhol wrote of the 1960s. “The ones who wanted to be commercial and successful and move right up into the mainstream with their stuff, and the ones who wanted to stay where they were, outside society. The way to be counterculture and have mass commercial success was to say and do radical things in a conservative format. Like have a well-choreographed, well-scored, anti-Establishment ‘hippie be-in’ in a well-ventilated, well located the ater. Or like McLuhan had done—write a book saying

books were obso 3.7 James Rosenquist, Circles of Confusion (1965), from 11 Pop Artists, Volume I (1966). © 2021 Estate of James Rosenquist/licensed by VAGA at Artists Rights Society (ARS), NY. Used by permission. All rights reserved. 3.8 Cover of Andy Warhol’s Interview November 1976. © Interview Magazine, New York. Contents Introduction / 1 1 The Age of Mechanical Production / 11 2 What It Means to Be Avant-Garde / 34 3 Lights On / 51 4 Electronic Opera / 66 5 Massage, ca. 1966 / 84 6 Information Environment / 101 7 Culture Was His Business / 121 Postscript: McLuhan’s Art Today / 141 Acknowledgments 145 Notes 147 Bibliography 191 Index 197

Trade Typographic 63

The University of Chicago Press Chicago and London

64 Trade UniversityTypographicofChicago Press The Subversive Simone Weil: A Life in Five Ideas Robert ProductionDesignerZaretskyJillShimabukuroCoordinatorJoan Davies Acquiring Editor Alan Thomas / Priya Nelson Project Editor Christine Schwab Trim Size 5.5 × 8.5 Number of Pages 192 Print Run Compositor2,500Jill Shimabukuro Text Type 9.8/15 Harriet Text (Okay Type) Display Type Gotham Paper 60 lb natural, 420 ppi Inks Printer/BinderBlack Sheridan Books Method of Printing Offset Method of Binding Notch Binding Materials 3-piece case (spine: Rainbow Umber; sides: Chestnut); Rainbow Chestnut endpapers; Fimband Wedgewood Blue and Arctic Head/Footbands; Gold spine Jacket/Coverfoil Designer Jill Shimabukuro Jacket/Cover Printer John P. Pow Company Designer Comments This biography honors the complexity of Simone Weil’s thought and influence. The typography is intentionally spare, and the jacket image was cropped dramatically, to suggest a fresh take on this eminent philosopher. LH Nice even look to the page. Solid typography.

The Subver S ive Simone Weil A Life in f ive i de A s

⁂ In early 1943, Jean Cavaillès traveled to London in order to meet Charles de Gaulle. A fellow student of Weil’s at the ENS, the pre cocious Cavaillès had been named professor of logic at the Uni versity of Strasbourg, where he specialized in the rarefied field of the philosophy of mathematics. Serving as a military officer in 1940, he earned two citations for bravery before he was taken prisoner by the Germans. Cavaillès did not remain a prisoner of war for long, though; soon escaping from his stalag, he made his way to the Unoccupied Zone. It was there that he founded, with Emmanuel d’Astier de la Vigerie, one of France’s earliest Resis tance networks, Libération-Sud. In late 1942, French police arrested Cavaillès, ending his two-year run of clandestine Resis tance activity. But, again, not for long: Cavaillès escaped from prison and crossed the Channel the following March. After sev eral meetings with de Gaulle, during which Cavaillès won criti cal material support for his group, he returned to France. Trag ically, this did not last long either: arrested by German police in August, Cavaillès was packed off to the notorious prison of Fresnes, where he was repeatedly tortured. The torturers, how ever, never succeeded in getting the young philosopher to reveal information or names. In April 1944, they executed Cavaillès, throwing his body into a common grave, alongside a dozen other murdered résistants, outside the northern city of Arras. Rebur ied as “Inconnu no. 5 [Unknown no. 5],” Cavaillès’s remains were recognized by his sister soon after liberation and trans ferred to the Sorbonne. Cavaillès always denied that his acts were heroic, or that he had even chosen to act in such a way. Whenever asked why, he would always reply, “C’est logique.” For the logician, this was anything but a cliché. We are creatures of necessity, Cavaillès told Raymond Aron, another classmate at the ENS and a Free French recruit who would become one of the greatest intellec tuals of postwar France. “The reasoning of mathematicians is necessary, the stages to mathematical theories are necessary, and the struggle we are now leading is necessary.” As his fel low philosopher and résistant Georges Canguilhem explained, moral action is the necessary result of rigorous thought. Joining the Resistance, for Cavaillès, no more entailed a moral choice than did the solution to a mathematical problem.67 Armed with a logic and ethic as imperious as that of his favorite thinker, Notes I N tr OD u C t ION 1 Francine du Plessix Gray, Simone Weil (New York: Viking, 2001), 212. 2 Simone Weil, First and Last Notebooks, trans. Richard Rees (Oxford: Oxford University Press, 1970), 335. 3 Weil, First and Last Notebooks, 335. 4 Weil, First and Last Notebooks, 335. 5 Gray, Simone Weil 26. 6 Costica Bradatan, Dying for Ideas: The Dangerous Lives of the Philoso phers (London: Bloomsbury, 2015), 7. 7 Simone Pétrement, La Vie de Simone Weil (Paris: Fayard, 1973), 21–23. 8 Pétrement, La Vie de Simone Weil, 26. 9 Pétrement, La Vie de Simone Weil, 45. 10 Gray, Simone Weil 9. 11 Simone Weil, Waiting for God, trans. Emma Craufurd (New York: Harper, 2009), 23. 12 Gray, Simone Weil 47. 13 Pétrement, La Vie de Simone Weil, 179. 14 Reprinted in Simone Weil, ed. Emmanuel Gabellieri and François L’Yvonnet (Paris: Éditions de L’Herne, 2014), 249. 15 Eugen Weber, The Hollow Years (New York: W. W. Norton, 1996), 34. 16 Pascal David, “Avec toute l’âme: Simone Weil et la philosophie,” in Simone Weil, ed. Gabellieri and L’Yvonnet, 94. 17 Pétrement, La Vie de Simone Weil, 657. 18 Simone Weil, Seventy Letters, trans. Richard Rees (Oxford: Oxford Uni versity Press, 1965), 156. 19 Pétrement, La Vie de Simone Weil, 667. 20 Pétrement’s biography remains the standard account of Weil’s life. A professional philosopher, Pétrement was a close friend of Weil. Yet, while her monumental account is sympathetic, it does not, for the most

How much time do you devote each day to thinking? SIMONE WEIL More than three-quarters of a century ago, on August 26, 1943, the coroner at Grosvenor Sanatorium, a sprawling Victorian pile located in the town of Ashford, about sixty miles southeast of London, ended his examination of a patient who had died two days earlier. The cause of death, he wrote, was “cardiac failure due to myocardial degeneration of heart muscles due to starva tion and pulmonary tuberculosis.” But the clinical assessment then gives way to what appears to be an ethical judgment: “The deceased did kill and slay herself by refusing to eat whilst the balance of her mind was disturbed.”1 The deceased was buried in a local cemetery; a flat marker laid across her grave was engraved with her name and relevant dates: Simone Weil 3 févr er 1909 24 AO ût 1943 Weil’s grave, its location highlighted on the cemetery map, has since become one of Ashford’s most visited tourist sites. By way of acknowledging the constant stream of visitors, a sec ond marble slab explains that Weil had “joined the Provisional French government in London” and that her “writings have established her as one of the foremost modern philosophers.” One can fit only so much on a grave marker. This is especially

SIMONE WEIL

ROBERT ZARETSKY The University of Chicago Press CHICAGO AND LONDON

Thought flies from affliction as promptly and irresistibly as an animal flees from death.

In December 1934, Auguste Detoeuf interviewed an applicant for a job at one of his factories. Ordinarily, Detoeuf did not make hiring decisions—he was, after all, the director of Alsthom, France’s largest maker of electric equipment. Yet lit tle was ordinary about Detoeuf. A graduate of France’s elite engineering school, the École Polytechnique, Detoeuf neither talked the talk nor walked the walk of French industrialists. He dressed, as one friend sighed, like a Romantic violin virtuoso, and considered himself an intellectual manqué 1 Detoeuf no more belonged behind this particular desk than the job applicant belonged in front of it. It was not because the applicant was a young woman—legions of women, after all, labored in French factories. Instead, it was because the young woman was a graduate of France’s other elite school, the École Normale Supérieure—which, like the Polytechnique, had been founded by Napoleon—and that she had, until recently, worked as a philosophy professor. Yet, the applicant was hell-bent on finding factory work, with or without Detoeuf’s help. Given the 86 Chapter t hree t he Varieties of r esistan C e 87 spilling dozens of copies across the sidewalk. With remarkable sangfroid, Weil gathered and repacked the scattered papers, then continued her delivery run. One of her younger Resistance comrades, Marie-Louise Blum, was struck by Weil’s personality, recalling that Weil took the time to explain to her the magnitude of their activities. Disobeying the law, Weil told Blum, is a seri ous affair. “One has to think it over a long time before taking the step, after assuring oneself that one has no other recourse, and that the cause which requires us to break the law is truly that of justice and truth . . . This is a necessary evil, but we should never forget that it is an evil.”65 And it was an evil that carried enormous risks, exempli fied by the arrest and deportation of a fellow delivery person. Weil was herself hauled twice to the police station for question ing. Yet the interrogations left the police more bothered than Weil, who showed the same calm with which she collected the spilled and fluttering copies of Témoignage chrétien. When one of her interrogators, who thought he had taken the measure of the frail and bespectacled woman, called her a “salope [bitch]” and threatened to toss her into a cell filled with prostitutes, Weil replied she would be glad to make their acquaintance. Shortly after, when she was released and sent home with a warning, the sense of relief at the station must have been palpable.66

CHAPTER ONE The Force of Affliction Howl, howl, howl, howl. SHAKESPEARE’S KING LEAR

Introduction

Trade Typographic 65

66 Trade Typographic University of Chicago Press Value in Art: Manet and the Slave Trade Henry M. Sayre Designer Ryan Li Production Coordinator Joan Davies Acquiring Editor Alan Thomas Project Editor Tamara Ghattas Trim Size 7 × 10 Number of Pages 256 Print Run TextCompositor1,100In-HouseType11/14.5Arno Pro SmText (Adobe) × 27p Display Type Alright Sans Paper 128 gsm matte white coated Inks 4-color Printer/BinderprocessC&C Offset Method of Printing Offset Method of Binding Smyth sewn Binding Materials White Matte Coated Jacket/Cover Designer Ryan Li Jacket/Cover Printer C&C Offset LH Nice design in confident hand.

