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Association of University Presses Book, Jacket, and Journal Show 2021


Purpose

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ince 1965, 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. The Book, Jacket, and Journal Show is a juried design competition, open only to AUPresses member publishers. Most years, the call-for-entries is distributed in autumn, and the jurors gather in AUPresses’ New York offices in January to examine hundreds of submissions and select the very best examples of book, journal, and cover designs. This year, because of the pandemic, entries were shipped to the jurors who made their selections remotely. 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 2021 show includes books published by AUPresses member presses in 2020 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 2021 Book, Jacket, and Journal Show will premiere at the AUPresses Annual Meeting, held virtually in June 2021. Afterward, conditions permitting, the show will be exhibited at member presses around the country from September 2021 through May 2022. Learn more about the show at design.up.hcommons.org.

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2020–2021 Results

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udging for this year’s Books, Jacket, and Journal Show took place over the month of February 2021 in Zoom meetings and at the homes of the jurors.

Statistics Member presses submitted 523 publications across the following categories: 43 45 24 31 14 4 6 356

Scholarly typographic Scholarly illustrated Trade typographic Trade illustrated Poetry and literature Journals Reference Jackets and covers

The jurors selected 101 publications across the following categories: 13 16 6 8 4 0 2 52

Scholarly typographic Scholarly illustrated Trade typographic Trade illustrated Poetry and literature Journals Reference Book jackets and covers

Charge to the Jurors ¶ To select approximately fifty publications (representative of the book and journal categories on the entry form) and fifty 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 shortrun publications ¶ To write general comments about the show for inclusion in the book show catalog ¶ To participate in the 2021 AUPresses annual meeting (to be held virtually)

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Contents

6 Jurors 15 Scholarly Typographic 43 Scholarly Illustrated 77 Trade Typographic 91 Trade Illustrated 109 Poetry & Literature 119 Reference 125 Jackets & Covers 179 Index 185 Acknowledgments

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Matthew Monk B O O KS A N D J O U R N A L S

Matthew Monk is a designer and educator, with book design clients including The National Gallery of Art, Yale University Press, Harvard University Graduate School of Design, Metropolis Books, The Museum of Art at Rhode Island School of Design, and Wellesley College. His work has been recognized in Print Magazine, Communication Arts, Graphis, ID, Metropolis, the Association of University Presses, and AIGA 50 Books/50 Covers. He taught for many years as professor of Graphic Design at Rhode Island School of Design before becoming founding faculty chair of the MFA in Graphic Design program at Vermont College of Fine Arts, where he serves as academic dean. 

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STATE M E NT Thank you to the committee for inviting me to serve as a judge for the Association of University Presses Book, Jacket, and Journal Show. Soon after I agreed, six large and heavy boxes of books arrived at my door one brilliant Saturday afternoon, to my delight—and somewhat to my wife’s dismay. I tore into the cartons like a five-year-old on their birthday. The deprivations of the prior year of Covid isolation made the contents that much more thrilling to unpack; though I could not safely go out into the world, the world could still come safely to me. Books have a unique ability to comfort, and well-designed books to truly satisfy, particularly during these challenging times. Unlike previous years, when judges spend a couple of days with all entries displayed on conference room tables, because of the pandemic, my fellow juror, Andrew Shurtz, and I had the opportunity to live with these books in our homes and to take our time reviewing them. This allowed the evaluation process to unfold gradually. I made countless stacks and moved books from one stack to another as I inched toward final decisions. As a result of this fluid process, I found that some books that caught my eye at first soon wore thin and lost their appeal. Others that may not have sparkled from the get-go revealed their strengths over time. And of course, many books that stood out early on continued to impress me with good design. The entries we reviewed demonstrate that good design can take many forms, from lavishly illustrated books with apparently generous production values to modest volumes that perform their jobs with quiet dignity. Regardless of finances, the books that stand out to me are those that respect not only their written and visual content but equally respect the reader by facilitating an agreeable and engaging reading experience. As anyone who has designed books certainly knows, while this is an easy concept to grasp, it can be a challenge to pull off. While the vast majority of the books we selected were mutual picks, we each had a few that originally the other did not select. In the Zoom conversations Andrew and I had about these entries, we each took opportunities to make cases for reconsideration. In a number of instances, this deliberation led to a book’s ultimate inclusion. As a result, each selected book has the endorsement of us both. We elected not to write about each selection, believing that their strong designs speak clearly for themselves. It pleases me no end that the printed book is clearly alive and well. The experience of reviewing these entries has underscored for me that appreciation for beautifully-designed books is thriving, as well. Congratulations to all the books included here, and to the many talented and committed people involved in designing and producing them. Thank you for the work you do.

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Andrew Shurtz B O O KS A N D J O U R N A L S

Andrew Shurtz is a graphic designer, educator, and researcher based in New York City. Along with his colleagues Rebecca Gimenez, Mike Gallagher, and Sebastian Campos, he co-founded the international design collective We Have Photoshop in 2007. Together they also co-founded Convolution, a conceptual journal dedicated to exploring the intersections of experimental typography, art, poetry, and criticism. He has taught courses in typography, book design, experimental publishing, and contemporary graphic design theory at Parsons School of Design since 2011 and has been instrumental in the development of the core typographic curriculum for their Communication Design program. He has previously taught courses at Rutgers University and City College of New York and served as a visiting critic at Yale University, NYU ITP, and The University of Connecticut. He is the recipient of multiple AUPresses awards for book design and the Yale School of Art’s Phelps Berden Award. He received his Bachelor of Arts from Louisiana State University and his Master of Fine Arts from Yale University.

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STATE M E NT It was a tremendous honor to be invited to judge this year’s AUPresses Book, Jacket, and Journal Show. I began my design career proudly working for LSU Press. I know firsthand the joys of having your design chosen for this competition, along with the disappointment of a favored book not getting picked. Seeing each year’s selections and digging through previous winners in old show catalogs opened me up to a world of interesting and thoughtful book design and typography. It’s no exaggeration to say that I’ve carried a deep fondness for this competition with me all these years. Given all of this, I stepped in to my role of juror with a lot of excitement and no small amount of anxiety. The first challenge was almost absurd. Since the world was upside down, the normal experience of hanging out in a small room for two days was exchanged for having all the entries shipped directly to my home. From the moment the boxes arrived, I was surrounded by books, both physically and mentally. I can describe this experience only as something akin to 101 Dalmatians, but with books instead of puppies. Books were shuffled in and out of boxes, grouped into piles, lined up on our dining room table, and moved back into boxes again so we could eat. They were there to greet me when I woke up in the morning and there to haunt me in my dreams. Still, most importantly, they gave me something exciting to focus my energies on anytime I had a spare moment. My three-year-old son, Paul, even decided to join the action by stacking his own board books into piles and adding them to the collection. I was fortunate to participate in this unique experience with Matthew Monk, my fellow juror. We quickly exchanged the time-honored book show tradition of extreme Post-It labelling for a more remote-friendly Airtable database setup. Through a series of entertaining Zoom calls, we were able to confirm our mutual picks and make a case for books the other hadn’t chosen. In the end, we arrived at a final set that we could stand behind completely. We both felt that the selections were strong enough to stand on their own without additional comments from us. After steeping in these books for so long, I would like to mention a few observations that really stood out to me: First, I was amazed at how nice the print-on-demand paperbacks looked and felt. Multiple times in the judging process, I was pleasantly surprised to pick up a book and only realize it was POD after seeing the tiny scan code stuck on the back page. I am proud that we were able to select a number of POD paperbacks this year, and I believe designers should feel confident in this as a completely valid production option. Secondly, I was thrilled to see such a wonderful amount of interesting and thoughtful text typography. A pet peeve of mine are books where all the design energy is concentrated on the display elements, leaving the main text lifeless. While reviewing these books, I was pleased to see a wide range of unexpected and downright daring choices in what might be the most essential core of what we do as book designers—making words both beautiful and readable. Seeing so many thoughtful and carefully designed books in publication has filled me with hope and inspiration. It was a joy to live with these books, and my immense pleasure to serve as their juror.

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Gail Anderson JAC K E T S A N D C OV E R S

Gail Anderson is an NYC-based designer, educator, and writer. She is Chair of BFA Design and BFA Advertising at the School of Visual Arts and the creative director at Visual Arts Press. Anderson has served as senior art director at Rolling Stone, creative director of design at SpotCo, and as a designer at the Boston Globe Sunday Magazine and Vintage Books. She has taught at SVA for thirty years and has co-authored 15 books on design, typography, and illustration with the fabulous Steven Heller. Anderson serves on the Citizens’ Stamp Advisory Committee for the US Postal Service and the advisory boards of Poster House and The One Club for Creativity. She is an AIGA Medalist and the 2018 recipient of the Cooper Hewitt, Smithsonian Lifetime Achievement Award for Design. Her work is represented in the Library of Congress permanent collections, the Milton Glaser Design Archives, and the National Museum of African American History and Culture.

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STATE M E NT What designer wouldn’t want seven boxes of books featuring beautifully designed covers to admire (oh, yes, and to judge)? How do you decide to part with them once the design competition is over, since beautiful as they are, they’re still seven boxes of books, many on topics you barely understand? These are university press volumes, often heady and incredibly specific, head-of-a-pin books that remind me just how un-smart I am. But those covers and jackets! What fantastic work their esteemed designers have crafted, sometimes on such remarkably complex topics (see paragraph above). Judging this design competition was a bit of a struggle since, honestly, they were all winners. And I was somewhat intimidated by working with an award-winning designer from Knopf, where so many amazing book covers originate. I was relieved that our initial selections were almost identical, proving perhaps I can still keep up with the kids after all these years. Book covers have to do a lot of heavy lifting these days. They live both on bookstore shelves and online as veritable Amazon postage stamps. They need to sell books. Our cover selections are smart, clear, engaging, appropriate, and ultimately, flat-out great design, stuff I wish I’d done myself. And isn’t envy always the true hallmark of design greatness? Congratulations to our selections! Well done. My seven boxes of books are making their way to a friend who owns a community-based used bookshop. But I kept a few. Okay, more than a few.

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Janet Hansen JAC K E T S A N D C OV E R S

Janet Hansen is an associate art director at Penguin Random House where she designs book jackets for Alfred A. Knopf, Pantheon Books, and Everyman’s Library. Additionally, she freelances for select clients including Farrar Straus & Giroux, New Directions, the New Yorker, and the New York Times. Her work has been recognized by numerous publications including the AIGA, Communication Arts, Print, the New York Times, and the Type Directors Club. She graduated with a BFA in Graphic Design from the School of Visual Arts and will be teaching her first course there this fall.

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STATE M E NT It was an honor to be invited to judge this year’s show alongside the incomparable Gail Anderson. I knew that during a pandemic it was not going to be the usual process, but I couldn’t help fantasizing about meeting up with Gail at the AUPresses offices in Manhattan and devouring the beautiful books in person. Instead, seven large boxes of books promptly arrived stacked up on the front porch of my home in Montclair, New Jersey. We decided to start off individually—marking what designs were either a yes, no, or maybe. I sprawled the books out on my studio floor and wound up living with them for weeks. As a book cover designer with a decade of experience and as a new mother in a political and pandemic haze, I was looking for design that woke up my senses—both pushing the boundaries conceptually and rooted in typographical and design excellence. The value of production in this time felt more crucial than usual—how truly special to hold a quality object with uncoated paper, de-boss, or foil. Other designs stood just as strong without it, printed digitally with glossy lamination. Later we shared our yeses and maybes virtually, through a DropBox folder, and found that we overlapped in choice immensely. Via Zoom, we thought about how effectively the jackets communicated the message of the book, and we narrowed them down to fifty. Every book in this competition represents hours of devotion, and it showed. Congratulations to all who bring these wonderful books into the world. To the designers whose work is not represented here, please do not be discouraged. I urge you to continue working hard, critically evaluating your work, and connect with the designers you admire for feedback. If you’re wondering what I did with all of these wonderful books—most were donated to my local bookshop! I’m grateful to have kept a few for their interesting subject matter and sheer beauty.

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Jens Dolin EVALUERING PÅ GODT OG ONDT

Evaluering betyder vurdering. Det foregår hver dag i skolen. Lærerne evaluerer eleverne, eleverne vurderer lærerne, staten evaluerer eleverne og skolen lærerne. Formålene er forskellige, og det er deres virkning også. Nogle evalueringer kan gøre os dygtigere, andre kan kontrollere os. Derfor er det vigtigt, at lærere kender til evaluering på godt og ondt.

Pædagogisk rækkevidde 1-18

Jens Dolin

EVALUERING PÅ GODT OG ONDT

Digital dannelse af Jeppe Bundsgaard Læringens DNA af Theresa Schilhab Samarbejde og inklusion af Tine Basse Fisker Læring i praksis af Ole Lauridsen Spilpædagogik af Andreas Lieberoth Motiverende undervisning af Frans Ørsted Andersen Undervisning er dannelse af Alexander von Oettingen Kønsbevidst pædagogik af Tekla Canger Mobning af Helle Rabøl Hansen Samspil mellem skole og hjem af Maria Ørskov Akselvoll Relationskompetence af Louise Klinge Bæredygtig undervisning af Suna Christensen Farvede forventninger af Laila Colding Lagermann Co-teaching af Janne Hedegaard Hansen Udfordrende undervisning af Kirsten Baltzer Kunsten at læse af Thomas Illum Hansen Teknologiforståelse af Elisa Nadire Caeli Evaluering på godt og ondt af Jens Dolin

Jens Dolin

EVALUERING PÅ GODT OG ONDT

Aarhus Universitetsforlag Aarhus Universitetsforlag

Pædagogisk rækkevidde

Elisa Nadire Caeli TEKNOLOGIFORSTÅELSE

Nutidens børn er født i en digital tidsalder. De lærer hurtigt at trykke på taster og swipe på skærme. Men de forstår ikke automatisk, hvordan digitale teknologier er designet, eller hvad brugen af dem betyder for dem selv, vores fællesskaber og vores samfund. Derfor må de udvikle teknologiforståelse.