68 Trade Typographic Duke University Press Magical Habits Monica DesignerHuertaAimee C. Harrison Production Coordinator Chris Granville Acquiring Editor Elizabeth Ault Project Editor Lisl Hampton Trim Size 6 × 9 Number of Pages 200 Print Run 1,500 pb / 45 litho Compositor Copperline Books Text Type Portrait Text (Berton Hasebe/ Commercial Type) Display Type ITC Franklin Gothic (Linotype) Paper 60 lb Offset Inks Printer/BinderBlack Sheridan Books Method of Printing Offset Method of Binding Notch Binding Materials 10pt C1S / printed litho for case Jacket/Cover Designer Aimee C. Harrison Jacket/Cover Printer John P. Pow Company LH Nice handling of interior elements. Fun section breaks. The significance of the bird and rabbit ornaments wasn’t obvious to me other than elements from the cover carried over to the interior design.

70 Trade Typographic Johns Hopkins University Press America’s Original Sin: White Supremacy, John Wilkes Booth, and the Lincoln Assassination John DesignerRhodehamelAmyRuth Buchanan Production Coordinator Jennifer Paulson Acquiring Editor Laura Davulis Project Editor Kyle Kretzer Trim Size 6 × 9 Number of Pages 480 Print Run Compositor3,000Amy Ruth Buchanan Text Type Dante Display Type Brixton Wood (also mixed with the pistol), Wood Bonnet Antique No 7, AIWood Antique Condensed, Ashwood Extra Bold, Antique 2 Condensed Bold, Bullion Extra Condensed Paper 50 lb Glatfelter Hi Opaque A50, 440 ppi Inks Printer/BinderBlack Maple Press Method of Printing Offset Method of Binding Notch Binding Materials Sierra Black, Satin Silver S5 foil, Rainbow Antique Charcoal endpapers, bw headbands Jacket/Cover Designer Kathleen Lynch Jacket/Cover Printer Maple Press Designer Comments This is an important book. Original Sin will be the first book to explicitly name the ideology of white supremacy as the motivation for Lincoln’s assassination. The Derringer in the title is the gun Booth used to assassinate Lincoln but it also alludes to the role guns have played in the history of white supremacy. I am proud to have had a part in shaping this book’s presentation, but Kathleen Lynch and Amy Ruth Buchanan deserve the credit—Martha Sewall. SC I appreciate the way they carried the 19th-century broadside look from the jacket to the chapter openers. LH Confident use of typography. Pleasing design.

Trade Typographic 71

72 Trade Typographic Johns Hopkins University Press The Black President: Hope and Fury in the Age of Obama Claude A. Clegg III Designer Amanda Weiss Production Coordinator Jennifer Paulson Acquiring Editor Laura Davulis Project Editor Julia McCarthy Trim Size 6.125 × 9.25 Number of Pages 672 Print Run Compositor4,000Amanda Weiss Text Type 12/15.25 Garamond Pro (Adobe) × 26p Display Type PSFournier Std Petit (Typofonderie), Sweet Sans Pro (MVB Fonts) Paper 50 lb Glatfelter Hi Opaque A50 Inks Printer/BinderBlack Maple Press Method of Printing Offset Method of Binding Notch Binding Materials Sierra Black, Lustrofoil B5, Rainbow Antique Eggshell endpapers Jacket/Cover Designer Amanda Weiss Jacket/Cover Printer Maple Press Designer Comments The interior text components were straightforward, although lengthy at 600+ pages. I chose to mix serifs and used PSFournier for the display typography, as Adobe Garamond was perfect for a legible and loose text, but looked too antiquated for display purposes. Additionally, I consciously chose to use the PSFournier Petit weight for the chapter titles as I felt the extra weight gave the openers a solid and sturdy presence on the page. My hope was to provide a no-nonsense design that feels elegant, inviting, and unified with the cover and overall package.

Trade Typographic 73

74 Trade Typographic Leuven University Press The Art of Being Dangerous: Exploring Women and Danger through Creative Expression Edited by Jo Shaw and Ben Fletcher-Watson Designer Stéphane de Schrevel Production Coordinator Patricia Di Costanzo Acquiring Editor Mirjam Truwant Project Editor Beatrice Van Eeghem Trim Size 195 × 285 mm Number of Pages 256 Print Run Compositor1,000Stéphane de Schrevel Text Type Alegreya Display Type Francesca Paper 135 gr Magno Volume 1.08 Inks LED-UV full color Printer/Binder Wilco bv Method of Printing Offset Method of Binding Smyth sewn Binding Materials Paperback with flaps Jacket/Cover Designer Stéphane de Schrevel Jacket/Cover Printer Wilco bv, Printing and Binding SC The range of typefaces set the right tone, and avoid old stereotypes of “feminity”. There may just be one too many of them. LH Bold use of type for a bold subject. Interesting choices for alignment and pairing of type. Good use of color on the chapter openers. Clean open index.

76 Trade Typographic Penn State University Press Hell of a Hat: The Rise of ’90s Ska and Swing Kenneth DesignerPartridgeRegina Starace Production Coordinator Jennifer Norton Acquiring Editor Ryan Peterson Project Editor Nicholas Taylor Trim Size 6 × 8 Number of Pages 280 Print Run Compositor4,000Regina Starace Text Type 11/15.5 Freight Text Pro (Garage Fonts) × 27p Display Type Knockout (HTF) Paper 50 lb Natures Natural Inks Printer/BinderBlack Sheridan Books Method of Printing Offset Method of Binding Smyth sewn Binding Materials 100 lb C1S (paper over board) with Gritty Matte Jacket/CoverUVDesigner Regina Starace Jacket/Cover Printer Phoenix Color LH Nice use of Freight. Fun incorporation of cover elements in the interior.

Trade Typographic 77

78 Trade Typographic Texas A&M University Press Nepantla Familias: An Anthology of Mexican American Literature on Families in between Worlds Edited by Sergio Troncoso Designer Omega Clay Production Coordinator Kristie Lee Acquiring Editor Thom Lemmons Project Editor Pat Clabaugh Trim Size 6 × 9 Number of Pages 256 Print Run Compositor1,000Omega Clay Text Type 11/14 Minion Pro (Adobe) Display Type Gotham, Eames Century Modern Paper 60 lb house opaque white Inks Printer/BinderBlack Sheridan Books Method of Printing Offset Method of Binding Smyth sewn Binding Materials Arrestox cloth jet black, silver foil, red Jacket/CoverheadbandsDesigner Antonio Castro Jacket/Cover Printer Sheridan Books LH Solid design.

80 Trade Typographic Yale University Press The Vergil;AeneidTranslated by Sarah Ruden; With an Introduction by Susanna Braund; Notes and Glossary by Susanna Braund and Emma Hilliard Designer Dustin Kilgore Production Coordinator Aldo Cupo Acquiring Editor Jennifer Banks Project Editor Susan Laity Trim Size 5.5 × 8.5 Number of Pages 392 Print Run Compositor5,000Tseng Information Systems Text Type 10.5/14 Yale × 24p Display Type Louize Display (205TF) Paper 50 lb house smooth natural, 500 ppi Inks Printer/BinderBlack Sheridan Books Method of Printing Offset Method of Binding Perfect Binding Materials 10pt C1S, matte scuff-free layflat film lamination Jacket/Cover Designer Jenny Volvovski Jacket/Cover Printer Sheridan Books SC To make a difficult text more approachable is a gift. The treatment of notes, line numbers, and glossary are all spot on.

Trade Illustrated

84 Trade i llu ST raT ed University of Chicago Press Tropical Arctic: Lost Plants, Future Climates, and the Discovery of Ancient Greenland Jennifer McElwain, Marlene Hill Donnelly, and Ian DesignerGlasspoolRae Ganci Hammers Production Coordinator Joan Davies Acquiring Editor Joseph Calamia Project Editor Erin DeWitt Trim Size 8 × 10 Number of Pages 152 Print Run 2,000 jacketed cloth Compositor Rae Ganci Hammers Text Type 9.2/14 Arnhem Pro Blond (Fred Smeijers) × Display25p5 Type Begum, Work Sans Paper 128 gsm white matte coated Inks 4-color Printer/BinderprocessC&C Offset Method of Printing Offset Method of Binding Smyth sewn Binding Materials Faimei FM-P19 Dark Green; Endpapers: 1-color Pantone 388 Uncoated; Spine Foil: Foiland 418 Gold; Head/Foot Bands: MT-109 Light Salmon and Jacket/CoverWhiteDesigner Rae Ganci Hammers Jacket/Cover Printer C&C Offset Designer Comments Tropical Arctic recreates a lush and verdant ancient Greenland. The colors, typefaces, and materials were carefully chosen to reflect that organic richness.

86 Trade i llu ST raT ed University of Georgia Press A Better Life for Their Children: Julius Rosenwald, Booker T. Washington, and the 4,978 Schools That Changed America Andrew DesignerFeilerErin Kirk Production Coordinator Melissa Buchanan Acquiring Editor Lisa Bayer Project Editor Jon Davies Trim Size 10 × 10 Number of Pages 144 Print Run Compositor5,500Erin Kirk Text Type 11/16 Miller Text (Carter & Cone) × 23p (2 Displaycolumns)Type Gotham (Hoefler & Co.) Paper 157 gsm/106 lb Chinese Sun matte, 348 ppi Inks Black + PMS Black 4c (duotones) Printer/Binder Martin Book Management Method of Printing Offset Method of Binding Smyth sewn Binding Materials Black cloth, silver foil stamp, 4/c Jacket/Coverendsheets Designer Erin Kirk Jacket/Cover Printer Martin Book Management Designer Comments I worked closely with author/ photographer Andrew Feiler and Jared Stevens at Prepare.Produce.Print to create duotones that capture the depth and clarity of Feiler’s photgraphs. This book raises awareness of the important history of the Rosenwald schools and the efforts to preserve them.

88 Trade i llu ST raT ed Getty Publications L.A. Graffiti Black Book David DesignerBrafmanKurt Hauser Production Coordinator Michelle Deemer Acquiring Editor Elizabeth Nicholson Project Editor Elizabeth Nicholson Trim Size 8 × 10 Number of Pages 176 Print Run Compositor3,000Kurt Hauser Text Type Calibre Display Type SangBleu Republic Paper 150 gsm Baijin pure white woodfree paper Inks 4-color MethodPrinter/BinderprocessArtronofPrintingOffsetMethodofBindingSmyth sewn Binding Materials Case bound; 2 part binding over 2.5mm boards, Faux leather JHT, foil blocking Jacket/Cover Designer Kurt Hauser Jacket/Cover Printer Artron SC How do you design a book about graffiti? One way is to treat it like any other artform, and they do that nicely here. I only wish the captions were a point size larger to handle the extra bold type. LH Good use of art in the front matter. Wish the title page type had a smidge more contrast. Trim size well suited to the subject matter.

90 Trade i llu ST raT ed Getty Publications Mario Giacomelli: Figure/Ground Virginia ProductionDesignerHeckertJimDrobkaCoordinator Clare Davis Acquiring Editor Karen Levine Project Editor Rachel Barth Trim Size 7.625 x 6 Number of Pages 160 Print Run Compositor2,000Jim Drobka Text Type Galano Grotesque Display Type Galano Grotesque Paper 157 gsm matte art Inks 4-color Printer/BinderprocessC&C Offset Method of Printing Offset Method of Binding Smyth sewn Binding Materials Paperback; 350 gsm 1-sided Jacket/Coverartboard Designer Jim Drobka Jacket/Cover Printer C&C Offset SC The stark contrast of the photography is echoed in a subtle way through the type: extra bold and light. Captions and extended captions are thoughtfully placed. LH Perfect trim size paired with the subject matter. Nice clean typography. Good halftones.

92 Trade i llu ST raT ed Louisiana State University Press Above New Orleans: Roofscapes of the Crescent City Marco Rasi and Richard Campanella Designer Michelle A. Neustrom Production Coordinator Michelle A. Neustrom Acquiring Editor Rand Dotson Project Editor Neal Novak Trim Size 13.5 × 11 Number of Pages 264 Print Run Compositor5,000Michelle A. Neustrom Text Type 10/13 Whitman (Font Bureau) Display Type Metropolis (Tugcu Design Co.) Paper 140 gsm matte coated white text Inks 4-color process Printer/Binder Kings Time Printing Press, LLC at Toppan MethodLeefung.ofPrinting Offset Method of Binding Smyth sewn Binding Materials 2-piece case with black cloth on spine and back, matte lamination front panel, green end sheets, black and white headbands, silver spine Jacket/Coverstamping Designer Michelle A. Neustrom Jacket/Cover Printer Kings Time Printing Press, LLC at Toppan Leefung

94 Trade i llu ST raT ed National Gallery of Art American Silence: The Photographs of Robert Adams, Sarah1965–2015Greenough; Afterword by Terry Tempest Williams Designer Margaret Bauer Production Coordinator Brad Ireland Acquiring Editor Nancy Eickel Project Editor Julie Warnement Trim Size 9.25 × 11.25 Number of Pages 304 Print Run Compositor6,920Margaret Bauer Text Type 11.25/14 Surveyor (Hoefler + Co.) Display Type Surveyor (Hoefler + Co.) Paper Mohawk Via Inks spot Printer/Bindercolor Meridian Printing, East Greenwich, Rhode MethodIslandofPrinting Offset Method of Binding Smyth sewn Binding Materials Sierra cloth Jacket/Cover Designer Margaret Bauer Jacket/Cover Printer Meridian Printing, East Greenwich, Rhode Island SC I admire the unconventional type choice: Surveyor has a wide openness and handwrought imperfection that reflects the photography along with quiet, spacious LHlayouts.Beautifully designed. Well chosen subtle use of color. Lovely halftones.

Designer Comments This book presented a challenge because of the large amount of images and the length of the captions that were paired with the images. Creating a balance between the main text, the images, and the captions was extremely important to the overall design. Also included in the book are gatefolds which also included captions of their own. It was all a balancing act to create a cohesive design.

96 Trade i llu ST raT ed University of New Mexico Press The Nature of Lake Tahoe: A Photographic History, DesignerPeter1860–1960Goin Teresa Wingfield Production Coordinator Felicia Cedillos Acquiring Editor Elise McHugh Project Editor Elise McHugh Trim Size 10.5 × 12 Number of Pages 356 Print Run Compositor1,000Teresa Wingfield Text Type 11/16 ITC Berkeley Old Style; 8.5/11.5 Plusquam Sans Display Type Plusquam Sans, ITC Berkeley Old Style Paper 150 gsm Condat Perigord matte Inks 5/5 process and duotone Printer/Binder Pristone Pte. Ltd. Method of Printing Offset Method of Binding Smyth sewn Binding Materials Printed case Jacket/Cover Designer Felicia Cedillos Jacket/Cover Printer Pristone Pte. Ltd.

SC The type (both intro and captions) is too light for my taste, but the photography is obviously the star here, and it’s presented beautifully, with all the right choices made on sizing, placement, and bleeds.

llu ST ed 97

100 Trade i llu ST raT ed Penn State University Press A Jewish Bestiary: Fabulous Creatures from Hebraic Legend and Lore Mark DesignerPodwalRegina Starace Production Coordinator Jennifer Norton Acquiring Editor Patrick Alexander Project Editor Alex Ramos Trim Size 7.125 × 9 Number of Pages 88 Print Run Compositor2,000Regina Starace Text Type 11.5/14.5 Arno Pro (Adobe) × 16p (2 Displaycolumns)Type Windsor (Bitstream) Paper 150 g Munken Lynx Inks 4-color Printer/BinderprocessBALTO Print Method of Printing Offset Method of Binding Smyth sewn Binding Materials 3 piece case /Savanna cloth Jacket/Cover Designer Regina Starace Jacket/Cover Printer BALTO Print

Trade i llu ST raT ed 101

102 Trade i llu ST raT ed Texas A&M University Press The Art of David Everett: Another World Becky Duval Reese Designer Kristie Lee Production Coordinator Kristie Lee Acquiring Editor Thom Lemmons Project Editor Pat Clabaugh Trim Size 9 × 10 Number of Pages 160 Print Run Compositor1,500Kristie Lee Text Type 10.5/15 Bookman Old Style Display Type Bookman Old Style, Antique Olive Nord, MS Reference Sans Serif Paper 80 lb matte white Inks 4-color MethodMethodPrinter/BinderprocessFriesensofPrintingOffsetofBindingSmyth sewn Binding Materials Arrestox cloth black, silver foil, red Jacket/Coverheadbands Designer Kristie Lee Jacket/Cover Printer Friesens LH Very nice reproduction of art throughout. Well designed.

104 Trade i llu ST raT ed Trinity University Press La Finca: Love, Loss, and Laundry on a Tiny Puerto Rican Island Corky DesignerParkerJanice Shay Production Coordinator Sarah Nawrocki Acquiring Editor Tom Payton Project Editor Steffanie Mortis Trim Size 6 × 9 Number of Pages 256 Print Run Compositor3,000Janice Shay Text Type Caslon Pro (Adobe) Display Type Providence, ErikRighthand Pro Paper 70 lb Rolland opaque natural Inks 4-color MethodPrinter/BinderprocessFriesensofPrintingOffsetMethodofBindingPerfect-bound hardcover, onepiece case, 95 pound gloss over 100 pt. board, four color process with nylon matte scuff resistant layflat film lamination outside Binding Materials Perfect bound hardcover (not sewn), one-piece case, square-backed (board in spine), encase complete with headbands; Rainbow Antique endpapers Jacket/Cover Designer Janice Shay Jacket/Cover Printer Friesens

LH The hand-drawn touches and playful treatment of the art are most enjoyable. A very pleasant book to explore.

Designer Comments Art on cover and interior by Corky Parker.

SC This thing breaks all sorts of rules and has a lot of fun, and I love it for that, even if things can get messy. This wouldn’t work with most books, but here I think it was the right call to invite the illustrations and typography to the same party.