Aarhus Universitetsforlag

Pædagogisk rækkevidde

og vurdere etiske dilemmaer ved disse måder at indsamle og anvende data på. Hvor langt må regeringen gå? Hvor går grænsen? På Etisk Råds hjemmeside kan man se et forslag til strukturering af et rollespil, ganske vist med et andet dilemma

Elisa Nadire Caeli

som udgangspunkt, men som man her kan lade sig inspirere af. Det

Forvrængede sandheder

er en god idé, hvis eleverne på forhånd har læst nogle tekster om emnet, så de har en fælles forhåndsviden og baggrund for drøftelserne i rollespillet. Etisk Råd anbefaler en aktivitet på cirka en time, hvor læreren først introducerer og gennemgår dilemmaet, og eleverne dernæst går i grupper og diskuterer deres holdninger til lærerens oplæg. Læreren faciliterer derefter en fællesdiskussion

TEKNOLOGIFORSTÅELSE

Fake news

med fokus på lovgivning på området. Til sidst samles der op med lærerfeedback fra klassen og diskussion af de forskellige holdninger. Er der for eksempel holdninger, der er mere ’rigtige’ end andre?

I artiklen ”Teknologikritik i skolen – et demokra-

Etisk Råd foreslår desuden, at klassen kan gøre

tisk perspektiv på teknologiforståelse” har jeg i samarbejde med

scenariet mere realistisk ved at lave en høring om et lovforslag

Jeppe Bundsgaard undersøgt, hvordan fake news er en af de helt

med deltagelse af forskellige berørte parter, forskere, politikere

store udfordringer i den demokratiske debat. Vi beskriver, at:

osv. Eleverne kunne også simulere en retssag med en borger, hvis sociale kreditpoint er så lave, at han ikke må rejse med fly og derfor ikke kan besøge sine børn i udlandet, eller som på anden måde har fået krænket sine rettigheder. Måske kan eleverne selv finde på andre dilemmaer, der kan drøftes eller dramatiseres.

Fake news er nyheder – eller rettere propaganda – som er produceret mere eller mindre bevidst med det formål at narre læseren eller seeren til at tro på en falsk fremstilling af sandheden […] Det kan for eksempel være gennem ensidig fremstilling af fakta, gennem bevidst fordrejning af fakta – eller endda gennem at præsentere opfundne løgne som fakta.

Til forskel fra tidligere, hvor falske nyheder udelukkende kunne spredes mund til mund og siden gennem etable-

Aarhus Universitetsforlag

Thomas Illum Hansen KUNSTEN AT LÆSE

Børn elsker at få fortalt historier. De bliver grebet af humor og spænding. De spejler sig i fantasifulde universer. Men ikke alle børn elsker litteratur. De forbinder den med skole og pligtlæsning. Derfor skal de opleve, at dansk er også et kulturfag, hvor de udvikler deres sans for litteratur og lærer kunsten at læse.

Aarhus Universitetsforlag

Pædagogisk rækkevidde

rede medier, er det i dag langt nemmere at sprede falske nyheder gennem sociale medier, som kan ’gå viralt’ på ganske kort tid. Disse nyheder kan tilmed målrettes til os hver især og forårsage meget stor skade.

Pædagogisk rækkevidde

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Thomas Illum Hansen

KUNSTEN AT LÆSE

Børn elsker at få fortalt historier. De bliver grebet af humor og spænding. De spejler sig i fantasifulde universer. Men ikke alle børn elsker litteratur. De forbinder den med skole og pligtlæsning. Derfor skal de opleve, at dansk er også et kulturfag, hvor de udvikler deres sans for litteratur og lærer kunsten at læse.

Aarhus Universitetsforlag Aarhus Universitetsforlag

Pædagogisk rækkevidde

Pædagogisk rækkevidde Med Pædagogisk rækkevidde behøver ingen at være udenfor. I serien giver Danmarks førende pædagogiske forskere inspiration til, hvordan lærere og pædagoger kan omsætte viden til praksis i klasseværelset. 73 Det er et lille indblik, der giver større udsyn i en travl hverdag.


Aarhus University Press Pædagogisk Rækkevidde 1: Evaluering på godt og ondt, 2: Teknologiforståelse, 3: Kunsten at læse 1: Jens Dolin, 2: Elisa Nadire Caeli, 3: Thomas Illum Hansen Camilla Jørgensen, Trefold PRODUCTION COORDI NATOR Cecilie Harrits ACQU I R I NG E DITOR Cecilie Harrits PROJ ECT E DITOR Cecilie Harrits TR I M S I Z E 12.2 × 20 cm N U M B E R OF PAG E S 72 PR I NT RU N 1000 COM POS ITOR Camilla Jørgensen, Trefold TEX T T YPE Nudista and Brandon Printed DI S PL AY T YPE Nudista and Brandon Printed PAPE R Munken Lynx Rough 120 g FSC I N KS LED-UV PR I NTE R /B I N DE R Narayana Press M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Burst binding B I N DI NG MATE R IALS Softcover smooth cut paperback, 4 creases with page glue. 300 g Munken Lynx FSC. Coating 4+4 colors with neutral overprint varnish and 2 holes die-cutting. JAC KET/COVE R DE S IG N E R Camilla Jørgensen, Trefold JAC KET/COVE R PR I NTE R Narayana Press DE S IG N E R

DE S IG N E R COM M E NTS The concept for the design is quite simple: A hole, a pale green title and changing colour for the cover. “Pædagogisk rækkevidde” means (directly translated) “Pedagogical Reach.” The word “reach” is key to the concept: A hole, through which something can be reached. By looking through the hole from the outside, one can achieve an insight. Looking through from within, one has a view. To connect the books in the series further, in addition to the hole, the titles and the inside of the cover is always pale green. The color of the cover changes from book to book.

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University of Alberta Press Our Whole Gwich’in Way of Life Has Changed / Gwich’in K’yuu Gwiidandài’ Tthak Ejuk Gòonlih Stories from the People of the Land Leslie McCartney & Gwich’in Tribal Council DE S IG N E R

Alan Brownoff

Alan Brownoff ACQU I R I NG E DITOR Mat Buntin PROJ ECT E DITOR Mary Lou Roy / Duncan Turner TR I M S I Z E 7.5 × 10 in N U M B E R OF PAG E S 776 PR I NT RU N 900 COM POS ITOR Alan Brownoff TEX T T YPE 10/16 Quadrat and Quadrat Sans DI S PL AY T YPE Quadrat Sans Bold PAPE R 55 lb. Enviro natural I N KS Black PR I NTE R /B I N DE R Friesens M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn B I N DI NG MATE R IALS Arrestox on boards JAC KET/COVE R DE S IG N E R Alan Brownoff JAC KET/COVE R PR I NTE R Friesens PRODUCTION COORDI NATOR

Scholarly Typographic |

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Concordia University Press Everything is Relevant Writings on Art and Life, 1991–2018 Ken Lum Adam Michaels and Shannon Harvey, IN-FO.CO PRODUCTION COORDI NATOR Meredith Carruthers ACQU I R I NG E DITOR Geoffrey Little PROJ ECT E DITOR Amy Ching-Yan Lam, Edwin Janzen TR I M S I Z E 7 × 9 in with 4.5 in French Flaps N U M B E R OF PAG E S 336 pages plus cover PR I NT RU N 1200 COM POS ITOR Garet Markvoort, zijn digital TEX T T YPE 10.1/12.5 JJannon (Optimo Foundry) DI S PL AY T YPE LL Unica77 (Lineto Foundry) PAPE R 70lb. #1 Lynx Opaque Smooth Finish/ 80lb. Sterling Premium Matte I N KS Black, LED UV inks PR I NTE R /B I N DE R The Prolific Group, Manitoba, Canada M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn B I N DI NG MATE R IALS 100lb. #1 Lynx Opaque Cover / printed black + 1 standard pms color / 1 standard pms color / bleeds. JAC KET/COVE R DE S IG N E R Adam Michaels and Shannon Harvey, IN-FO.CO JAC KET/COVE R PR I NTE R The Prolific Group, Manitoba, Canada DE S IG N E R

Everything is Relevant is the result of design consultations with Adam Michaels and Shannon Harvey of the Los Angeles-based studio IN-FO.CO to launch a series, but also to launch a new university press. This process involved the review of historical and contemporary artist writings monographs, resulting in the development of a very specific book design tailored to the written contents of the TEXT/CONTEXT series. The contents of the series present a unique typographic challenge: the scholarly treatment of writings that come from a variety of sources from blog entries, to personal letters, to longer form writings, to previously unpublished artists statements. In general, we were very pleased with the design direction’s balance of classical and contemporary elements, and its typography-forward accommodation of a range of materials. DE S IG N E R COM M E NTS

Scholarly Typographic |

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Duke University Press Animalia An Anti-Imperial Bestiary for Our Times Antoinette Burton and Renisa Mawani, editors DE S IG N E R

Matthew Tauch Chris Granville Miriam Angress Ellen Goldlust

PRODUCTION COORDI NATOR ACQU I R I NG E DITOR PROJ ECT E DITOR TR I M S I Z E

6 × 9 in

248 400 COM POS ITOR Copperline Book Services TEX T T YPE SangBleu Versailles (Swiss Typefaces) DI S PL AY T YPE SangBleu Kingdom (Swiss Typefaces), SangBleu Sunrise (Swiss Typefaces) PAPE R 50# Natural I N KS Black PR I NTE R /B I N DE R Versa Press M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Perfect JAC KET/COVE R DE S IG N E R Matthew Tauch JAC KET/COVE R PR I NTE R John P. Pow Company N U M B E R OF PAG E S PR I NT RU N

DE S IG N E R COM M E NTS This book was a wonderful opportunity to capitalize on something near and dear to most every book designer: the alphabet!

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Duke University Press Manufacturing Celebrity Latino Paparazzi and Women Reporters in Hollywood Vanessa Díaz DE S IG N E R

Matthew Tauch Chris Critelli Ken Wissoker Liz Smith

PRODUCTION COORDI NATOR ACQU I R I NG E DITOR PROJ ECT E DITOR TR I M S I Z E

6 × 9 in

328 800 COM POS ITOR Tseng Information Systems, Inc. TEX T T YPE 9.8/13.8 Minion Pro (Adobe) × 25p DI S PL AY T YPE Futura Std (Adobe) PAPE R 80# Silk Text I N KS 4-color process PR I NTE R /B I N DE R Porter Print Group M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Perfect JAC KET/COVE R DE S IG N E R Matthew Tauch JAC KET/COVE R PR I NTE R Porter Print Group N U M B E R OF PAG E S PR I NT RU N

In this case, it was simply impossible to resist the temptation to exploit the full-color production to achieve a big, bold People Magazine/Tabloid look. Incorporated within are several custom illustrated pages, bright part openers, and a red carpet/spotlight motif. DE S IG N E R COM M E NTS

Scholarly Typographic |

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Duke University Press Negative Exposures Knowing What Not to Know in Contemporary China Margaret Hillenbrand Courtney Leigh Richardson PRODUCTION COORDI NATOR Courtney Leigh Richardson ACQU I R I NG E DITOR Ken Wissoker PROJ ECT E DITOR Jessica Ryan TR I M S I Z E 6 × 9 in N U M B E R OF PAG E S 312 PR I NT RU N 350 COM POS ITOR Westchester Publishing Services TEX T T YPE 9.6/13.8 Warnock Pro × 25p9 DI S PL AY T YPE Warnock Pro PAPE R 50# Natural PR I NTE R /B I N DE R Versa Press M ETHOD OF PR I NTI NG Offset JAC KET/COVE R DE S IG N E R Courtney Leigh Richardson JAC KET/COVE R PR I NTE R John P. Pow Company DE S IG N E R

This design is one of my favorites I’ve done in the last few years. I loved the photographs that were submitted, and the rest just came together easily. DE S IG N E R COM M E NTS

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Duke University Press Sentient Flesh Thinking in Disorder, Poiēsis in Black R.A. Judy DE S IG N E R

Matthew Tauch

Chris Critelli Ken Wissoker PROJ ECT E DITOR Jessica Ryan TR I M S I Z E 7 × 10 in N U M B E R OF PAG E S 624 PR I NT RU N 800 COM POS ITOR Westchester Publishing Services TEX T T YPE 10.9/14 Garamond Premier Pro (Adobe) × 26p DI S PL AY T YPE Alegreya Sans (Huerta Tipográfica) PAPE R 50# Natural I N KS Black PR I NTE R /B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Notch JAC KET/COVE R DE S IG N E R Matthew Tauch JAC KET/COVE R PR I NTE R John P. Pow Company PRODUCTION COORDI NATOR ACQU I R I NG E DITOR

An audacious and deft text, organized in a manner inspired by musical “Sets” and riffs, Sentient Flesh necessitated careful attention to ample typographic detail. DE S IG N E R COM M E NTS

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Duke University Press The Lonely Letters Ashon T. Crawley DE S IG N E R