106 Trade i llu ST raT ed Yale University Press Georgia O’Keeffe, Photographer Lisa DesignerVolpe Laura Lindgren Production Coordinator Sarah Henry Acquiring Editor Katherine Boller Project Editor Megan Smith, Museum of Fine Arts Houston Trim Size 10 × 10.75 Number of Pages 288 Print Run Compositor12,000Laura Lindgren Text Type 10/17 Kastelov Kinetika Book Display Type Kastelov Kinetika (Book, Light, and PaperSemibold)150gsm GardaPremium natural Inks 4-color Printer/BinderprocessPristone Pte. Ltd. Method of Printing Offset Method of Binding Smyth sewn Binding Materials JHT cloth, dyed Jacket/Cover Designer Laura Lindgren Jacket/Cover Printer Pristone Pte. Ltd. Designer Comments In Georgia O’Keeffe, Photographer, another facet in the artistry of the “undisputed doyenne of American painting” (the New York Times) is now revealed: her camera work. With a clean, contemporary jacket and interior design, the catalogue presents the complete known body of O’Keeffe’s photographic art. The custom-dyed terracotta-colored cloth binding beneath the jacket and golden yellow endpapers conjure the colors of her New Mexico desert landscape. The jacket front image shows O’Keeffe, not in front of, but at work behind the camera; the back jacket image, O’Keeffe’s black-and-white Polaroid of a Jimsonweed flower, calls to mind her bright, modern, thoroughly unique Jimsonweed paintings. Generous full-page plates are complemented by all 409 works, which are reproduced at ample size to show the subtle and refined choices O’Keeffe made as she composed her art through the viewfinder of the camera.

LH I appreciate the well considered binding materials and clean design. Well suited to the subject matter. Typography nicely done.

Trade i llu ST raT ed 107

Poetry and Literature

110 p oe T ry and l i T eraT ure Duke University Press Maroon Choreography fahima Designerife Courtney Leigh Richardson Production Coordinator Chris Granville Acquiring Editor Ken Wissoker Project Editor Liz Smith Trim Size 6 × 9 Number of Pages 144 Print Run Compositor850Copperline Books Text Type 10/14 Whitman (Font Bureau) × 25p3 Display Type Canela Text Black Paper 55 lb cream Inks Printer/BinderBlack Sheridan Books Method of Printing Offset Method of Binding Perfect Binding Materials 12pt C1S / printed litho for case Jacket/Cover Designer Courtney Leigh Richardson Jacket/Cover Printer John P. Pow Company Designer Comments This author was so lovely to work with—having so carefully laid out every poem in the most beautiful way! This was just a matter of getting out of the way. I was super excited about the french flaps! SC Canela, the display face, is a great choice for emphasizing the contemporary nature of the work. I wonder why it’s not used for text as well, but Whitman is a fitting complement. The chapter openers on screened photography provide perfectly moody breaks. I only wish the photos varied.

112 p oe T ry and l i T eraT ure University of Georgia Press Hong Kong without Us: A People’s Poetry The Bauhinia Project Designer Erin Kirk Production Coordinator Rebecca Norton Acquiring Editor Beth Snead Project Editor Thomas Roche Trim Size 5.5 x 8.5 Number of Pages 126 Print Run Compositor1,000Erin Kirk Text Type 10/14 Warnock Pro (Adobe), SimSun (Beijing ZhongYi Electronics Co) Display Type Gotham (Hoefler & Co.) Paper 60 lb Natures Natural Inks 4-color Printer/BinderprocessSheridan Books Method of Printing Offset Method of Binding Perfect Binding Materials 12pt C1S Jacket/Cover Designer Erin Kirk Jacket/Cover Printer Sheridan Books Designer Comments This book is a collection of revolutionary poetry drawn from the voices of Hong Kong during its anti-extradition protests. The poetry was submitted in the form of submitted testimonies, social media, found poems, and protest materials from anonymous sources. SC I have a lot of respect for those who can set multiscript content without favoring either language. It is done very well here. The two typefaces match well with their sharp stroke endings, though perhaps the Chinese is a tad light next to the Latin. Emoji also makes an appearance in one piece and is sized perfectly, which is surprisingly hard to do. There is also a smart treatment of dialog, using both position and typeface to distinguish speakers.

p oe T ry and l i T eraT ure 113

114 p oe T ry and l i T eraT ure University of Pittsburgh Press Gumbo Ya Ya Aurielle DesignerMarieAlex Wolfe Production Coordinator Joel W. Coggins Acquiring Editor Ed Ochester Project Editor Alex Wolfe Trim Size 7 × 9 Number of Pages 120 Print Run 2,000 paperback Compositor Alex Wolfe Text Type 10.25/14 Garamond Pro (Adobe) Display Type Metallophile Sp8, medium Paper 55 lb natural antique Inks Printer/BinderBlack McNaughton & Gunn Method of Printing Offset Method of Binding Perfect Binding Materials 10pt C1S, gritty matte finish Jacket/Cover Designer Alex Wolfe Jacket/Cover Printer McNaughton & Gunn SC There are some wonderful typographic surprises here. It is a challenge to set a book of poetry in which the typesetting is critical to the meaning. The designer seems to preserve the author’s intentions while maintaining a cohesive and readable experience throughout.

oe ure 115

Reference

118 r Universityeferenceof Georgia Press Plants in Design: A Guide to Designing with Southern Landscape Plants Brad E. Davis and David Nichols Designer Mindy Basinger Hill Production Coordinator Melissa Buchanan Acquiring Editor Patrick Allen Project Editor Jon Davies Trim Size 9 × 11 Number of Pages 592 Print Run Compositor2,500Mindy Basinger Hill Text Type Main: 10.5/15 Caslon Pro (Adobe) × 20p4.5 (2 columns w/1p3 gutter); Account: 9.5/12 pt Caslon Pro (Adobe) × 13p4 (2 columns w/1p gutter) Display Type Caslon Pro (Adobe); Copihue (Letritas) Paper 128 gsm China Gold East matte art paper (86 lb) Inks 4-color Printer/BinderprocessKings Time Printing Press, LLC at Toppan MethodLeefungofPrinting Offset Method of Binding Smyth sewn Binding Materials 12pt C1S Jacket/Cover Designer Mindy Basinger Hill Jacket/Cover Printer Kings Time Printing Press, LLC at Toppan Leefung LH Good control of many elements—well organized, easy to read information. Attractive section openers.

120 r eference University of New Mexico Press The Ecology of Herbal Medicine: A Guide to Plants and Living Landscapes of the American Southwest Dara DesignerSavilleMindy Basinger Hill Production Coordinator Mindy Basinger Hill Acquiring Editor Sonia Dickey Project Editor James Ayers Trim Size 7 × 10 Number of Pages 312 Print Run Compositor2,500Mindy Basinger Hill Text Type 10.9/15 Electra LT Std × 27p Display Type Electra LH Regular and Copihue Regular Paper 70 lb white offset, 380 ppi Inks 4-color Printer/BinderprocessVersa Press Method of Printing Offset Method of Binding Perfect Binding Materials 12pt C1S, matte scuff-free film Jacket/Coverlamination Designer Mindy Basinger Hill Jacket/Cover Printer Versa Press SC Like walking in a field of succulents and grasses. I appreciate the nice open margins, colored heads inspired by natural elements, and uncluttered maps and tables. It’s exactly what I would hope from an herbal field LHguide.Nice choice of subtle color throughout. Wish the text was a little stronger on the part openers—a little too close to the background color. Nicely designed.

122 r eference University of New Mexico Press A Guide to New Mexico Film Locations: From Billy the Kid to Breaking Bad and Beyond Jason DesignerStrykowskiMindy Basinger Hill Production Coordinator Mindy Basinger Hill Acquiring Editor Sonia Dickey Project Editor James Ayers Trim Size 5.5 × 8.5 Number of Pages 296 Print Run Compositor1,500Mindy Basinger Hill Text Type 10.543/13.75 Chaparral Pro (Adobe) × 23p10; 11.5/13.75 Mr Eaves Mod OT Book Display Type Mr Eaves Mod OT Book Paper 70 lb white offset, 380 ppi Inks 4-color Printer/BinderprocessVersa Press Method of Printing Offset Method of Binding Notch Binding Materials 10pt C1S, matte scuff-free layflat Jacket/Coverlamination Designer Mindy Basinger Hill Jacket/Cover Printer Versa Press SC A daring use of color. I felt like I was traversing the varied earth tones and azure skies of New Mexico itself. Despite all that experimentation, the book is calming and functional, with all the information clearly defined. LH Nice handling of a variety of elements and good use of subtle southwest color throught. Attractive part openers; unfortunately part openers and the title page spread got a little too close to the gutter.

124 r TexaseferenceA&MUniversity Press A Field Guide to the Vernacular Buildings of the San Antonio Area Edited by Brent Fortenberry Designer Kristie Lee Production Coordinator Kristie Lee Acquiring Editor Thom Lemmons Project Editor Katie Duelm Trim Size 7 × 10 Number of Pages 320 Print Run Compositor1,500Kristie Lee Text Type 11/15 Minion Pro (Adobe) Display Type Source Sans Variable Paper 80 lb matte white Inks Printer/Binder4-color Friesens Method of Printing Offset Method of Binding Flexbound Binding Materials Rainbow patriot blue antique Jacket/Coverendsheets Designer Kristie Lee Jacket/Cover Printer Friesens

Jackets and Covers

128 Jacke TS and c over S

Judges' Comments Great use of a single pop of color throughout a wonderfully tactile series.

The series uses embossing and coating 4+0 colors with neutral overprint varnish.

Designer Comments The concept for the Series Tænkepauser (Reflections) is a visual expression of the meaning of the title. In this series all titles consist of one word only—and that word should preferably be selfexplanatory.Thegoal is to make the right choices with fonts, colors, designs and embossing that give the best associations to the subject.

Inks Coating/FinishLED-UV

Jørgensen, Trefold Illustrator Camilla Jørgensen, Trefold Production Coordinator Søren Mogensen Larsen

Printer/Binder Narayana Press Method of Printing Offset

Aarhus University Press Series title: Tænkepauser. 1: Data, 2: Opmærksomhed, 3: Tarmen, 4: Vand, 5: Risiko, 6: Diktatur, 7: Ord: 1: Anja Bechmann, 2: Emma Louise Louth, 3: Christian Lodberg Hvas, 4: Søren Rud Keiding, 5: Antoinette Fage-Butler, 6: Jakob Tolstrup, 7: Linda DesignerGreveCamilla

Typefaces Dante (Monotype), Gotham (Hoefler&Co.), title font varies Paper Munken Premium Cream

Phoenix Color Method of Printing Offset

Designer Comments This was an important book for us, with a well known author, so everyone wanted it to look like a “big book.” The author wanted to feature his photographic installation (also called Black Paper), which wasn’t a natural choice for a cover image as it lacks a strong central image or clear focal point, and is very horizontal. My challenge then was how to best combine the image with large, powerful type. I actually drew a few different custom titling fonts, aiming for the “blackest” weight of type I could, before realizing Futura Schlagzeile / Futura Display was perfect. It seemed conceptually important for the book to be actually wrapped in “black paper”, but I wanted to distinguish between the black of the jacket and the blackness within the photos. The spot gloss both highlights the photographs’ materiality and makes the rest of the jacket feel more like paper. Judges’ Comments We loved this selection of images set against the black background.

Jacke TS and c over S 129 University of Chicago Press Black Paper: Writing in a Dark Time Teju DesignerCole Isaac Tobin Art Director Jill Shimabukuro Illustrator Teju Cole Production Coordinator Joseph Claude Typefaces Futura Now Display (Monotype), Arno Pro (Adobe) Paper 80 lb C1S Inks 4-color Coating/FinishprocessMatte scuff-resistant lamination with spot Printer/Bindergloss

130 Jacke TS and c over S University of Chicago Press The Cosmic Zoom: Scale, Knowledge, and Mediation Zachary DesignerHortonIsaac Tobin Art Director Jill Shimabukuro Illustrator Kyle Wagner Production Coordinator Joel Score Typefaces Helvetica Now Paper 80 lb C1S Inks Black ink Coating/FinishonlyMatte scuff-resistant layflat lamination Printer/Binder Phoenix Color Method of Printing Offset Designer Comments This book was inspired by Ray and Charles Eames’ “Powers of Ten” film, so it seemed natural for the design to follow suit—hence the Helvetica. Judges’ Comments Such an elegant yet fun type treatment.

Jacke TS and c over S 131 University of Chicago Press Geometry of Grief: Reflections on Mathematics, Loss, and Life Michael DesignerFrameRae Ganci Hammers Art Director Jill Shimabukuro Production Coordinator Skye Agnew Typefaces Mrs Eaves (Emigre) Paper 80 lb C1S Inks 4-color Coating/FinishprocessScuff-resistant matte film Printer/Binder Phoenix Color Method of Printing Offset Designer Comments This book looks at grief through the lens of fractal mathematics. The designer chose a cyanotype by Anna Akins, which feels perfectly suited to this unexpected combination of topics. It offers a field of blue with branching organic plant matter and is combined with diminutive type to create an overall understated and atmospheric jacket. Judges’ Comments Understated in the best way. Elegant.

Method of Printing Offset Designer Comments Paul Davies’ playful cosmic questions and writing style allowed for a playful take on the jacket design. Die-cut holes nibble away at the cover and offer a glimpse of something beyond (a photo of the Cosmic Microwave Background was printed on the lithocase). It gives the impression of a dynamic and changing universe as well as the sense that there is more to see than what is visible at first glance.

Friesens

Judges’ Comments The die cut shapes really elevate this concept.

132 Jacke TS and c over S University of Chicago Press What’s Eating the Universe? and Other Cosmic Questions Paul DesignerDaviesRae Ganci Hammers Art Director Jill Shimabukuro Production Coordinator Jill Shimabukuro Typefaces Gotham (Hoefler & Co.), Miller Display (Carter & Cone) Paper 95 lb Gloss C1S Inks 4-color Coating/FinishprocessScuff-resistant stay-flat laminate, die Printer/Bindercuts

A slendered, woodblock-like typeface Druk XCondensed has been chosen, to add “weight” to letters, creating a kind of velocity, a falling down movement. Colors including blue, red and white, as well as stars, were all adopted from the national flag of USA. The flag elements, stripes and stars, also appeared on the cover, dilapidated, to create again the ruined, fragmented image of the country.

Judges’ Comments The concept of the letters falling from the title was striking and effective.

American Life: A Chinese Historian’s Perspective

Chinese University of Hong Kong Press

Cho-yun Hsu; Translated by Carissa Fletcher Designer Chan Hei Shing@Hei Shing Book Design Production Coordinator Tsoi Ting Ting XCondensed Paper 220 gsm New Raglin paper red foil stamping, debossing Hang Tai Printing Company Ltd.

Jacke TS and c over S 133

Typefaces Druk

Printer/Binder

Inks 4-color Coating/FinishprocessBlue and

Method of Printing Offset Designer Comments This book represents reminiscences from the life of a sojourner, the author expertly analyzing the origins of the tension and conflict between different classes and ethnic groups in American society. The disposition of the book title “American Life” is the main visual of the dust jacket: Letters were collapsing, scattered apart which resembled isolated individuals of a fragmented society, losing their solidarity to individualism (the falling letter “i”), leaving the hollowed “American Life” on top, in debossed print.

Designer Comments The thought was to find a way to graphically represent the conversation in a way the balances the seriousness of the topic while being inviting enough to attract engagement. This ended up taking serious tones as well as inspiration from the Star of David to create a poster-like cover inviting the viewer in to the dialogue.

Judges’ Comments Love the energy of this type!

134 Jacke TS and c over S Georgetown University Press Blacks and Jews in America: An Invitation to Dialogue Terrence L. Johnson and Jacques Berlinerblau Designer Spencer Fuller / Faceout Studio Art Director Elizabeth Crowley-Webber Illustrator Imagery from Shutterstock Production Coordinator Elizabeth Crowley-Webber Typefaces DIN Condensed, Poplar Paper 80 lb white endleaf Inks Black ink Coating/FinishonlyGloss film lamination Printer/Binder Phoenix Color Method of Printing Offset

Jacke TS and c over S 135 Georgetown University Press The End of Asylum Andrew I. Schoenholtz, Jaya Ramji-Nogales, and Philip G. Schrag Designer Jeff Miller / Faceout Studio Art Director Elizabeth Crowley-Webber Illustrator Imagery from Shutterstock Production Coordinator Elizabeth Crowley-Webber Typefaces ITC Avant Garde Gothic Bold, Arno Pro Paper(Adobe)95 lb stock Inks 4-color Coating/FinishprocessMatte film lamination and debossing Printer/Binder Versa Press Method of Printing Offset Designer Comments This cover was designed with the intention of subtle twists on imagery that would demand your attention and emotion, even though there’s almost a stoic quality to the quiet and simple arrangement of Judges’elements.Comments Strong and timely concept, well handled.

136 Jacke TS and c over S University of Georgia Press Hysterical Water: Poems Hannah Baker Saltmarsh Designer Erin Kirk Production Coordinator Rebecca Norton Typefaces Arno Pro (Adobe), Futura Bold Oblique Paper(Bitstream)12pt C1S Inks 4-color Coating/FinishprocessScuff-resistant layflat matte lamination Printer/Binder Sheridan Books Method of Printing Offset Judges’ Comments The type placement is perfect for this image.

Jacke TS and c over S 137 University of Iowa Press Radicals: Audacious Writings by American Women, Volumes 1 and 2 Edited by Meredith Stabel and Zachary Turpin Designer Kathleen Lynch, Black Kat Design Art Director Karen Copp Illustrator Nikiteev Konstantin, iStock.com Production Coordinator Karen Copp Typefaces Hand lettering by designer, Alternate Gothic EF (Elsner + Flake) Paper 10pt C1S Inks 4-color Coating/FinishprocessGloss and matte lamination Printer/Binder Versa Press Method of Printing Offset Judges’ Comments Lively design, great use of color, and a wonderful continuation of the motif across both covers.

138 Jacke TS and c over S University of Iowa Press We Heard It When We Were Young: Tales of Growing Up Mexican American in Small-Town Iowa Chuy DesignerRenteriaKimberly Glyder Art Director Karen Copp Production Coordinator Karen Copp Typefaces Hand lettering by designer, Archer (Hoefler & Co.), HiH Incline Paper 10pt C1S Inks 4-color Coating/FinishprocessMatte film lamination and debossing Printer/Binder Versa Press Method of Printing Offset Judges’ Comments We just love the hand lettering and the retro feel of this one.

Jacke TS and c over S 139 McGill-Queen’s University Press Bitter in the Belly John Emil Vincent Designer David Drummond Art Director Rob Mackie Production Coordinator Rob Mackie Typefaces New Baskerville ITC Paper 93 lb Supreme Gloss Cover Matte Inks 4-color Coating/FinishprocessMatte finish scuff-free Printer/Binder Imprimerie Gauvin Method of Printing Offset Designer Comments This is a poetry cover where the image and title really play off each other, with Jonah being spit out of the whale. Judges’ Comments We love how the art tells the story.

140 Jacke TS and c over S McGill-Queen’s University Press Chronic Aftershock: How 9/11 Shaped Present-Day DesignerJean-PhilippeFranceMathyHengWee Tan Art Director Rob Mackie Production Coordinator Rob Mackie Typefaces Tusker Grotesk, Trade Gothic Paper 95 lb Gloss C1S FSC Inks 4-color DesignerMethodPrinter/BinderCoating/FinishprocessMatteFriesensofPrintingOffsetCommentsThe shadow of the disintegrating towers is cast by the symbol of France. This highlights the influence of 9/11 attacks on the French society. Judges’ Comments Strong and eye-catching concept and colors.

Judges’ Comments A powerful effective image.