Aimee C. Harrison

Chris Critelli ACQU I R I NG E DITOR Ken Wissoker PROJ ECT E DITOR Toni Willis TR I M S I Z E 6.75 × 8.5 in N U M B E R OF PAG E S 280 PR I NT RU N 1500 Paperback; 100 Casebound COM POS ITOR Copperline Book Services TEX T T YPE 11/13.7 Whitman (Font Bureau) × 27p9 [Letters] [and] 9/13.7 Neuzeit S LT Std (Linotype) × 24p9 [Extracts] DI S PL AY T YPE Calisto MT Regular PAPE R 50# White Opaque Smooth I N KS 4-color process PR I NTE R /B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Notch JAC KET/COVE R DE S IG N E R Aimee C. Harrison JAC KET/COVE R PR I NTE R John P. Pow Company PRODUCTION COORDI NATOR

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Duke University Press Voluminous States Sovereignty, Materiality, and the Territorial Imagination Franck Billé, Editor DE S IG N E R

Drew Sisk Chris Granville Elizabeth Ault Jessica Ryan

PRODUCTION COORDI NATOR ACQU I R I NG E DITOR PROJ ECT E DITOR TR I M S I Z E

6 × 9 in

304 600 COM POS ITOR Westchester Publishing Services TEX T T YPE 10/13.7 Portrait Text (Commercial Type) × 25p8 DI S PL AY T YPE IBM Plex Mono (IBM BX&D and Bold Monday) PAPE R 50# natural I N KS Black PR I NTE R /B I N DE R Versa Press M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Notch JAC KET/COVE R DE S IG N E R Drew Sisk JAC KET/COVE R PR I NTE R John P. Pow Company N U M B E R OF PAG E S PR I NT RU N

Undulating grids and monospace display type give shape and form to this edited volume, which examines “the three-dimensional nature of modern territorial governance.” DE S IG N E R COM M E NTS

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University of Georgia Press Vénus Noire Black Women and Colonial Fantasies in Nineteenth-Century France Robin Mitchell Kaelin Chappell Broaddus Kaelin Chappell Broaddus ACQU I R I NG E DITOR Walter Biggins PROJ ECT E DITOR Thomas Rosche TR I M S I Z E 6 × 9 in N U M B E R OF PAG E S 208 PR I NT RU N Print on Demand COM POS ITOR Kaelin Chappell Broaddus TEX T T YPE 12/15.5 Fournier Std (Monotype) × 25p DI S PL AY T YPE Fournier Std (Monotype) PAPE R 50# Creme I N KS Black PR I NTE R /B I N DE R Ingram Lightning Source M ETHOD OF PR I NTI NG Digital M ETHOD OF B I N DI NG Perfect JAC KET/COVE R DE S IG N E R Kaelin Chappell Broaddus JAC KET/COVE R PR I NTE R Ingram Lightning Source DE S IG N E R

PRODUCTION COORDI NATOR

DE S IG N E R COM M E NTS It’s a rare treat to design a scholarly book with ample leading and margins, illustrations on their own page, and all chapters beginning new recto. This title needed some lengthening after copy editing and I was only too happy to oblige. Despite it’s POD printing, I’m very proud of this design.

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Louisiana State University Press Performing Jane A Cultural History of Jane Austen Fandom Sarah Glosson Barbara Neely Bourgoyne PRODUCTION COORDI NATOR Barbara Neely Bourgoyne ACQU I R I NG E DITOR Jennifer Keegan PROJ ECT E DITOR Neal Novak TR I M S I Z E 5.5 × 8.5 in N U M B E R OF PAG E S 256 PR I NT RU N 750 COM POS ITOR Barbara Neely Bourgoyne TEX T T YPE 10.5/13.7 Whitman (Font Bureau) × 24p6 DI S PL AY T YPE Bodoni 72 book, Bodoni Twelve ITC Book, and Basic Sans PAPE R 55 lb Glatfelter Nature’s Natural, 360 ppi I N KS Black PR I NTE R /B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn B I N DI NG MATE R IALS Rainbow Natural with natural endsheets, ruby bands, and dark red spine matte pigment JAC KET/COVE R DE S IG N E R Barbara Neely Bourgoyne JAC KET/COVE R PR I NTE R Sheridan DE S IG N E R

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Princeton University Press Dante John Took DE S IG N E R

Chris Ferrante

PRODUCTION COORDI NATOR

Merli Guerra

Ben Tate Ellen Foos TR I M S I Z E 6.125 × 9.25 in N U M B E R OF PAG E S 608 PR I NT RU N 4000 COM POS ITOR Lori Holland TEX T T YPE 11/13 Arno Pro (Adobe) × 27p DI S PL AY T YPE Arno Pro (Adobe) PAPE R 60# House Natural, cream, uncoated, 420 ppi I N KS Black PR I NTE R /B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Notch B I N DI NG MATE R IALS (case) Arrestox B Canvas 10050 L; (spine foil) General Roll Leaf Lustrofoil 417 matte red pigment; (head & tail bands) red; (endpapers) 80# Rainbow Salsa, smooth finish JAC KET/COVE R DE S IG N E R Chris Ferrante; Jacket and frontispiece illustration by Roland Sárkány JAC KET/COVE R PR I NTE R Sheridan ACQU I R I NG E DITOR PROJ ECT E DITOR

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University of Tennessee Press Horace Kephart Writings Mae M. Claxton and George Frizzell, editors Mindy Basinger Hill PRODUCTION COORDI NATOR Stephanie Thompson ACQU I R I NG E DITOR Scot Danforth PROJ ECT E DITOR Scot Danforth TR I M S I Z E 6 × 9 in N U M B E R OF PAG E S 736 PR I NT RU N 1000 COM POS ITOR Mindy Basinger Hill TEX T T YPE 10/14 Fanwood DI S PL AY T YPE P22 Marcel Script Pro PAPE R 50 # Tradebook I N KS Black PR I NTE R /B I N DE R Thomson Reuters M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Perfect B I N DI NG MATE R IALS 10 pt C1s JAC KET/COVE R DE S IG N E R Rickie Le JAC KET/COVE R PR I NTE R Thomson Reuters DE S IG N E R

DE S IG N E R COM M E NTS Cover: I was looking through the interior photos and found Kephart’s little signature. He had such a great looking signature, I thought it would be neat to digitize it and use it for the title.

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RASMUS SKOVGAARD JAKOBSEN

DE ZEE-ATLAS OF WATER-WERELT Den udgave af Donckers søatlas, som VejleMuseerne har i sin samling, består af 52 søkort, heriblandt et verdenskort, samt tre ark med indledende tekst og et titelblad. Især titelbladet og det indledende verdenskort er rigt illustreret, mens resten af samlingen fremstår mere jævn – i hvert fald i forhold til andre samtidige søatlasser.20 Oprindeligt var atlasset indbundet i et samlet læderbind, men blev i begyndelsen af 00’erne splittet op, således at det blev muligt at udstille kortene hver for sig. Man har dog beholdt det tidligere læderbind, i fald samlingen engang skal rekonstrueres. Hvordan søkortene er kommet til VejleMuseernes samlinger, er uvist. Det er dog sandsynligt, at søatlasset har været en del af etatsråd Christian Eckardts (1823-99) store samling, som han testamenterede til det kommende museum i Vejle i 1898. I hvert fald nævnes der ”Et hollandsk Søkort Atlas”21 i en udateret registratur over Eckardts kunst- og kulturhistoriske samling. Doncker forbedrede gennem hele sit liv søatlasset, men fra 1669 og frem bestod det konstant af omtrent 50 søkort, som dækkede hele verden. Flertallet af søkortene består af flere typer af kort. Det mest almindelige i samlingen er oversejlingskort, som

Ill. 5 Hendrick Doncker, De Zee-Atlas of Water-Werelt, Water-Werelt 1669. Kort over det østlige England, den nordlige del af Den Engelske Kanal og Nederlandene. Ill. 6 Titelforside til De Zee-Atlas of Water-Werelt. Water-Werelt Najaden til venstre for titlen holder en Jakobsstav, mens najaden til højre holder et astrolabium (astronomisk/nautisk instrument til bestemmelse af himmellegemernes højde over horisonten). Nederst illustrerer en række keruber, hvordan forskellige navigationsredskaber skal anvendes. På den beskadigede nederste højre del var oprindeligt en illustration af en havfrue, som bliver holdt væk af et par keruber. Det illustrerer, at anvender man atlasset sammen med tidens navigationsredskaber, så kan man sikkert krydse verdenshavene. Ill. 7 Kort over Europa og Nordafrika. Bemærk, hvordan kortets centrum i Biscayabugten møder de 16 omkransende kompaspunkter.

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Aarhus University Press Navigeringer På kanten af en verden i forandring Michael Kjær and Teresa Østergaard Pedersen DE S IG N E R

Claus Due

Cecilie Harrits Cecilie Harrits PROJ ECT E DITOR Cecilie Harrits TR I M S I Z E 14 × 23 cm N U M B E R OF PAG E S 224 PR I NT RU N 590 COM POS ITOR Claus Due TEX T T YPE Toy (Suisse Works) and Neue Haas (Unica Pro) DI S PL AY T YPE Toy (Suisse Works) and Neue Haas (Unica Pro) PAPE R 80 g Arctic Matt I N KS LED-UV PR I NTE R /B I N DE R Narayana Press M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn B I N DI NG MATE R IALS Full binding cardboard with round spine and headband / tailband. Embossing on front with gold. Golden foil on red vinyl and the round corners. JAC KET/COVE R DE S IG N E R Claus Due JAC KET/COVE R PR I NTE R Narayana Press PRODUCTION COORDI NATOR ACQU I R I NG E DITOR

DE S IG N E R COM M E NTS The title of the publication means navigations. The world as we know it is changing rapidly, and so is the way in which we navigate in the world. We used to navigate by intuition, seamaps, and printed guidebooks. One of the earliest and most famous guidebooks is the series of German guidebooks named Baedeker. The idea for the design of this book was to mix the old and the new. We therefore took the well-known elements from the Baedeker books and updated these. The color red, the golden foil on red vinyl, and the round corners. The grotesque font on the classic books was replaced by a brand-new designed grotesque font (Toy). The Baedeker was printed on bible-paper and we therefore printed on the thinnest paper available. For the inside we chose a visible grid for the layout—the visible grid will give the reader associations to the Atlas and its latitudes.

Scholarly Illustrated |

45


Christian 7. Portrættet af Christian 7. på modstående side blev malet

nye kronprins Christian blev døbt samme dag, som han

under hans ophold i Paris. Christian 7. blev så begejstret for

blev født. Dåben foregik på Christiansborg Slot, og prinsen

et portræt af den franske konge, Ludvig 15., som var omsat

gav audiens i en vugge med tronhimmel og med sin Elefant-

til en gobelin, at han ønskede et tilsvarende af sig selv.

orden liggende oven på dynen. Om aftenen afholdtes der

Portrættet skulle males og efterfølgende bruges til samme

fire festtafler, 100 personer ved hvert, og ved det kongelige

formål, som forlæg for fremstillingen af en gobelin. Kon-

taffel blev maden serveret på guldservice.

gen bærer en silkefløjlsfrakke med guldbroderede sløjfer,

Da kronprinsen var knap tre år gammel døde hans mor,

der minder om en generalsuniform, men hermelinsfoeret

og Frederik 5.s anden hustru Juliane Marie synes ikke at

er nok opfundet til lejligheden. Vesten af sølvstof broderet

have været nogen lykkelig erstatning for drengen.

med guld minder om den, kongen bar til sit bryllup (se

Stakke af kvitterede bilag og kasseregnskaber i Rigsarki-

s. 292). Måske var bryllupsdragten en del af kongens rejse-

vet fortæller i glimt, hvordan kronprinsens hverdag forme-

garderobe, siden Louis-Michel van Loo malede kongen i en

de sig, og hvilke typer dragter han og hans yngre halvbror

lignende dragt. Kunstneren nåede dog kun at skitsere drag-

blev iklædt. Det tidligste bevarede regnskab har poster fra

ten og male ansigtet færdig, før han døde. Maleriet blev

1752, hvor kronprinsen var tre år gammel. Udstyr købt i 1754

færdiggjort af Jens Juel eller Alexander Roslin.

til hans lille halvbror, arveprins Frederik, fortæller, hvad kronprinsen sikkert også havde fået som spæd: ordensstjerner, allerede da han var et år gammel, seks huer, to flonels-

Barnetøj, udstyr og opdragelse

klokker (underskørter) og en slopkjole (en slåbrok). Regn-

Da kronprins Christian blev født om natten den 28. januar

kanvas og derfor måske som beskyttelse), to atlaskes huer

1749, blev københavnerne vækket af kanonskud fra volde-

med bånd og silke og tre dusin bleer, vistnok den første

ne, hvor man havde stået parat i tre uger. Forud for denne

gang bleer omtales i forbindelse med de kongelige børn.

skaberne opregner også to canefas-huer (af det stærke stof

fødsel havde kronprinsens forældre allerede mistet deres

Fra oktober 1752 til november 1754 fik kronprinsen

toårige førstefødte søn, der også var døbt Christian, men

13 sølvbroderede Elefantordensstjerner fra hofperlestikker

hans to storesøstre, Sophie Magdalene og Vilhelmine

Jacob Harras.1 I 1754 fik kronprinsen også syv par nye sko,

Caroline, på henholdsvis tre og to år levede og trivedes. Den

C H R I S T I A N 7. 1749-1808, konge 1766 SA LV E T 1. maj 1767

S ØN A F Frederik 5. og Louise af Storbritannien

i en periode et nyt par hver 14. dag, 12 par handsker, hvor-

GIFT 1766 prinsesse Caroline Mathilde af Storbritannien, skilt 1772

B ØR N Frederik (6.), Louise Augusta, anerkendt som prinsesse af blodet, Johann Friedrich Struensee var hendes far

F I G .   1 Louis-Michel van Loo: Christian 7., 1768-1769. Olie på lærred, 100 × 81 cm. Det Nationalhistoriske Museum på Frederiksborg. Foto: Hans Petersen.