Jacke TS and c over S 141 McGill-Queen’s University Press DesignerNeilUnbecomingSurkanDavid Drummond Art Director Elena Goranescu Production Coordinator Elena Goranescu Typefaces Bodoni (Bitstream) Paper 93 lb Supreme Gloss Cover Matte Inks 4-color Coating/FinishprocessMatte finish scuff-free, spot varnish Printer/Binder Imprimerie Gauvin Method of Printing Offset

Designer Comments You put a lot of yourself into these covers. Sometimes it can be very personal stuff you are using. I was going through some old slides that my father had. And so that was something that I was preoccupied with when this cover came up. I was just fascinated with the way slides represent an image, how they frame an image. Slides always had to be marked for the right way to put them inside the carousel. So that slide has a mark on it. That’s actually my father’s mark. So the poet will probably never know that. A lot of it’s coming from you, your own personal background. The title is Unbecoming. The slide is sort of disintegrating, or sort of melting, almost. And there’s an image there, but it’s barely decipherable.

142 Jacke TS and c over S McGill-Queen’s University Press GabrielleUnbound ProductionArtDesignerMcIntireDavidDrummondDirectorElenaGoranescuCoordinatorElena Goranescu Typefaces ITC New Baskerville Paper 93 lb Supreme Gloss Cover Matte Inks 4-color Coating/FinishprocessMatte finish scuff-free Printer/Binder Imprimerie Gauvin Method of Printing Offset Designer Comments These are poems about ecstatic nature. The text on the unfurling pieces of paper is from the actual poems. Judges’ Comments A poetic approach that just works.

Jacke TS and c over S 143 McGill-Queen’s University Press DesignerEdwardwhereaboutsCarsonDavid Drummond Art Director Elena Goranescu Production Coordinator Elena Goranescu Typefaces Bodoni (Bitstream) Paper 93 lb Supreme Gloss Cover Matte Inks 4-color Coating/FinishprocessMatte finish scuff-free, blind embossing of 2 dots on front cover Printer/Binder Imprimerie Gauvin Method of Printing Offset Designer Comments For this poetry cover I played off the “You are here” location maps. Judges’ Comments Loved the sense of wandering achieved here.

144 Jacke TS and c over S University of Minnesota Press Solo Viola: A Post-Exotic Novel Antoine Volodine; Translated by Lia Swope Mitchell Designer Michel Vrana Art Director Daniel Ochsner Production Coordinator Daniel Ochsner Typefaces Praktika Medium Extended (Fenotype), Bodoni Svty Two (ITC), Bodoni Std Book (Bitstream) Paper 10pt C1S Inks 4-color Coating/FinishprocessMatte layflat Printer/Binder John P. Pow Company Method of Printing Offset Designer Comments Designer did not illustrate the cover but rather “remixed” stock illustrations to create the final design. Judges’ Comments Great interplay of type and illustration.

Jacke TS and c over S 145 University of Minnesota Press Watershed: Attending to Body and Earth in Distress Ranae Lenor Hanson Designer Casalino Design Art Director Ana Bichanich Production Coordinator Ana Bichanich Typefaces Hand-lettering by designer, Caslon Pro (Adobe) Paper 10pt C1S Inks 4-color Coating/FinishprocessMatte layflat scuff-resistant nylon Printer/Binderlamination Friesens Method of Printing Offset

This one grabbed our attention. Great using of hand lettering with a strong image.

Designer Comments For the cover of Watershed, a book about the body and earth in distress, the goal was to simultaneously show a human element (body) and nature (earth). The author’s daughter pointed us to photographer Joe Baumann’s work, and this image of a vein-like river felt perfect for the cover. The handlettering brought in another human element to complete the Judges’design.Comments

146 Jacke TS and c over S University Press of Mississippi Poetic Song Verse: Blues-Based Popular Music and MikePoetryMattison and Ernest Suarez Designer Jennifer Mixon Art Director Todd Lape Illustrator ProductioniStock.comCoordinator Jennifer Mixon Typefaces HWT Arabesque Regular (designed by Terry Wüdenbachs, from Hamilton Wood Type Collection) Paper 12pt C1S Inks 4-color Printer/BinderCoating/FinishprocessMatteIngram Lightning Source Method of Printing Digital Judges’ Comments Really great type!

Jacke TS and c over S 147 University of Nebraska Press To Hell with It: Of Sin and Sex, Chicken Wings, and Dante’s Entirely Ridiculous, Needlessly GuiltInducing Inferno Dinty W. DesignerMooreNathan Putens Illustrator CSA Images Production Coordinator Terrance Bolden Typefaces Bodoni Poster (Adobe), Futura Std (Adobe) Paper 80 lb C1S Inks 4-color Coating/FinishprocessMatte lamination Printer/Binder Ingram Lightning Source Method of Printing Digital Judges’ Comments Attention grabbing image and colors.

148 Jacke TS and c over S University of New Mexico Press origin story: poems Gary DesignerJacksonMindy Basinger Hill Illustrator Courtesy of the author Production Coordinator Mindy Basinger Hill Typefaces Metallophile Sp8 Light, Minion Pro (Adobe) Paper 12pt C1S Inks 4-color process Coating/Finish Scuff-free matte film lamination Printer/Binder Versa Press Method of Printing Offset Judges’ Comments Love the subtle details here!

Jacke TS and c over S 149 Penn State University Press A Sensory History Manifesto Mark M. DesignerSmithHenry Sene Yee Art Director Regina Starace Production Coordinator Jennifer Norton Typefaces Gotham (Hoefler&Co) Paper 12pt C1S Inks 4-color Coating/FinishprocessMatte layflat scuff-free Printer/Binder Integrated Books International Method of Printing Digital Judges’ Comments The visual plays to the sense. Well crafted.

150 Jacke TS and c over S University of Pittsburgh Press Now You Know It All: Stories Joanna DesignerPearsonHenry Sene Yee Art Director Joel W. Coggins Production Coordinator Joel W. Coggins Typefaces Jersey M54 (free font by Mohammed Rahman), Minion Pro (Adobe) Paper 95 lb Sterling Ultra Litho C1S Inks 4-color Coating/FinishprocessGrit matte finish with embossing (title and author name) Printer/Binder McNaughton & Gunn Method of Printing Offset Judges’ Comments Great cropping of the image. Beautiful type!

Jacke TS and c over S 151 University of Pittsburgh Press Randomly Moving Particles Andrew DesignerMotionJoelW. Coggins Production Coordinator Joel W. Coggins Typefaces Objectiv Mk 3 (Adobe ), Sabon MT Paper(Monotype)10pt C1S Inks 4-color Coating/FinishprocessMatte finish Printer/Binder Versa Press Method of Printing Offset Judges’ Comments Love the relationship between the image and title.

152 Jacke TS and c over S Princeton University Press A History of Biology Michel DesignerMorangeHeather Hansen Art Director Maria Lindenfeldar Production Coordinator Danielle Amatucci Typefaces Plantin (Monotype) Paper 80 lb C1S Inks 4-color Coating/FinishprocessMatte scuff-resistant Printer/Binder Sheridan Books Method of Printing Offset Designer Comments This cover uses the concept of Inheritance Charts; the ideas in this book are ’inherited’ from biology and history. Judges’ Comments Simple and effective.

Jacke TS and c over S 153 Princeton University Press A Matter of Obscenity: The Politics of Censorship in Modern DesignerChristopherEnglandHilliardLaurenMichelle Smith Art Director Jess Massabrook Production Coordinator Danielle Amatucci Typefaces Garamond Pro (Adobe), Bodoni Svty Two Paper 80 lb C1S Inks 4-color Coating/FinishprocessMatte scuff-free Printer/Binder CPI Antony Rowe Ltd. Method of Printing Offset Judges’ Comments A familiar concept with an excellent treatment.

154 Jacke TS and c over S Princeton University Press American Afterlives: Reinventing Death in the Twenty-First Century Shannon Lee Dawdy Designer Karl Spurzem Art Director Maria Lindenfeldar Production Coordinator Erin Suydam Typefaces Filson Pro, Mostardesign Paper 100 lb C1S Inks 4-color Coating/FinishprocessMatte scuff-resistant film Printer/Binder Sheridan Books Method of Printing Offset Judges’ Comments Beautiful design and illustration with a limited color palette.

Jacke TS and c over S 155 Princeton University Press Power to the Public: The Promise of Public Interest TaraTechnologyDawson McGuinness and Hana Schank Designer Derek Thornton / Notch Design Art Director Maria Lindenfeldar Production Coordinator Ruthie Rosenstock Typefaces Futura (Bauer Type Foundry / Intertype) Paper 80 lb C1S Inks 4-color Coating/FinishprocessMatte scuff-resistant film Printer/Binder Maple Press Method of Printing Offset Designer Comments This cover is meant to be smart, simple, and suggest the idea of sharing and sharing and releasing. The concept is simple, technology can help governments and non profits solve serious problems in the Judges’world.Comments We loved the interplay between the art and the title.

Designer Comments This cover has a timeless look, feeling both historical, and modern. The textures, burst, and title lettering were hand illustrated. These elements were also manipulated to fit on the spine and back cover. The desired tone for this cover was gritty and rough, suggesting the raw and real struggle involved in racism, but also hopeful, hinting at how far we have come and where we are going. The cloth case under the jacket is also a classy surprise, and compliments the feel of the jacket Judges’nicely.Comments

156 Jacke TS and c over S Princeton University Press White Freedom: The Racial History of an Idea Tyler DesignerStovallDerek Thornton / Notch Design Art Director Maria Lindenfeldar Illustrator Derek Thornton / Notch Design Production Coordinator Ruthie Rosenstock Typefaces Hand lettering by designer, Archetype (T26 Digital Type Foundry) Paper 100 lb Mohawk Via Felt Inks 4-color Coating/FinishprocessMatte varnish with gloss film on Printer/Binderunderside Sheridan Books Method of Printing Offset

The whole thing just works together. Great design and layout.

Jacke TS and c over S 157 Rutgers University Press Getting It, Having It, Keeping It Up: Straight Men’s Sexuality in Public and Private Beth DesignerMontemurroLindsay Starr Art Director Vincent Nordhaus Production Coordinator Vincent Nordhaus Typefaces Abolition, Lust, Futura Paper 10pt coated Inks 4-color Printer/BinderCoating/FinishprocessMatteIntegrated Books International Method of Printing Digital Designer Comments There were so many ways this cover could have gone wrong! The challenge here was avoiding something too explicit, juvenile, on-the-nose, or too safe, while still keeping it contemporary and eyecatching. Lindsay’s solution is elegant, a little irreverent, and attention grabbing. Judges’ Comments Such a fun treatment of the title!

158 Jacke TS and c over S University of Tennessee Press Native Intoxicants of North America Sean DesignerRaffertyKelly Gray Production Coordinator Stephanie Thompson Typefaces Helvetica Neue LT Paper 100 lb Sterling Litho Inks 4-color Coating/FinishprocessMatte laminate with spot UV Printer/Binder Thomson Reuters Method of Printing Offset Judges’ Comments The stylized feather detail has a graphic punch that captures the title well.

160 Jacke TS and c over S University of Texas Press Resisting Garbage: The Politics of Waste Management in American Cities Lily Baum Pollans Designer Jenny Volvovski Art Director Derek George Illustrator Paul C. Gunn Production Coordinator Dan Pederson Typefaces FK Screamer (Florian Karsten), Lyon (Commercial Type) Paper 80 lb Mohawk Via Felt Cool White Inks 4-color Coating/FinishprocessVarnish on front, gloss film on back Printer/Binder Phoenix Color Method of Printing Offset Judges’ Comments The scientific treatment of an everyday object was a fun surprise on this one.

Jacke TS and c over S 161 Vanderbilt University Press Borges: An Introduction Julio Premat; Translated by Amanda Murphy Designer Drohan DiSanto Production Coordinator Drohan DiSanto Typefaces Warnock Pro, Tusker Grotesk Paper 10pt C1S Inks 4-color Coating/FinishprocessMatte film lamination Printer/Binder Ingram Lightning Source Method of Printing Digital Judges’ Comments The scale of the type artfully merged with the portrait sets this apart.

162 Jacke TS and c over S Wilfrid Laurier University Press On the Other Side(s) of 150: Untold Stories and Critical Approaches to History, Literature, and Identity in Canada Edited by Linda M. Morra and Sarah Henzi Designer Michel Vrana Art Director Lindsey Hunnewell Production Coordinator Lindsey Hunnewell Typefaces Alternate Gothic No. 1 (Linotype), Caslon Pro (Adobe) Paper 95 lb FSC Coated Inks 4-color Coating/FinishprocessMatte scuff-resistant soft touch nylon Printer/Binder Friesens Method of Printing Offset Judges’ Comments Love the graphic interruption of the portrait here.

Jacke TS and c over S 163 University of Wisconsin Press Quertext: An Anthology of Queer Voices from German-Speaking Europe Edited by Gary Schmidt and Merrill Cole Designer Jeremy John Parker Art Director Jennifer Conn Production Coordinator Terry Emmrich Typefaces BankNue Lined, Gotham Medium Paper 100 lb C1S Inks 4-color Coating/FinishprocessMatte layflat scuff-free lamination Printer/Binder Perfection Press Method of Printing Offset Judges’ Comments Inventive typography matched with a great layout.

164 Jacke TS and c over S Yale University Press Clairvoyant of the Small: The Life of Robert Walser Susan DesignerBernofskyJenny Volvovski Art Director Dustin Kilgore Production Coordinator Katie Golden Typefaces Trio Grotesk (Schick Toikka), Caslon Pro (Adobe) Paper 100 lb C1S Inks 4-color Coating/FinishprocessMatte polypropylene Printer/Binder John P. Pow Company Method of Printing Offset Judges’ Comments The delicate imagery plays off the title quite well—beautiful.

Jacke TS and c over S 165 Yale University Press Gilgamesh: A New Translation of the Ancient Epic Sophus DesignerHelleJenny Volvovski Art Director Dustin Kilgore Production Coordinator Aldo Cupo Typefaces Graphik, Harbour Paper 100 lb C1S Inks Black + PMS 8025c (metallic copper) Coating/Finish Matte polypropylene, spot UV gloss Printer/Binder Sheridan Books Method of Printing Offset Judges’ Comments We loved how the fragments break up the formal aspects of this design.

166 Jacke TS and c over S Yale University Press Latecomer State Formation: Political Geography and Capacity Failure in Latin America Sebastián Mazzuca Designer Sonia Shannon Art Director Dustin Kilgore Production Coordinator Maureen Noonan Typefaces Acumin Pro (Adobe Originals) Paper 100 lb C1S Inks 4-color Coating/FinishprocessMatte scuff-free nylon layflat Printer/Binder Sheridan Books Method of Printing Digital Judges’ Comments This one grabbed us immediately. The treatment of the image is just right.

Typefaces Signal Compressed Regular (Production Type), Neue

The jacket design brief called for signaling to the reader the novel’s setting as well as something about the main character Warda. In order to depict the protagonist without showing her too clearly— and trampling the reader’s own mental image—I used a close-up in combination with a coarse halftone screen. The halftone screen also being a reference to one of the main character’s work in journalism. The landscape in the foreground is a collage created by hand.

Paper 100

Designer Comments

Production

Judges’ Comments We were drawn in by this odd and unexpected scene.

Inks 4-color Coating/FinishprocessMatte polypropylene Printer/Binder Sheridan Books Method of Printing Offset

Art

/ Matt Avery Director Dustin Kilgore Coordinator Aldo Cupo Plak (Monotype) lb C1S

Jacke TS and c over S 167 Yale University Press Warda: A Novel Sonallah Ibrahim; Translated from the Arabic by Hosam DesignerAboul-ElaMonograph

169 Index

Avery,DesignersMatt 34, 36, 167 Bauer, Margaret 94 Black Kat Design 137 Bourgoyne, Barbara Neely 26 Brooks, Roy 54 Buchanan, Amy Ruth 70 Casalino Design 145 Castro, Antonio 78 Cedillos, Felicia 96 Chan, Jenny 50, 52 Clay, Omega 78 Coggins, Joel W. 151 de Schrevel, Stéphane 74 DiSanto, Drohan 161 Drobka, Jim 42, 44, 90 Drummond, David 139, 141, 142, 143 Faceout Studio 134, 135 Fold Four, Inc. 54

Avery,CompositorsMatt34, 36 Bauer, Margaret 94 Bourgoyne, Barbara Neely 26 Brooks, Roy 54 Buchanan, Amy Ruth 70 Chan, Jenny 50, 52 Clay, Omega 78 Copperline Book Services 20, 68, 110 de Schrevel, Stéphane 74 Drobka, Jim 90 Fold Four, Inc. 54 Hammers, Rae Ganci 84 Hauser, Kurt 88 Henderson, Tina 42, 44 Hill, Mindy Basinger 118, 120, 122 Ireland, Brad 46 Jack Design 50, 52 Kirk, Erin 30, 86, 112 La Villa Hermosa 24 Lee, Kristie 102, 124 Lindgren, Laura 106 Lo, Jonathan 40 Meader, Bruce Ian 56 Monograph 34, 36 Neustrom, Michelle A. 92 New, Daniel 98 Nielsen, Nethe Ellinge 14 Shay, Janice 104 Sher, Jena Shimabukuro,58 Jill 38, 62, 64 Starace, Regina 48, 76, 100 Tseng Information Systems 18, 28, 80 Weiss, Amanda 72 Westchester 22 Wingfield, Teresa 96 Wolfe, Alex 114 Zakrisson, Carl-H.K. 16

Chinese University of Hong Kong Press 133 Duke University Press 18, 20, 22, 68, 110 Fordham University Press 40 Georgetown University Press 134, 135 University of Georgia Press 30, 86, 112, 118, 136 Getty Publications 42, 44, 88, 90 University of Iowa Press 137, 138 Johns Hopkins University Press 70, 72 Leuven University Press 24, 74

Fuller,170 Spencer 134 Glyder, Kimberly 138 Gray, Kelly 158, 159 Hammers, Rae Ganci 84, 131, 132 Hansen, Heather 152 Harrison, Aimee C. 18, 68 Hauser, Kurt 88 Hei Shing Book Design 133 Hei Shing, Chan 133 Hendel, Rich 28 Hill, Mindy Basinger 118, 120, 122, 148 Ireland, Brad 46 Jack Design 50, 52 Jørgensen, Camilla 128 Kilgore, Dustin 80 Kirk, Erin 30, 86, 112, 136 La Villa Hermosa 24 Lee, Kristie 102, 124 Li, Ryan Lindgren,66Laura 106 Lo, Jonathan 40 Lorenz, Catherine 42 Lynch, Kathleen 70, 137 Meader, Bruce Ian 56 Miller, Jeff 135 Mixon, Jennifer 146 Monograph 34, 36, 167 Neustrom, Michelle A. 92 New, Daniel 98 Nielsen, Nethe Ellinge 14 Notch Design 155, 156 Parker, Jeremy John 163 Putens, Nathan 147 Richardson, Courtney Leigh 22, 110 Sene Yee, Henry 149, 150 Shannon, Sonia 166 Shay, Janice 104 Sher, Jena Shimabukuro,58 Jill 38, 62, 64 Smith, Lauren Michelle 153 Spurzem, Karl 154 Starace, Regina 48, 76, 100 Starr, Lindsay 157 Tauch, Matthew 20 Thompson, Judy 28 Thornton, Derek 155, 156 Tobin, Isaac 129, 130 Trefold Volvovski,128Jenny 80, 160, 164, 165 Vrana, Michel 144, 162 Wee Tan, Heng 140 Weiss, Amanda 72 Wingfield, Teresa 96 Wolfe, Alex 114 Zakrisson, Carl-H.K. 16