TI KONGERS TØJ · CHRISTIAN 7.

279

ROSENBORG 7-232, 7-233 MATERIALER Overkjortel: hvidt silkeatlask med guldbroderi, foer af hvid, svagt moiréret taft. Applikerede bånd af blågrønt fløjl i overkjortlens broderede guldbort. Underkjortel: lyseblå silkeatlask med guldbroderi. Foer af hvid moirétaft, mellemfoer af lærred. MÅL Overkjortel: længde, hvor den mødes midtfor, 49 cm, ærmer 21 cm lange. Underkjortel: 99 cm lang, ærmer 46 cm lange. SNIT Overkjortel: sidder stramt til i livet; hægtes sammen med skjulte hægter og øjer de øverste 26 cm til taljen; fire tilspidsede skøder, dyb V-halsudskæring; ærmerne kortere end underkjortlens. Underkjortel: langt, stramtsiddende liv med rund hals, hægtes sammen midtfor med skjulte hægter og øjer, lange, stramme ærmer med en knappet slids forneden; skøderne er syet FIG. 2 5

TODELT KARRUSELDRAGT, 1685 FIG. 25 Karruseldragt bestående af en underkjortel med en kortere overkjortel. FIG. 26 Underkjortlen alene. FIG. 27 Jean Dolivar, stik efter tegning af J. Bérain: Balletten Le Triomphe de l’Amour, 1681. Bogtryk, 13 × 7,8 cm. Dragten er tegnet til ballettens hovedperson, Endymion, der ifølge græsk mytologi var søn af Zeus og forelsket i Månen. Dragten på stikket har ligesom den bevarede karruseldragt en kortere overdel med spidser i underkanten over en længere og vid kjortel med lige underkant. FIG. 28 Karruseldragten, der er næsten helt dækket af guldbroderi.

FIG. 26

en hejrefjer stående midt i hjelmens fjerbusk

uden perler”. Der blev lavet en mønster-

af strudsefjer. Dragten kan være inspireret af

tegning af dragten omkring 1912, da man

en af den franske hofdesigner Jean Bérains

frygtede, at den falmede og svækkede

dragtskitser til en ballet i 1681, som måske

dragt ikke kunne reddes. Heldigvis er der

også blev anvendt ved en stor karrusel

i dag anvendelige, om end tidsmæssigt

afholdt på Versailles i 1685.

kostbare, metoder til at rengøre og styrke

Underkjortlen skulle bæres uden overkjortlen under fodturneringen, hvor man bar

karrusellen, tilføjede man den endnu mere pyntede overkjortel. Især broderiet på ærmerne og skørtet skulle ses. Overkjortlen er helt overbroderet, bl.a. med guldkroner iblandt alt rankeværket. Bundstoffet

med dekorative, rudeformede skøder inspire-

er næsten skjult af guldbro-

ret af antikkens mode bæres over den lang-

deriet. Smalle turkise fløjls-

ærmede underkjortel. Underkjortlens rund-

strimler indrammer de brode-

skårne skørter er designet sådan, at de tager

rede felter. Svedmærker i foeret

sig bedst ud, når bæreren er til hest. Dragtens

viser, at kongen har båret dragten

to dele er syet af henholdsvis lyseblåt og hvidt

mindst én gang. Dragten er beskrevet i Rosenborgin-

rankemønster af nedsyede guldsnore. Denne

ventariet fra 1718 blandt Christian 5.s

dragt blev syet til en karrusel i anledning af

klæder (efter en hvid karruseldragt

kongens fødselsdag i 1685. Et håndskrift med

broderet med perler og guld, der senere

tegninger fra den planlagte fest viser ryttere i

er forsvundet) som “En blå atlaskes ditto

fuldt karruseludstyr med kongen i spidsen.44

[karruselkjortel]; broderet forneden og

Kongen var leder af det blå hold, der konkur-

omkring skøderne, uden perler, og en trøje

rerede mod et rødt hold. Kun kongen havde

af hvidt atlask, ganske overbroderet, også

TI KONGERS TØJ · CHRISTIAN 5.

siderne; skøderne danner en hel sol. Sideslidser i skøderne, indvendig seks stropper til at hægte benklæderne i. TILSTAND Efter mange års udstilling på Rosenborg er dragtens synlige dele betydeligt falmede og svækkede, metaltrådene er anløbne. Underkjortlen er i bedre stand, hvor den er dækket af overkjortlen.

rigtig til deres ret. Da man fortsatte med

overkjortel. Den kortærmede overkjortel

186

dragtens bestanddele.

glat til livet foran og bagpå, men rynket i

brystharnisk. Her kom de broderede ærmer

■  Karruseldragten består af en under- og en

silkeatlask og har et symmetrisk broderet

FIG. 2 7

FIG. 2 8


Aarhus University Press Ti Kongers Tøj Tre århundreders kongedragter på Rosenborg Slot, 1596–1863 Katia Johansen Carl-H.K. Zakrisson PRODUCTION COORDI NATOR Anette Stoffersen ACQU I R I NG E DITOR Anette Stoffersen PROJ ECT E DITOR Anette Stoffersen TR I M S I Z E 24 × 33 cm N U M B E R OF PAG E S 496 PR I NT RU N 1200 COM POS ITOR Carl-H.K. Zakrisson TEX T T YPE Lyon DI S PL AY T YPE Lyon PAPE R 150 g Galerie Art Volume I N KS LED-UV PR I NTE R /B I N DE R Narayana Press M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn B I N DI NG MATE R IALS Half binding 3.0 mm cardboard with round spine and headband / tailband. Embossing on front and spine with shiny silver. Prinsesseleinen fabric on spine and 25 mm into both binding sides. Coating 4+0 colors with neutral overprint varnish. Endpaper: 115 g S JAC KET/COVE R DE S IG N E R Carl-H.K. Zakrisson JAC KET/COVE R PR I NTE R Narayana Press DE S IG N E R

DE S IG N E R COM M E NTS The volume’s large and relatively tall format is based on the proportions of the human body—or rather its clothing. The format provides room for the illustrations to be reproduced in the largest size possible, thus emphasizing finer details such as individual cuts, grains of fabric, and seams. It was a guiding principle to let the typography take a back seat to illustrations. The beauty, opulence, length, and workmanship of the garments are the star attraction, and apart from the opening page’s use of large typography, virtually all other typographic tricks and elements have been purposely held back. Headlines utilize burgundy capitals for catalogued garments, while simple burgundy squares mark the descriptive texts that accompany each illustration.

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University of Chicago Press Fluxus Forms Scores, Multiple, and the Eternal Network Natilee Harren DE S IG N E R

Isaac Tobin

Joan Davies Susan Bielstein PROJ ECT E DITOR Caterina MacClean TR I M S I Z E 7 × 10 in N U M B E R OF PAG E S 304 PR I NT RU N 1000 COM POS ITOR Isaac Tobin TEX T T YPE 10.7/14.5 Arno Pro (Adobe) × 26p7 DI S PL AY T YPE Franklin Gothic Extra Condensed (Adobe) PAPE R 70# House White Matte Web 514 ppi I N KS Black (text), 4-color process (gallery) PR I NTE R /B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Notch B I N DI NG MATE R IALS 3 piece Rainbow case, Rainbow endsheets JAC KET/COVE R DE S IG N E R Isaac Tobin JAC KET/COVE R PR I NTE R John P. Pow Company PRODUCTION COORDI NATOR ACQU I R I NG E DITOR

DE S IG N E R COM M E NTS I’ve been inspired by the Fluxus movement since I learned about them in college, and at first I was overwhelmed by the prospect of designing a book about an art movement that included so much typographic innovation. I tried my best to combine a Fluxus spirit with a clean, understated text page.

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University of Chicago Press Time in Maps From the Age of Discovery to Our Digital Era Karen Wigen and Caroline Winterer, editors DE S IG N E R

Ryan Li

Skye Agnew Mary Laur PROJ ECT E DITOR Adriana Smith TR I M S I Z E 8.5 × 10 in N U M B E R OF PAG E S 248 PR I NT RU N 1500 COM POS ITOR Ryan Li TEX T T YPE 10.875/14.5 Arno Pro × 17p9 (2 columns) DI S PL AY T YPE Arno Pro PAPE R 100# Sterling Premium Matte White I N KS 4-color process PR I NTE R /B I N DE R Friesens M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Case sewn B I N DI NG MATE R IALS 1pc Rainbow Antique Midnight, Endsheets: Rainbow Antique Arctic, Spine foil: Metallic Silver, Head/Footbands: Royal and White JAC KET/COVE R DE S IG N E R Ryan Li JAC KET/COVE R PR I NTE R Friesens PRODUCTION COORDI NATOR ACQU I R I NG E DITOR

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Duke University Press Aesthetics of Excess The Art and Politics of Black and Latina Embodiment Jillian Hernandez Courtney Leigh Richardson and Aimee C. Harrison PRODUCTION COORDI NATOR Nancy Hoagland ACQU I R I NG E DITOR Ken Wissoker PROJ ECT E DITOR Liz Smith TR I M S I Z E 6 × 9 N U M B E R OF PAG E S 320 PR I NT RU N 1500 COM POS ITOR Copperline Book Services TEX T T YPE 11/13.8 Arno Pro × 25p9 DI S PL AY T YPE San Marco, Trade Gothic PAPE R 70# White MPC Silk PR I NTE R /B I N DE R Porter Print Group M ETHOD OF PR I NTI NG Offset JAC KET/COVE R DE S IG N E R Courtney Leigh Richardson DE S IG N E R

This was really fun to collaborate with Aimee—she expertly laid out the really cool table of contents and managed the huge art program. In the middle of the pandemic, with my kiddos home from daycare, it was great to be able to rely on each other and play to each of our strengths. —CLR DE S IG N E R COM M E NTS

Loved the author feedback that we had made it look “so Miami.” —ACH

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Duke University Press Journeys through the Russian Empire The Photographic Legacy of Sergey Prokudin-Gorsky William Craft Brumfield DE S IG N E R

Matthew Tauch

Nancy Hoagland Miriam Angress PROJ ECT E DITOR Jessica Ryan TR I M S I Z E 9 × 12 in N U M B E R OF PAG E S 528 PR I NT RU N 2000 COM POS ITOR Tseng Information Systems, Inc. TEX T T YPE 12/17 Jenson Pro (Adobe) × 27p10 DI S PL AY T YPE Chaparral Pro (Adobe) PAPE R 80# Flo Matte I N KS 4-color process PR I NTE R /B I N DE R Four Color Imports M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn JAC KET/COVE R DE S IG N E R Matthew Tauch JAC KET/COVE R PR I NTE R Four Color Imports PRODUCTION COORDI NATOR ACQU I R I NG E DITOR

This project carried an exceptional brief: to distill 400+ images (many in explicit pairings)—captured by two photographers nearly a century apart, each employing their own photographic methods (glass plate negatives to film to digital) and eye for composition—into one cohesive volume, tracing the journeys of both protagonists across a vast architectural landscape and through their respective careers as renowned chroniclers of the Russian panorama. DE S IG N E R COM M E NTS

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Getty Publications Fluxus Means Change Jean Brown’s Avant-Garde Archive Marcia Reed DE S IG N E R

Kurt Hauser Michelle Deemer Lauren Edson

PRODUCTION COORDI NATOR PROJ ECT E DITOR TR I M S I Z E

10 × 10

N U M B E R OF PAG E S PR I NT RU N

144

1750 Kurt Hauser 8/14 Alright Normal (Okay Type Foundry) × 2.75 in

COM POS ITOR TEX T T YPE

column 19/21 Alright Narrow bold 157gsm Vincent White I N KS 4-color process PR I NTE R /B I N DE R Artron M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Hardback B I N DI NG MATE R IALS 157gsm Vincent + matt lamination + spot UV over 3mm boards JAC KET/COVE R PR I NTE R Artron DI S PL AY T YPE PAPE R

DE S IG N E R COM M E NTS The cover object is a Fluxus piece which spells out the name of the patron and collector, Jean Brown. The blue background color is based on a Dada catalogue in the book. The plastic box is slightly embossed and UV spot varnished for a 3-D effect.

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Getty Publications Hollywood Arensberg Avant-Garde Collecting in Midcentury L.A. Mark Nelson, William H. Sherman, and Ellen Hoobler DE S IG N E R

Mark Nelson

Victoria Gallina Laura Santiago TR I M S I Z E 9 × 11 in N U M B E R OF PAG E S 448 PR I NT RU N 3000 COM POS ITOR Mark Nelson TEX T T YPE 11/14 Bulmer MT Regular (Monotype) × 6 in DI S PL AY T YPE 13pt FF Kievit Black (FontShop) PAPE R 135gsm Gardapat Kiara I N KS Tritone; black + pantone grey + pantone orange / 4-color process PR I NTE R /B I N DE R Trifolio M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn B I N DI NG MATE R IALS Brillianta spine + 150gsm matt art + matt lamination over 3mm boards JAC KET/COVE R PR I NTE R Trifolio PRODUCTION COORDI NATOR PROJ ECT E DITOR

The organizational challenge of this book was to clearly give the reader a room-by-room, wall-by-wall, and objectby-object guide to the art that was displayed in the Arensberg’s home. The collection is stunningly rich with Pre-Columbian art and work by many modern masters.

DE S IG N E R COM M E NTS

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National Gallery of Art Clouds, Ice, and Bounty The Lee and Juliet Folger Fund Collection of Seventeenth-Century Dutch and Flemish Paintings Arthur K. Wheelock jr. Brad Ireland Lisa Shea TR I M S I Z E 9.25 × 10.75 in N U M B E R OF PAG E S 160 PR I NT RU N 1000 TEX T T YPE TEFF Trinite PAPE R GardaPat Kiara PR I NTE R /B I N DE R Verona Libri M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn DE S IG N E R

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National Gallery of Art The New Woman Behind the Camera Andrea Nelson Margaret Bauer Lucy Flint TR I M S I Z E 9.75 × 11.75 in N U M B E R OF PAG E S 288 PR I NT RU N 4000 TEX T T YPE Oli Grotesk PAPE R Garda Premium Natural PR I NTE R /B I N DE R Verona Libri M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn DE S IG N E R

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National Gallery of Art A Superb Baroque Art in Genoa, 1600-1750 Jonathan Bober Brad Ireland PROJ ECT E DITOR Julie Warnement TR I M S I Z E 9.5 × 11 in N U M B E R OF PAG E S 336 PR I NT RU N 2380 TEX T T YPE TEFF Ruse PAPE R GardaPat Kiara PR I NTE R /B I N DE R Verona Libri M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn DE S IG N E R

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National Gallery of Art The Woman in White Joanna Hiffernan and James McNeill Whistler Margaret MacDonald Rita Jules PROJ ECT E DITOR Caroline Weaver TR I M S I Z E 8.85 × 10.5 in N U M B E R OF PAG E S 240 PR I NT RU N 2500 TEX T T YPE Louize and Post Grotesk PAPE R Tatami white PR I NTE R /B I N DE R Conti Tipocolor M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn DE S IG N E R

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Princeton University Press Modern Architecture and Climate Design Before Air Conditioning Daniel A. Barber DE S IG N E R

Luke Bulman

Steve Sears Michelle Komie PROJ ECT E DITOR Terri O’Prey TR I M S I Z E 8 × 10 in N U M B E R OF PAG E S 336 PR I NT RU N 1750 COM POS ITOR Luke Bulman TEX T T YPE 9/12 Untitled Sans DI S PL AY T YPE Untitled Sans PAPE R Gold East Matt Art I N KS 4-color process PR I NTE R /B I N DE R Asia Pacific Offset Group M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn B I N DI NG MATE R IALS Case printed 4-color on Wibalin, case trimmed flush to book block JAC KET/COVE R DE S IG N E R Luke Bulman JAC KET/COVE R PR I NTE R Asia Pacific Offset Group PRODUCTION COORDI NATOR ACQU I R I NG E DITOR

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Princeton University Press Piranesi Unbound Carolyn Yerkes and Heather Hyde Minor DE S IG N E R

Yve Ludwig

Steve Sears ACQU I R I NG E DITOR Michelle Komie PROJ ECT E DITOR Lauren Lepow TR I M S I Z E 9 × 11.5 in N U M B E R OF PAG E S 240 PR I NT RU N 1750 COM POS ITOR Yve Ludwig TEX T T YPE 11/14 Minion Pro DI S PL AY T YPE Minion Pro PAPE R Burgo R4 matte I N KS 4-color process PR I NTE R /B I N DE R Conti Tipocolor s.p.a. M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn B I N DI NG MATE R IALS 4-color printed case with foil stamped horizontal cloth wrap JAC KET/COVE R DE S IG N E R Yve Ludwig JAC KET/COVE R PR I NTE R Conti Tipocolor s.p.a. PRODUCTION COORDI NATOR

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Princeton University Press Walker Evans Starting from Scratch Svetlana Alpers DE S IG N E R

Gillian Malpass

Steve Sears Michelle Komie PROJ ECT E DITOR Terri O’Prey TR I M S I Z E 6.125 × 9.25 in N U M B E R OF PAG E S 416 PR I NT RU N 5000 COM POS ITOR Gillian Malpass TEX T T YPE 10/14 Plantin DI S PL AY T YPE Bell MT PAPE R Garda Matte + Salzer Touch Natural I N KS 1/1 PR I NTE R /B I N DE R Printer Trento S.r.l. M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn B I N DI NG MATE R IALS Wibalin JAC KET/COVE R DE S IG N E R Gillian Malpass JAC KET/COVE R PR I NTE R Printer Trento S.r.l. PRODUCTION COORDI NATOR ACQU I R I NG E DITOR

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University of Texas Press Walker Evans No Politics Stephanie Schwartz Cassandra Cisneros PRODUCTION COORDI NATOR Cassandra Cisneros ACQU I R I NG E DITOR Robert Devens PROJ ECT E DITOR Lynne Ferguson TR I M S I Z E 7 × 10 in N U M B E R OF PAG E S 320 PR I NT RU N 800 TEX T T YPE 10.25/14 Benton Modern (Font Bureau/Tobias FrereJones) DI S PL AY T YPE Franklin Gothic PAPE R 55# white Hi-Bulk 360ppi I N KS Black PR I NTE R /B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn JAC KET/COVE R DE S IG N E R Cassandra Cisneros JAC KET/COVE R PR I NTE R Phoenix Color DE S IG N E R

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CHAPTER TWO

The First Encounter All the while that the plant kingdom was morphing, growing, and evolving, the animal kingdom was on its own circuitous trajectory. When green algae first washed up on land, the oceans had been teeming with life. But plants weren’t the first higher organism on terra firma—a centipede, maybe 18 inches long with a couple of dozen legs, had left its imprint as it scuttled across the sand dunes tens of millions of years before the first liverwort, up on land to lay eggs or escape a predator. But land was no more hospitable for animals than it was for plants, and without the plants’ ingenious cell walls, animals needed a way to hold themselves up outside the buoyant oceans and to keep from drying out. Amphibians were the first group after insects and scorpions to try life outside the pool, and they split their time between aquatic and terrestrial environments. Early amphibians were covered with scales, like the later evolving reptiles, to maintain their moisture on land. Mammals didn’t appear and flourish until long after plants were flowering, but our tale focuses on just one section of their part of the evolutionary tree: the branches that ended up in Homo sapiens sapiens. The details of how our species evolved are pieced together from scattered skeletons and bones, and each new discovery not only adds another piece to the puzzle but sometimes has us revising much of the story.1 That said, the rough outline is that 15 or 20 hominin species proliferated over the last 6 million years. Our genus, Homo, split off from the others about 2 million years ago, 23

chapter nine

depend on them, how species evolve and adapt to changing environments—we could be doing a much better job of growing food within an ecological framework. That would mean incorporating at a larger scale the practices some farmers already use: rotating crops, diversifying fields, keeping soils healthy, and scattering nonagricultural land amid our fields as habitat for animals and insects that are part of a healthy ecological system. But how do you inspire changes in practices, particularly if those changes might mean lower short-term financial gains, and run counter to recommendations of global industries, which have prospered by marketing products that make farming easier and more productive? Farmers make decisions with an eye to markets and regulatory requirements. For a crop like wheat, those markets are often regional or international, rarely local. As long as ecology is separate from food production, and long-term ecological costs aren’t included in the calculations of short-term economic gains, we can continue to grow crops with blinders on.

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EPILOGUE

An Eternal Harvest The first plants that colonized land 400 million years ago changed the earth’s surface by breaking apart the rocks into a substrate that slowly developed into soil. They changed the trajectory of life by adding oxygen to the atmosphere to create a chemistry that favored the evolution of animals, including us. Of all the different species of plants—almost 400,000—there are an impressively small handful of species that we use as food. Wheat possesses characteristics that since the early days of our relationship have ensured its place as one of the most important plants for our species. Its seeds are nutritious and large compared with the other grasses. Their capacity for storage was a preadaptation for us; we used those seeds as a source of currency, a commodity to be transported long distances and traded for other foods or luxuries, and a staple food for people around the world. The cuisines that developed have generated a delectable variety of ways to cook or bake with wheat. Buttery layers of croissants, hard- crusted artisanal loaves of wholegrain bread, thick crackers, steamed buns, light chapati loaves, pasta of all shapes, Asian noodles, sweet baklava, flaky piecrusts, tabouleh, bulgur pilaf, burbara and other wheat berry porridges, pita bread, dumplings, matzos, pancakes, cookies, muffins, wontons, 187


University of Chicago Press Amber Waves The Extraordinary Biography of Wheat, from Wild Grass to World Megacrop Catherine Zabinski DE S IG N E R

Jill Shimabukuro

Joseph Claude ACQU I R I NG E DITOR Scott Gast PROJ ECT E DITOR Mary Corrado TR I M S I Z E 5.25 × 8 in N U M B E R OF PAG E S 256 PR I NT RU N 2500 COM POS ITOR Jill Shimabukuro TEX T T YPE 10.1/14 Dolly Pro (Underware) × 22p DI S PL AY T YPE Ziggurat (Hoefler&Co); Tribute (Émigré) PAPE R Maple Antique Cream B18, 400ppi I N KS Black PR I NTE R /B I N DE R Maple Press M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Notch B I N DI NG MATE R IALS 3-pc: Rainbow Antique Chestnut on spine; Rainbow Antique Melon on side panels, Endsheets: Rainbow Antique Melon, Spine foil: Metallic Gold, Head/Footbands: Royal/ White 414 JAC KET/COVE R DE S IG N E R Jill Shimabukuro JAC KET/COVE R PR I NTE R Phoenix Color PRODUCTION COORDI NATOR

DE S IG N E R COM M E NTS The decorative line drawings by Angela Mele inspired the design’s tone and typography.

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University of Nebraska Press Rez Metal Inside the Navajo Nation Heavy Metal Scene Ashkan Soltani Stone and Natale A. Zappia DE S IG N E R

Nathan Putens

Terrance Boldan Matthew Bokovoy PROJ ECT E DITOR Haley Mendlik TR I M S I Z E 5.5 × 8.5 in N U M B E R OF PAG E S 108 PR I NT RU N POD COM POS ITOR Laura Buis TEX T T YPE 10.7/15.5 Info Text Regular × 23p10, justified DI S PL AY T YPE Alfarn (Fontke) PAPE R 50# Crème I N KS Black PR I NTE R /B I N DE R Ingram Lightning Source M ETHOD OF PR I NTI NG Digital M ETHOD OF B I N DI NG Perfect B I N DI NG MATE R IALS 80# C1S JAC KET/COVE R DE S IG N E R Nathan Putens JAC KET/COVE R PR I NTE R Ingram Lightning Source PRODUCTION COORDI NATOR ACQU I R I NG E DITOR

DE S IG N E R COM M E NTS The design was inspired by music zines of my youth, at least as much as I could get away with in a UP book, so if the digital print came out a bit like a photocopy, it could seem to fit.

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Princeton University Press A Series of Fortunate Events Chance and the Making of the Planet, Life, and You Sean B. Carroll Chris Ferrante; Illustrations by Natalya Balnova PRODUCTION COORDI NATOR Jacquie Poirier ACQU I R I NG E DITOR Alison Kalett PROJ ECT E DITOR Ali Parrington TR I M S I Z E 5.25 × 8 in N U M B E R OF PAG E S 224 PR I NT RU N 10000 COM POS ITOR Westchester Publishing Services TEX T T YPE 10.5/13 Skolar Latin (Rosetta Type Foundry) × 22p DI S PL AY T YPE Block Pro (Berthold) PAPE R 55# Glatfelter Offset B18, cream, uncoated, 360 ppi I N KS Black PR I NTE R /B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Notch B I N DI NG MATE R IALS (case) Rainbow Eclipse, smooth finish; (spine foil) gloss white pigment; (head & tail bands) black-and-white striped JAC KET/COVE R DE S IG N E R Chris Ferrante; Illustration by Natalya Balnova JAC KET/COVE R PR I NTE R Sheridan DE S IG N E R

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University of Texas Press Haiku History The American Saga Three Lines at a Time H. W. Brands Monograph / Matt Avery PRODUCTION COORDI NATOR Linda Ronan ACQU I R I NG E DITOR Robert Devens PROJ ECT E DITOR Robert Kimzey TR I M S I Z E 4.5 × 7 in N U M B E R OF PAG E S 152 PR I NT RU N 7500 TEX T T YPE Harriet Text DI S PL AY T YPE Harriet Display (Okay Type) PAPE R 55# Hi-Bulk Natural 360 PPI I N KS Black, Pantone 3005 PR I NTE R /B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Notch B I N DI NG MATE R IALS Rainbow Lapis with Buckram 127 texture JAC KET/COVE R DE S IG N E R Monograph / Matt Avery JAC KET/COVE R PR I NTE R Phoenix Color DE S IG N E R

We worked to create an inviting, airy, and spare design in keeping with the haiku genre. Happily, we were able to commission the wonderful artwork from illustrator Lauren Nassef. DE S IG N E R COM M E NTS

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University of Texas Press “Unnatural History of America” Charles Bowden sextet Charles Bowden Monograph / Matt Avery Dustin Kilgore, Sarah Mueller, Linda Ronan, Cassandra Cisneros ACQU I R I NG E DITOR Dave Hamrick, Casey Kittrell PROJ ECT E DITOR Robert Kimzey TR I M S I Z E 5.5 × 8.5 in N U M B E R OF PAG E S Varies PR I NT RU N Varies TEX T T YPE Untitled Serif (Klim Type Foundry), Pitch (Klim Type Foundry) DI S PL AY T YPE Balboa (Linotype) PAPE R 55# Hi-Bulk Natural 360 PPI I N KS Black PR I NTE R /B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn B I N DI NG MATE R IALS Three piece case: Rainbow BB 171 charcoal for spine, Rainbow antq charcoal for boards JAC KET/COVE R DE S IG N E R Monograph / Matt Avery JAC KET/COVE R PR I NTE R Phoenix Color DE S IG N E R