Illustrators / Photographers Cole, Teju 129 CSA Images 147 Gunn, Paul C. 160 iStock.com 137, 146 Jørgensen, Camilla 128 Konstantin, Nikiteev 137 Notch Design 156 Shutterstock 134, 135 Thornton, Derek 156 Trefold Wagner,128Kyle 130 AarhusPressesUniversity Press 14, 16, 128 University of Chicago Press 34, 36, 38, 62, 64, 66, 84, 129, 130, 131, 132

Nordhaus, Vincent 157 Norton, Jennifer 48, 76, 100, 149 Norton, Rebecca 30, 112, 136 Ochsner, Daniel 144

Noonan, Maureen 166

Yale University Press 58, 80, 106, 164, 165, 166, 167 Production Coordinators Agnew, Skye 131 Amatucci, Danielle 152, 153 Bichanich, Ana 145 Bolden, Terrance 147 Bourgoyne, Barbara Neely 26 Buchanan, Melissa 86, 118 Cedillos, Felicia 96 Claude, Joseph 129 Coggins, Joel W. 114, 150, 151 Copp, Karen 137, 138

Costanzo, Patricia Di 74 Critelli, Chris Crowley-Webber,22 Elizabeth 134, 135 Cupo, Aldo 80, 165, 167

University of Wisconsin Press 163

Louisiana State University Press 26, 92 McGill-Queen’s University Press 139, 140, 141, 142, 143

University of New South Wales Press 98

171

Davies, Joan 34, 36, 38, 64, 66, 84 Davis, Clare 44, 90 Deemer, Michelle 88 Di Costanzo, Patricia 24 DiSanto, Drohan 161 Emmrich, Terry 163 Gallina, Victoria 42 Golden, Katie 164 Goranescu, Elena 141, 142, 143

Granville, Chris 18, 20, 68, 110 Harrits, Cecilie 14 Hein, Lisa 62 Henry, Sarah 106 Hill, Mindy Basinger 120, 122, 148

University of Pittsburgh Press 114, 150, 151

Paulson, Jennifer 70, 72 Pederson, Dan 160

Larsen, Søren Mogensen 128 Lee, Kristie 78, 102, 124 Lerner, Mark 40 Mackie, Rob 139, 140 Marson, Rosie 98 Mayer, Mary 58 McIntyre, Jennifer 28 Mixon, Jennifer 146 Nawrocki, Sarah 104 Neustrom, Michelle A. 92

Hunnewell, Lindsey 162 Hvilshøj, Ulrik 16 Ireland, Brad 94

Princeton University Press 50, 52, 54, 152, 153, 154, 155, 156 RIT Press 56 Rutgers University Press 157 South Dakota Historical Society Press 28 University of Tennessee Press 158, 159 Texas A&M University Press 78, 102, 124 University of Texas Press 160 Trinity University Press 104 Vanderbilt University Press 161 Wilfrid Laurier University Press 162

Penn State University Press 48, 76, 100, 149

University of Minnesota Press 144, 145 University Press of Mississippi 146 National Gallery of Art 46, 94 University of Nebraska Press 147 University of New Mexico Press 96, 120, 122, 148

Rosenstock, Ruthie 155, 156 Score, Joel 130 Sears, Steve 50, 52, 54 Shimabukuro, Jill 132 Soom, Marnie 56 Suydam, Erin 154 Thompson, Stephanie 158, 159 Ting Ting, Tsoi 133 Wiginton, Christina 46

AdobeAcuminAbolitionTypefaces172157Pro166TextPro 62 AIWood Antique Condensed 70 Alegreya 74 Alright Sans 66 Alternate Gothic 137, 162 Antique 2 Condensed Bold 70 Antique Olive Nord 102 Archer Archetype138 156 Arnhem 36 Arnhem Pro Blond 84 Arno Pro 16, 38, 66, 100, 129, 135, 136 Ashwood Extra Bold 70 Atlas Grotesk 34, 36 Avant Garde 52, 98, 135 Avenir BankNue54Lined 163 Begum Berkeley84Old Style 96 Berthold Akzidenz 58 Bluu Nex 18 Bodoni 141, 143, 144, 147, 153 Bookman Old Style 102 Brixton Wood 70 Bullion Extra Condensed 70 Bulmer 28 Calibre 88 Canela Text 20, 110 Caslon Pro 104, 118, 145, 162, 164 Chaparral Pro 122 Circular Standard 98 Copihue 118, 120 Dala Floda 34 Dante 70, 128 Din 38, 134 Druk XCondensed 133 Eames Century Modern 78 Electra Epilogue12042 ErikRighthand Pro 104 FF Scala 58 Filson Pro 154 FK Screamer 160 Francesca 74 Franklin Gothic 68 Freight Text Pro 76 Futura 129, 136, 147, 155, 157 Galano Grotesque 90 Garamond 24, 26, 72, 114, 153 Glypha LT Std 159 Gotham 64, 78, 86, 112, 128, 132, 149, 163 Graphik 36, 165 Harbour 165 Harriet Text 64 Helvetica 22, 62, 130, 158 HiH Incline 138 Hoefler Text 42 HWT Arabesque Regular 146 Ideal Sans 46 Jenson Pro 50 Jersey M54, 150 Kastelov Kinetika 106 Knockout 76 Louize Display 80 Lust 157 Lyon Metallophile160 Sp8, 114, 148 Metropolis 92 Miller 86, 132 Minion Pro 22, 30, 78, 98, 124, 148, 150, 159 Mostardesign 154 Mr Eaves 122 Mrs Eaves 131 MS Reference Sans Serif 102 Neue Haas Grotesk 56 Neue Plak 167 Neutraface 2, 56 New Baskerville 139, 142 New Rail Alphabet 14 Numberplate 24 Objectiv Mk 3, 151

173 Plantin Plusquam152Sans 96 Poplar 134 Portrait Text 18, 20, 68 Praktika Medium Extended 144 Providence 104 PSFournier Std Petit 72 Sabon MT 151 SangBleu Republic 88 Scala Sans Pro 48 Schmalfette CP 58 Sentinel 14, 52 Signal Compressed 167 SimSun 112 Sirba Source48Sans Variable 124 Super Grotesk 54 Surveyor 94 Sweet Sans Pro 72 Trade Gothic 140 Trio Grotesk 164 TT Jenevers 44 Tusker Grotesk 140, 161 Twentieth Century 30 Unit Slab OT 44 Univers 40, 159 Warnock Pro 112, 161 Whitman 92, 110 Whitney Index 62 Windsor 100 Wood Bonnet Antique No 7, 70 Work Sans 84 Yale Printers80 / Binders Artron 42, 88 Asia Pacific Offset 48 Australian Book connection 98 BALTO Print 100 C&C Offset 34, 66, 84, 90 Conti Tipocolor 52 CPI Antony Rowe Ltd. 153 D’Auria Printing 50, 54 Die Keure 24 Friesens 28, 36, 102, 104, 124, 132, 140, 145, 162 Hang Tai Printing Company Ltd. 133 Imprimerie Gauvin 139, 141, 142, 143 Ingram Lightning Source 146, 147, 161 Integrated Books International 40, 149, 157 John P. Pow Company 22, 38, 62, 64, 68, 110, 144, 164 Jostens 56 Kings Time Printing Press, LLC at Toppan Leefung 92, Maple118 Press 70, 72, 155 Martin Book Management 86 McNaughton & Gunn 114, 150 Meridian Printing 94 Narayana Press 14, 16, 128 Perfection Press 163 Phoenix Color 76, 129, 130, 131, 134, 160 Porter Print Group 18, 20 Printer Trento s.r.l. 44 Pristone Pte. Ltd. 96, 106 Regent Publishing Services 58 Sheridan Books 22, 26, 30, 38, 64, 68, 76, 78, 80, 110, 112, 136, 152, 154, 156, 165, 166, 167 Thomson Reuters 158, 159 Verona Libri, Italy 46 Versa Press 62, 120, 122, 135, 137, 138, 148, 151 Wilco bv 74

Rolland

Acknowledgments

Paper and Printing Maple Press DesignCatalogand Typesetting Brady McNamara Editor and Production Barbara

Paper 12pt

2022

Wendy McMillen, University of Notre Dame Press

Regina Starace, Penn State University Press

Barbara Neely Bourgoyne Neely Bourgoyne Coordinator

Jacket, and Journal Show

175

Typefaces Operetta,

Call for Entries Design and Production Wendy

Carrie D. Teefey Acumin by Adobe Friesens C1S (cover), lb Opaque (text) AUPresses Book,

Award DesignCertificateandProduction

Mindy Hill, University of Mexico Press

Mark Lerner, Fordham University Press

The AUPresses Book, Jacket, and Journal Show committee recognizes the individuals and companies whose generosity and expertise made the 2022 show and catalog possible. We would like to express our appreciation to our judges Stephen Coles, Tim Green, Lisa Hamm, and Lucy Kim for their time and efforts in this endeavor. We would like to thank Kate Kolendo and the AUPresses staff for their advice and assistance throughout the two days of judging. And lastly, many thanks to Friesens for supporting the work of AUPresses by printing and binding the catalog. McMillen

Production

Ani Deyirmenjian, University of Toronto Press

Jennifer Blanc-Tal, Rutgers University Press

Brady McNamara, Oxford University Press

Kevin Barrett Kane, University of California Press

Carrie Downes Teefey, Wayne State University Press

BarbaraCommitteeNeelyBourgoyne, Chair, LSU Press

Paper, Printing, and Binding