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As with any series or multi-volume set, the main challenge was to create a design that worked across the full range of material. To introduce variety and flexibility, we used a range of weights of the typeface Balboa on the covers and interior display typography for the different volumes. DE S IG N E R COM M E NTS

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University of Virginia Press Three Rings A Tale of Exile, Narrative, and Fate Daniel Mendelsohn DE S IG N E R

Cecilia Sorochin Niccole Coggins Eric Brandt Ellen Satrom

PRODUCTION COORDI NATOR ACQU I R I NG E DITOR PROJ ECT E DITOR TR I M S I Z E

5 × 8 in

128 Cloth: 3000 / ebook: 300 COM POS ITOR Classic City Composition, LLC TEX T T YPE 10/14.5 Galliard ITC Std Roman (Mathew Carter / ITC) DI S PL AY T YPE Mrs Eaves (Suzanna Licko / Émigré) and Galliard ITC Jacket: Mrs Eaves Small Caps (Suzanna Licko / Émigré) PAPE R 55# House Natural Hi-Bulk, 360ppi I N KS Black / Jacket: 4-color process PR I NTE R /B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Notch B I N DI NG MATE R IALS 80# Rainbow Opaque BB case material / Plain endsheets to match text / Black headbands / General Roll Leaf GP460 spine stamp JAC KET/COVE R DE S IG N E R Cecilia Sorochin JAC KET/COVE R PR I NTE R Phoenix Color N U M B E R OF PAG E S PR I NT RU N

The labyrinths we enter when reading a story with circular narrative (“ring composition”), the mirrors we find while wandering in those stories that reflect back on the beginnings, the new dimensions we find—or get lost in—in them. A fascinating book to design: the page from a rare edition of the Odyssey, which takes us to the beginning of such a narrative, the new dimension introduced through the sense of touch (debossed labyrinth of the jacket). The three “rings” in the jacket, reminiscent of Turkish tiles patterns, which subtly bring Istanbul into the picture—the seminal location of exile in this book—are also to be found in the interior, aiming for a delicate balance so that the reader can be immersed in the universe of the book without being overwhelmed by graphics. DE S IG N E R COM M E NTS

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prol ogu e

the process of manufacture [shoddy] loses its identity. Its nature facilitates the practice of fraud and deceit.24

The stakes were thus high and multifarious; shoddy was a substance through which a debate about old clothes and mattress stuffing could be cast in terms of a battle between good and evil, order and dissolution, staged in the nation’s highest court. “The prohibition of the use of shoddy, new or old, even when sterilized, is unreasonable and arbitrary,” the court decided, but for Holmes and the other dissenters, this seemed far from true. These issues point to the ways in which shoddy (which “loses its identity,” in Holmes’s words, in the very “process of its manufacture”), a term whose original nominative meaning is today all but forgotten, generated such panic and alarm. Shoddy’s manufacture requires, in part, the active fashioning of erasure—of making disappear the sick people, old clothes, and their wearers and handlers, the physical and emotional spaces where they came from, the people who were touching and collecting them. Its instability as a commodity results from both the constantly shifting origins of its component rags and also the inherent imperfection of such attempts at erasure; a trace will always remain. This book’s purpose is not only to challenge and provoke, but also to reveal the hidden graces of the shoddy world, beauties both terrible and tender. Three acts and an epilogue cross axes of chronology and geography. Taken together, they open up the rich world of this peculiarly unstable entity in hopes that a fuller understanding of that world can help us think anew about the myriad textile surfaces that both separate and link the human and the nonhuman, the human-made and what is itself composed of human stuff, the “alien” and the “comfortingly” familiar.

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Fig. 2.9 “Service and Shoddy—A Picture of the Times.” From Harper’s Weekly, October 24, 1863, p. 677. (Courtesy of Harvard Library.)

The contractor and the contractor’s wife—sometimes known as Mr. and Mrs. Shoddy, or even just Shoddy and Mrs. Shoddy—was a common trope in a range of late and postwar satirical prose and visual polemic. The characters were often ethnic “others,” always ostentatious, callous, unseemly, and generally overdressed.46 The Mrs. Shoddy figure became especially resonant as a figure of derision and mockery. Superficiality characterized these figures, precursors to the inhabitants of the Gilded Age that Mark Twain would describe in his eponymous novel of a few years later.47 In the meanwhile, novels such as the above-mentioned The Days of Shoddy, whose elegant frontispiece (fig. 2.6) literally branded an outwardly elegant overcoat with a label of the era, focused on a “shoddy aristocracy” of depraved and vulgar wealthy opportunists. Although Morford’s characters weren’t named Mr. and Mrs. Shoddy, shoddy predominates as an adjective that refers not so much to articles that are poorly made as to a lack of “class,” morals, and courage—in other words, to express derision toward the parvenu or the nouveau riche enjoying their 84

ACT I

Devil’s Dust Day after day, I must thatch myself anew; day after day, this despicable thatch must lose some film of its thickness; some film of it, frayed away by tear and wear, must be brushed-off into the Ashpit, into the Laystall; till by degrees the whole has been brushed thither, and I, the dust-making, patent Rag-grinder, get new material to grind down. T H O M A S C A R LY L E , S A R T O R R E S A R T U S ( 1 8 3 3 – 3 6 )

For as long as there have been clothes (“worn” by definition), there have been old clothes. And certainly, long before shoddy, there was a trade in textile reuse. From their origins in the first days of human culture, clothes were portable technologies, wearable media, and temporary prostheses, shaped by the demands of a mobile body and inscribed with markers of that body’s history. They were (and remain) artifacts—articles of manufacture—in continual flux, though in earlier times exchanges of old and new were fewer and farther between. Throughout the Middle Ages and the Renaissance, clothing, once shaped to a given body, might be worn for years, sometimes a lifetime. Through the movements of a body in time, its clothes would acquire increasingly personal and human characteristics—worn knees and elbows, a stretched waist. Stains, patches, tears, and color changes accompanied a life journey, or at least several decades thereof. In the Renaissance, it was common for servants to sell their masters’ old clothing to peasants in neighboring villages. In the seventeenth and eighteenth centuries, itinerant rag and old clothes dealing grew into a profession, increasingly associated with the manufacture of paper, including paper money. In particular, 19

t e x t il e sk i n

ill-gotten luxuries on the backs of soldiers dying at the front.48 If there had once been hopes that the new shoddy class would face a swift comeuppance, that expectation had evidently faded: the rich and poor in Nast’s image remain wholly separate from each other, leaving the poor, honest, and patriotic without visible recourse. This is two nations, to refer back to Benjamin Disraeli’s characterization of 1840s England, distinct from that demanded by the secessionists.49 George Isaac Reed’s extended poem The Russian Ball, or The Adventures of Miss Clementina Shoddy (1863) makes a similar point, employing the language of “Shoddydom” and crass female “Shoddyites.” It also includes the theme of foreignness (Russians, in this case), as seen in the placement of the flag and other symbols of the nation on the cover (fig. 2.10).50 It thereby highlights the connection between shoddy and patriotism and, by negative implication, treason. (Note the American flag in the upper-right corner of the cover, with “shoddy” labeled immediately below it.) Reed’s verse describes the luxurious life of one Miss Clementina Shoddy, whose lifestyle is paid for by her father (the contractor Père Shoddy). Reed dramatically juxtaposes Miss Shoddy’s many foreign flirtations with the concurrent suffering of American soldiers at the front. All Shoddydom flutters with great expectation; The night of the ball to the guests of the nation. The bosoms of thousand fair Shoddyites pant with triumph: They’re going, while thousands more can’t.

Reed’s verse expands the latter suggestion into a virtual tableau of war: I saw at the ball Shoddy sensual and dull, Exclaiming: “Ha! ha! I have eaten my full.” But there at his feet (in my true waking dream) Was rolling a swollen and dark southern stream, And near it a soldier, who lay by its brink, All bleeding and dying and praying for drink. He’d fought for the flag, in a skirmish he fell, Unknown and alone he was dying—Ah, well, 85


University of Chicago Press Shoddy From Devil’s Dust to the Renaissance of Rags Hanna Rose Shell DE S IG N E R

Jill Shimabukuro Joseph Claude Karen Merikangas Darling Erin DeWitt

PRODUCTION COORDI NATOR ACQU I R I NG E DITOR PROJ ECT E DITOR TR I M S I Z E

6 × 8 in

252 2000 COM POS ITOR Jill Shimabukuro TEX T T YPE 9.8/13 Miller × 25p6 DI S PL AY T YPE Elephant (Linotype), Atlas Grotesk (Commercial Type) PAPE R 60# natural, 420ppi (text); 70# matte coated (color insert) I N KS 1/C main text (4/C insert) PR I NTE R /B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Notch B I N DI NG MATE R IALS 3-pc: Rainbow Antique Graphite (spine); Rainbow Antique Felt (side panels), Endsheets: Rainbow Antique Felt, Spine foil: GRL S7 Platinum, Head/footbands: Light Blue and White JAC KET/COVE R DE S IG N E R Jill Shimabukuro JAC KET/COVE R PR I NTE R Phoenix Color N U M B E R OF PAG E S PR I NT RU N

DE S IG N E R COM M E NTS A wonderful history of reclaimed wool, or shoddy. The design and typography were inspired by the rich illustration program featured in the interior.

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Museum of Modern Art Dorothea Lange: Words & Pictures Sarah Hermanson Meister, editor DE S IG N E R

Margaret Bauer

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Matthew Pimm

Emily Hall 9 × 10.5 in N U M B E R OF PAG E S 176 PR I NT RU N 9000 TEX T T YPE Helvetica Neue and Whitman PAPE R 150gsm Arctic Volume Ivory PR I NTE R /B I N DE R Brizzolis, S.A, Madrid M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn JAC KET/COVE R DE S IG N E R Margaret Bauer JAC KET/COVE R PR I NTE R Brizzolis, S.A, Madrid PROJ ECT E DITOR TR I M S I Z E

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Museum of Modern Art Engineer, Agitator, Constructor The Artist Reinvented, 1918–1939 The Merrill C. Berman Collection at MoMA Jodi Hauptman and Adrian Sudhalter, editors DE S IG N E R

Norm, Zurich

Matthew Pimm PROJ ECT E DITOR Diana C. Stoll TR I M S I Z E 9.5 × 12 in N U M B E R OF PAG E S 288 PR I NT RU N 5000 TEX T T YPE LL Riforma PAPE R 150gsm Arctic White PR I NTE R /B I N DE R Trifolio s.r.l., Verona M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn JAC KET/COVE R DE S IG N E R Norm, Zurich JAC KET/COVE R PR I NTE R Trifolio s.r.l., Verona PRODUCTION COORDI NATOR

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Museum of Modern Art Félix Fénéon The Anarchist and the Avant-Garde Starr Figura, Isabelle Cahn, and Philippe Peltier, editors Amanda Washburn Matthew Pimm PROJ ECT E DITOR Rebecca Roberts with Maria Marchenkova and Jaclyn Neudorf TR I M S I Z E 9 × 10.5 in N U M B E R OF PAG E S 248 PR I NT RU N 5000 TEX T T YPE DXAngelus Mediaval, Armitage, and Ronaldson PAPE R Condat matt perigord 150 gsm PR I NTE R /B I N DE R Graphius, Belgium M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn B I N DI NG MATE R IALS Brillianta cloth JAC KET/COVE R DE S IG N E R Amanda Washburn JAC KET/COVE R PR I NTE R Graphius, Belgium DE S IG N E R

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Museum of Modern Art Neri Oxman: Material Ecology Paola Antonelli, editor with Anna Burckhardt DE S IG N E R

Irma Boom

Marc Sapir PROJ ECT E DITOR Emily Hall and Jennifer Liese TR I M S I Z E 9.5 × 12 in N U M B E R OF PAG E S 184 PR I NT RU N 6000 TEX T T YPE Neutral DI S PL AY T YPE Neutral PAPE R 115gsm Munken Print White PR I NTE R /B I N DE R Ofset Yapımevi, Istanbul M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn JAC KET/COVE R DE S IG N E R Irma Boom JAC KET/COVE R PR I NTE R Ofset Yapımevi, Istanbul PRODUCTION COORDI NATOR

The design, by Irma Boom, pays homage to Stewart Brand’s legendary Whole Earth Catalog, which celebrated and provided resources for a new era of awareness in the late 1960s. Neri Oxman: Material Ecology, in turn, heralds a new era of ecological awareness—one in which the genius of nature can be harnessed, as Oxman is doing, to create tools for a better future. DE S IG N E R COM M E NTS

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University of Texas Press Flash of Light, Wall of Fire Japanese Photographs Documenting the Atomic Bombings of Hiroshima and Nagasaki The Dolph Briscoe Center for American History DE S IG N E R

Erin Mayes

Linda Ronan ACQU I R I NG E DITOR Robert Devens PROJ ECT E DITOR Robert Kimzey TR I M S I Z E 9 × 12 in N U M B E R OF PAG E S 256 PR I NT RU N 1200 TEX T T YPE 8.75/13 Le Monde Livre (Typofonderie) DI S PL AY T YPE Knockout 27 Junior Bantamweight PAPE R Cougar Opaque 80# natural text I N KS Duotone: Black + Pantone Warm Gray 5U; Pantone 1805U PR I NTE R /B I N DE R Friesens M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn B I N DI NG MATE R IALS Arrestox Chili Pepper JAC KET/COVE R DE S IG N E R Erin Mayes JAC KET/COVE R PR I NTE R Friesens PRODUCTION COORDI NATOR

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University of Texas Press Michael Ray Charles A Retrospective Cherise Smith Cassandra Cisneros PRODUCTION COORDI NATOR Cassandra Cisneros ACQU I R I NG E DITOR Robert Devens PROJ ECT E DITOR Robert Kimzey TR I M S I Z E 9.625 × 11.5 in N U M B E R OF PAG E S 300 PR I NT RU N 2000 TEX T T YPE Neue Haas Grotesk Roman DI S PL AY T YPE Neue Haas Grotesk Black PAPE R 157 gsm Gold East matte I N KS 4-color process PR I NTE R /B I N DE R Four Colour Imports M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn JAC KET/COVE R DE S IG N E R Cassandra Cisneros JAC KET/COVE R PR I NTE R Four Colour Imports DE S IG N E R

DE S IG N E R COM M E NTS This book will be the first monograph in over twenty years to present the work of artist Michael Ray Charles, a Louisiana-born painter who has spent the last several decades living and working in Texas. The selection of over one hundred full-color plates is preceded by an interview with MRC and followed by a deeply researched contextualizing essay from Smith. Smith begins with a list of the symbols that have long animated Charles’ work. She continues: “ . . . artist Michael Ray Charles remembers the ubiquity of such images and objects, recalls the casualness with which they were displayed, and recollects the feelings of nostalgia and sympathy they call up for certain viewers. He also understands the shame and anger they provoke. Charles knows the many ways they function, but for him, they are, first and foremost, objects of inquiry.” Charles’s work has often been considered in terms of its commercial American print media sources. Borrowing from these sources their subjects, colors, and type styles, Charles’s pictures are made to look aged but are updated with contemporary references to the cultural traffic in black bodies.

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Yale University Press Vida Americana Mexican Muralists Remake American Art, 1925–1945 Barbara Haskell Michelle Nix of McCall Associates PRODUCTION COORDI NATOR Mary Mayer ACQU I R I NG E DITOR Amy Canonico PROJ ECT E DITOR Kate Zanzucchi TR I M S I Z E 9.75 × 12 in N U M B E R OF PAG E S 248 pp + 1 single gatefold + 1 double gatefold PR I NT RU N 8000 COM POS ITOR Michelle Nix TEX T T YPE 10.5/15 Hope Sans, 10/16 Hope Sans Semibold for knockout text on opener pages DI S PL AY T YPE Versus Black PAPE R 115 gsm Kasadaka white matt I N KS 4-color process + PMS 1815C + offline spot 50/50 varnish PR I NTE R /B I N DE R Asia Pacific Offset Group M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn B I N DI NG MATE R IALS Printed paper over board + Kraft paper + white matt foil JAC KET/COVE R DE S IG N E R Michelle Nix of McCall Associates JAC KET/COVE R PR I NTE R Asia Pacific Offset Group DE S IG N E R

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University of Alberta Press I Am Still Your Negro An Homage to James Baldwin Valerie-Mason-John DE S IG N E R

Alan Brownoff

Alan Brownoff Michelle Lobkowicz PROJ ECT E DITOR Mary Lou Roy TR I M S I Z E 5.25 × 9 in N U M B E R OF PAG E S 120 PR I NT RU N 600 COM POS ITOR Alan Brownoff TEX T T YPE 9/16 Lexicon (Eschedé) DI S PL AY T YPE Knockout PAPE R 55 lb. Enviro natural I N KS Black PR I NTE R /B I N DE R Houghton Boston Printers M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Perfect B I N DI NG MATE R IALS 1/2 ml. matte lamination JAC KET/COVE R DE S IG N E R Alan Brownoff JAC KET/COVE R PR I NTE R Houghton Boston Printers PRODUCTION COORDI NATOR ACQU I R I NG E DITOR

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Chinese University of Hong Kong Press Lotus Leaves Selected Poems of Leung Ping-kwan Leung Ping-kwan / Translated by John Minford Chan Hei Shing@Hei Shing Book Design PRODUCTION COORDI NATOR Sushan Chan ACQU I R I NG E DITOR Ye Minlei PROJ ECT E DITOR Winifred Sin TR I M S I Z E 216 × 127 mm N U M B E R OF PAG E S 280 PR I NT RU N 1000 COM POS ITOR Chan Hei Shing, Chiu Wing Ki@Hei Shing Book Design TEX T T YPE 10/14 Adobe Caslon Pro Regular (Adobe) DI S PL AY T YPE 20.5/20.5 Bembo (Monotype), Small Caps PAPE R 80 gsm IVO Print I N KS Black PR I NTE R /B I N DE R Hang Tai Printing Company Ltd. M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn B I N DI NG MATE R IALS 116gsm Satogami over 2mm millboard, with green head and tails bands JAC KET DE S IG N E R Chan Hei Shing@Hei Shing Book Design JAC KET PR I NTE R Hang Tai Printing Company Ltd. DE S IG N E R

DE S IG N E R COM M E NTS Fat Face was chosen to be the typeface of the book for both of its exaggerated thick and thin strokes that vividly illustrate the broadness, flatness, and the curves of the lotus leaves. One recurring theme of Leung’s poem is “cross-boundary,” be it traditional and contemporary, East and West, or dialogues between different art forms. This is expressed on the cover with contrasting colors, green and pink (colors of the lotus and its leaves), that beautifully fuse together, creating scene of vibrant silence. For the inside pages, the idea of “cross-boundary” once again appears on the contents page, where strokes are placed between page numbers and poem’s title, and between the poem’s English and Chinese titles. Illustrations on the openings of each chapter capture the main themes by using visual elements with strong symbolic meaning.

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Duke University Press Dub Finding Ceremony Alexis Pauline Gumbs DE S IG N E R

Aimee C. Harrison

Chris Critelli Ken Wissoker PROJ ECT E DITOR Jessica Ryan TR I M S I Z E 5.5 × 8.5 in N U M B E R OF PAG E S 296 PR I NT RU N 2000 paperback COM POS ITOR Copperline Books Services TEX T T YPE 9.8/13 Sabon LT Std (Linotype) × 24p DI S PL AY T YPE Arnold Böcklin, Neuzeit S LT Std PAPE R 50# Natural B-18 I N KS Black PR I NTE R /B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Notch JAC KET/COVE R DE S IG N E R Aimee C. Harrison JAC KET/COVE R PR I NTE R John P. Pow Company PRODUCTION COORDI NATOR ACQU I R I NG E DITOR

Alexis Pauline Gumbs’s careful attention to page movement in the poems determined the flow and pacing of this design. Gumbs’s partner Sangadore’s beautiful oceanic illustrations open each chapter and set the mood for the type and layouts. DE S IG N E R COM M E NTS

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Louisiana State University Press Left-Handed Wolf Poems Adam Day Michelle A. Neustrom PRODUCTION COORDI NATOR Michelle A. Neustrom ACQU I R I NG E DITOR James Long PROJ ECT E DITOR Neal Novak TR I M S I Z E 5 × 7 in N U M B E R OF PAG E S 82 PR I NT RU N POD COM POS ITOR Michelle A. Neustrom TEX T T YPE 10.25/14.25 Sina Nova (Hoftype) × 18p0 × 30p10 DI S PL AY T YPE Bombardier (Apostrophic Labs) PAPE R 50lb Creme, 440ppi I N KS Black PR I NTE R /B I N DE R Ingram Lightning Source M ETHOD OF PR I NTI NG Digital M ETHOD OF B I N DI NG Perfect JAC KET/COVE R DE S IG N E R Michelle A. Neustrom JAC KET/COVE R PR I NTE R Ingram Lightning Source DE S IG N E R

I really enjoyed working within this small format and bending typesetting rules I normally set for myself. DE S IG N E R COM M E NTS

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Louisiana State University Press Encyclopedia of Louisiana Musicians Jazz, Blues, Cajun, Creole, Zydeco, Swamp Pop, and Gospel Gene Tomko Michelle A. Neustrom PRODUCTION COORDI NATOR Michelle A. Neustrom ACQU I R I NG E DITOR Margaret Lovecraft PROJ ECT E DITOR Catherine L. Kadair TR I M S I Z E 8 × 10 in N U M B E R OF PAG E S 320 PR I NT RU N 2000 COM POS ITOR Michelle A. Neustrom TEX T T YPE 9.5/13.1 and 9/12.55 Sentinel (Hoefler&Co.) × 39p0 × 48p10 DI S PL AY T YPE Amber Whiskey, Chestnut, Silverfake, Veneer Clean PAPE R 60lb House Natural Smooth Web, 420ppi I N KS Black PR I NTE R /B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn B I N DI NG MATE R IALS Matte laminated printed case, purple and white headbands JAC KET/COVE R DE S IG N E R Michelle A. Neustrom JAC KET/COVE R PR I NTE R Sheridan DE S IG N E R

DE S IG N E R COM M E NTS This was a typesetting challenge because the musicians referenced within each entry (which were numerous) needed to be emphasized without competing with the main entry name.

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Yale University Press The Essential Works of Thomas More Thomas More; Gerard B. Wegemer and Stephen W. Smith, editors DE S IG N E R

Gregg Chase

Maureen Noonan Sarah Miller PROJ ECT E DITOR Margaret Otzel and Joyce Ippolito TR I M S I Z E 8 × 10 in. N U M B E R OF PAG E S 1520 PR I NT RU N 1600 COM POS ITOR Julie Allred, BW&A Books TEX T T YPE 10.5/12.5 Garamond Premier Pro customized by Charles Ellertson × 16p9.5 (2 columns) DI S PL AY T YPE Garamond Premier Pro customized by Charles Ellertson PAPE R 45# House White Matte I N KS Black PR I NTE R /B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset M ETHOD OF B I N DI NG Smyth sewn with preprinted endpapers B I N DI NG MATE R IALS Preprinted lithocase on boards, green and gold head and footbands. Case printed 4 color on 100# white with scufffree nylon matte lamination. JAC KET DE S IG N E R Gregg Chase JAC KET PR I NTE R Sheridan PRODUCTION COORDI NATOR ACQU I R I NG E DITOR

DE S IG N E R COM M E NTS More’s major works are collected in one volume and presented in chronological order, with features including: cross-references to Yale’s critical editions; line numbers for ease of reference; 102 illustrations integrated with related texts, including samples of More’s handwriting and first edition texts; newly commissioned artistic reconstructions; a reconstructed text of More’s historic trial with references to all existing sources; a rich appendix of the earliest biographical accounts of More; and more. Because over 19,000 notes are involved in the book, a three-column design was chosen. Detailed timelines are given; for ease of reference, a “Selective Glossary” is given on the inside back cover.

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University of California Press A Brief History of Fascist Lies Federico Finchelstein DE S IG N E R

Lia Tjandra Lia Tjandra

ART DI R ECTOR

Jack Young Lulo Clean, Proxima Nova PAPE R 350 gsm C1S I N KS 4-color process COATI NG /F I N I S H Gloss lam, spot matte PR I NTE R / B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset PRODUCTION COORDI NATOR T YPE FAC E S

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DE S IG N E R COM M E NTS The cover design is a modern twist on the classic constructivist look. The goal is to blend concept, typography, and simplicity into a powerful statement.


University of Chicago Press Crap A History of Cheap Stuff in America Wendy A. Woloson Isaac Tobin ART DI R ECTOR Jill Shimabukuro I LLU STR ATOR Isaac Tobin PRODUCTION COORDI NATOR Joseph Claude T YPE FAC E S Helvetica Now (Monotype), Cooper Black (Adobe), Caslon Pro (Adobe) PAPE R 80# C1S I N KS 4-color process COATI NG / F I N I S H Scuff resistant matte film laminate PR I NTE R / B I N DE R Phoenix Color M ETHOD OF PR I NTI NG Offset DE S IG N E R

DE S IG N E R COM M E NTS This book is a serious history of cheap, silly, meaningless consumer objects. So the challenge was using the visual language of “crap” to create a cover that functioned as a serious piece of design.

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T MATTE LAY FLAT FILM LAMINATE

University of Chicago Press

Natalie Sowa ART DI R ECTOR Jill Shimabukuro I LLU STR ATOR Photograph by Fabrizio Conti PRODUCTION COORDI NATOR Skye Agnew T YPE FAC E S Sabbath Black (Émigré), IM Fell English (Google) PAPE R 80# C1S I N KS 4-color process COATI NG /F I N I S H Matte stay flat laminate PR I NTE R / B I N DE R Phoenix Color M ETHOD OF PR I NTI NG Offset DE S IG N E R

P U R I T A N S P I R I T S in the A B O L I T I O N I S T I M A G I N A T I O N

A M E R I C A N B E G I N N I N G S , 1500–1900 DE S IG N E R COM M E NTS er ies E d ited b y Edward Gray, Stephen Mihm, a nd Mark Peterson

This cover evokes connections to Puritan as well as antebellum America with its use of strong type (red for the fiery abolitionists’ inheritance from the Puritans) that sits suspended over a moody ISBN-13: 978-0-226-69402-3 ISBN-10: 0-226-69402-X scene that could be from either an early 9 0 0 0 0 Puritan settlement or a rural 1800s American 9 7 8 02 2 6 69402 3 setting. The typography is a nod to Puritan tracts. AMERICAN HISTORY

C hic a g o

niv er s ity o f C hic a g o P r es s

W W W. P R E S S .U C H I C A G O . E D U

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T he U

k e n yon g r a de rt

Kenyon Gradert

Kenyon Gradert

Puritan Spirits in the Abolitionist Imagination

ken y

S

Spirits in the

Abolitionist Imagination

Abo Ima

the puritans dour figures, ch less toil at best an “Puritan” is an ins prigs, or oppress ican abolitionist shocked to hea embraced the id in fact pioneers o and invoked thei of their antislave Puritan Spir Imagination rev of the nineteent movement—fro like Ralph Wald lesser-known wri upon the Purita their politics and instance of selec ined aspects of Pu be potent catalyst Black writers lau Puritan soldier militias in Kansa


University of Chicago Press Radium of the Word A Poetics of Materiality Craig Dworkin Monograph / Matt Avery ART DI R ECTOR Jill Shimabukuro PRODUCTION COORDI NATOR Lisa Hein T YPE FAC E S Lyon (Commercial Type) PAPE R 10 pt C1S I N KS 4-color process COATI NG / F I N I S H matte PR I NTE R / B I N DE R Chicago Digital Distribution Center (CDDC) M ETHOD OF PR I NTI NG Digital DE S IG N E R

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Chinese University of Hong Kong Press The Best China Essays from Hong Kong John Minford, Editor DE S IG N E R

Chan Hei Shing@Hei Shing Book Design Chan Hei Shing@Hei Shing Book

ART DI R ECTOR

Design Chan Hei Shing, Chiu Wing Ki@Hei Shing Book Design PRODUCTION COORDI NATOR Sushan Chan T YPE FAC E S Copperplate Gothic Bold T. PAPE R 148gsm Classic Crest White Stipple I N KS 4-color process COATI NG /F I N I S H Matt oil Varnishing PR I NTE R / B I N DE R Hang Tai Printing Company Ltd. M ETHOD OF PR I NTI NG Offset I LLU STR ATOR

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DE S IG N E R COM M E NTS “The Best China, an expression traditionally used to refer to the finest crockery brought out when one is entertaining special guests, has been adapted here to mean the best Chinese tradition of free-thinking discursive prose.” I adopt this metaphor and I also wish to show that Hong Kong has always been a good mix of East and West, it takes the best of both cultures. Hong Kong is neither English nor Chinese; it is exquisite in a quirky way.


Chinese University of Hong Kong Press Dragons Shorter Fiction of Leung Ping-kwan Leung Ping-kwan Chan Hei Shing@Hei Shing Book Design Chan Hei Shing@Hei Shing Book Design I LLU STR ATOR Chan Hei Shing, Chiu Wing Ki@Hei Shing Book Design PRODUCTION COORDI NATOR Sushan Chan T YPE FAC E S Beastly; Dala Floda Web Family PAPE R 174gsm New Stardust I N KS Metallic Silver and Gold COATI NG / F I N I S H Matt oil Varnishing PR I NTE R / B I N DE R Hang Tai Printing Company Ltd. M ETHOD OF PR I NTI NG Offset DE S IG N E R

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DE S IG N E R COM M E NTS This title, comprised of two very modern short stories with dragons playing a prominent role in both tales, has deep roots in the Chinese literature of the remote past, as well as strong overtones of magical realism and surrealism. These characteristics are weaved together by using “Beastly,” an Egyptian typeface, with unique typographic features that resemble the form of this fascinating creature. The dragon that looms in the background is waving through the twilight zone; gold, black, and silver, together with the grainy texture, all create a mystical gothic atmosphere that echoes the stories.

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Chinese University of Hong Kong Press The Drunkard A Novel by Liu Yichang Liu Yichang / Translated by Charlotte Chun-lam Yiu / Edited with an Introduction and Notes by Nick Hordern Chan Hei Shing@Hei Shing Book Design Chan Hei Shing@Hei Shing Book Design I LLU STR ATOR Chan Hei Shing, Chiu Wing Ki@Hei Shing Book Design PRODUCTION COORDI NATOR Sushan Chan T YPE FAC E S Bookman Swash PAPE R 148gsm Classic Crest White Stipple I N KS 4-color process COATI NG /F I N I S H Matt oil varnishing PR I NTE R / B I N DE R Hang Tai Printing Company Ltd. M ETHOD OF PR I NTI NG Offset DE S IG N E R

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DE S IG N E R COM M E NTS The original Chinese edition of this book is one of the first full-length stream-of-consciousness novels written in 1962. I want to bring out both the hallucinative world and the philistine reality a drunkard would have encountered, hence the psychedelic color scheme and the fluid and abstract image. The color scheme also pays tribute to the symbolic neon lights of Hong Kong. The font Bookman Swash resembles wine pouring, adding to the debauched atmosphere.


Chinese University of Hong Kong Press So . . . You Have Decided to Become a Physician Advice to Aspiring Young Doctors Dimitrios Linos Bianco Tsai Bianco Tsai I LLU STR ATOR Dimitrios Linos PRODUCTION COORDI NATOR Sushan Chan T YPE FAC E S Granjon (Linotype) PAPE R 116gsm SAGAN GA platinum white I N KS 4-color process COATI NG / F I N I S H Matt oil Varnishing PR I NTE R / B I N DE R Hang Tai Printing Company Ltd. M ETHOD OF PR I NTI NG Offset DE S IG N E R

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DE S IG N E R COM M E NTS This book is a “chicken soup” for everyone, especially young people who wants to become a physician and seek for advice. The cover illustration was one selected from many of the author’s paintings, which reminds me The Catcher in the Rye, where young people confused about the future. Soft pink is used to convey a warm-hearted tone. The design is intended to resemble a doctor’s notebook. This is achieved by the pink block in the center where the title sits, and an actual elastic band is attached at the back cover. The italic “So . . .” and the underline on “Become a Physician” enhance the delightful, conversational tone of the title.

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Columbia University Press Series: Russian Library Titles: Woe from Wit; The Little Devil and Other Stories; Journey from St. Petersburg to Moscow Alexander Griboedov; Alexei Remizov; Alexander Radishchev Roberto de Vicq de Cumptich ART DI R ECTOR Julia Kushnirsky PRODUCTION COORDI NATOR Jennifer Jerome T YPE FAC E S Ingeborg-Fat, Ingeborg-FatItalic (Letterhead Studio), MrPalker Ultracondensed Regular (Letterhead Studio), MrPalkerDadson Cond Regular (Letterhead Studio), MrPalkerson Ultracondensed Black (Letterhead Studio) MrPalkerson Ultracondensed DemiBo DE S IG N E R

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100# C1S jacket stock I N KS 4-color process COATI NG /F I N I S H Scuff free layflat matte PR I NTE R /B I N DE R Sheridan M ETHOD OF PR I NTI NG Digital PAPE R


Duke University Press Information Activism A Queer History of Lesbian Media Technologies Cait McKinney Aimee C. Harrison ART DI R ECTOR Amy Ruth Buchanan I LLU STR ATOR Cover art: Based on the cover of a call log created by the Lesbian Switchboard of New York City, 1980–81. PRODUCTION COORDI NATOR Chris Granville T YPE FAC E S Helvetica (Linotype) PAPE R 10pt C1S I N KS 4-color process COATI NG / F I N I S H Matte OPP (polypropylene) film PR I NTE R / B I N DE R John P. Pow Company M ETHOD OF PR I NTI NG Offset DE S IG N E R

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Duke University Press Liquor Store Theatre Maya Stovall Aimee C. Harrison ART DI R ECTOR Amy Ruth Buchanan PRODUCTION COORDI NATOR Chris Granville T YPE FAC E S Garamond Premier Pro (Adobe), Custom Type PAPE R 10pt C1S I N KS 4-color process COATI NG /F I N I S H Matte OPP (polypropylene) film PR I NTE R / B I N DE R John P. Pow Company M ETHOD OF PR I NTI NG Offset DE S IG N E R

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painted liquor store signs.

Custom type based on hand-


Duke University Press Revolution and Disenchantment Arab Marxism and the Binds of Emancipation Fadi A. Bardawil

This cover design includes the whole front page of an issue of the Socialist Lebanon bulletin from 1967. This gesture visually references Marxist printed ephemera from that era, and it points directly to a specific text discussed in the book. DE S IG N E R COM M E NTS

Drew Sisk Amy Ruth Buchanan PRODUCTION COORDI NATOR Chris Critelli T YPE FAC E S Helvetica Ultra Compressed (Linotype), Garamond Premier Pro (Adobe) PAPE R 10 pt. C1S I N KS 4-color process COATI NG / F I N I S H Matte OPP (polypropylene) film PR I NTE R / B I N DE R John .P. Pow Company M ETHOD OF PR I NTI NG Offset DE S IG N E R

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Duke University Press Technocrats of the Imagination Art, Technology, and the Military Industrial Avant-Garde John Beck and Ryan Bishop Aimee C. Harrison and Drew Sisk Amy Ruth Buchanan I LLU STR ATOR Pantelis Xagoraris, untitled (1974). PRODUCTION COORDI NATOR Chris Granville T YPE FAC E S SangBleu Empire (Swiss Typefaces), Garamond Premier Pro (Adobe), Helvetica (Linotype) PAPE R 10pt C1S I N KS 4-color process COATI NG /F I N I S H Matte OPP (polypropylene) film PR I NTE R / B I N DE R John P. Pow Company M ETHOD OF PR I NTI NG Offset DE S IG N E R

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University of Georgia Press Vénus Noire Black Women and Colonial Fantasies in Nineteenth-Century France Robin Mitchell Kaelin Chappell Broaddus Erin Kirk I LLU STR ATOR Charles-Henri-Joseph Cordier PRODUCTION COORDI NATOR Kaelin Chappell Broaddus T YPE FAC E S Fournier Std (Monotype) PAPE R 10pt C1S I N KS 4-color process COATI NG / F I N I S H Matte laminate PR I NTE R / B I N DE R Ingram Lightning Source M ETHOD OF PR I NTI NG Digital DE S IG N E R

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DE S IG N E R COM M E NTS The author selected this breathtaking image for use on the cover.

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University Press of Kentucky The Redshirt A Novel Corey Sobel Hayward Wilkirson ART DI R ECTOR Ashley Runyon I LLU STR ATOR iStock.com/Sloop Communications DE S IG N E R

PRODUCTION COORDI NATOR T YPE FAC E S

HVD Rowdy (HVD Fonts), Palatino

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T

hrough technological experiments, readers have seen the concept of the book change over the years, and the novel reflects these experiments, acting as a kind of archive for information. Out of Print reveals that the novel continues to shape popular understandings of information culture, even as it adapts to engage with new media and new practices of mediating information in the digital age. This innovative study chronicles how the print book has fared as both novelists and the burgeoning profession of information science have grappled with unprecedented quantities of data across the twentieth and twenty-first centuries. As the novel’s archival project took a critical turn from realism to an investigation of the structures, possibilities, and ideologies of information media, novelists have considered ideas about how data can best be collected and stored. Julia Panko pairs case studies from information history with close readings of modernist works such as James Joyce’s Ulysses and Virginia Woolf’s Orlando and contemporary novels from Jonathan Safran Foer, Stephen King, and Mark Z. Danielewski that emphasize their own informational qualities and experiment with the aesthetic potential of the print book. “This is a complex and fascinating book that has illuminating things to say about the novel as a genre; about the future of the book, the future of the novel, and the future of literary reading; about the form of information and the category of form itself; and about the information ecology of the digital world. It is lucidly and elegantly written, and its scholarship is impressively detailed and rigorous.” —John Frow, author of Character and Person “Out of Print explores the continued importance and power of the book in a digital age of increased big data. It draws from many important works of scholarship across the interdisciplinary fields of new media, book history, and literary studies. This weaving together of scholarship and literary texts, from modernism and contemporary literature, is a valuable contribution.”

Out of Print Mediating Information in the Novel and the Book Julia Panko

—Jessica Pressman, author of Bookishness: Loving Books in a Digital Age Julia Panko is associate professor of English at Weber State University. A volume in the series Page and Screen Cover design by Rebecca S. Neimark, Twenty-Six Letters twentysixletters.com

massachusetts press

AMHERST AND BOSTON

www.umasspress.com

Cover art by Su Blackwell, The Book of the Lost © 2010. Courtesy of the artist. sublackwell.co.uk

University of Massachusetts Press Out of Print Mediating Informatinon in the Novel and the Book Julia Panko Twenty-Six Letters, Inc. Rebecca Neimark ART DI R ECTOR Sally Nichols I LLU STR ATOR Su Blackwell PRODUCTION COORDI NATOR Sally Nichols T YPE FAC E S Seravek, Underwood Champion PAPE R 10 pt C1S I N KS 4-color process COATI NG / F I N I S H Layflat matte laminate PR I NTE R / B I N DE R Books International, Inc M ETHOD OF PR I NTI NG Digital DE S IG N E R

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McGill-Queen’s University Press Check Sarah Tolmie David Drummond ART DI R ECTOR Elena Goranescu PRODUCTION COORDI NATOR Elena Goranescu T YPE FAC E S New Baskerville PAPE R Supreme Gloss Cover Matte 93 Lb (10.6 pts) I N KS 4-color process COATI NG /F I N I S H Matte finish Scuff Free + spot UV PR I NTE R / B I N DE R Imprimerie Gauvin M ETHOD OF PR I NTI NG Offset DE S IG N E R

DE S IG N E R COM M E NTS The poet asked that there be no title on the cover, just a check mark. The challenge was to present it in a way that was visually interesting.

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McGill-Queen’s University Press Green Meat? Sustaining Eaters, Animals, and the Planet Ryan M. Katz-Rosene and Sarah J. Martin, editors David Drummond Elena Goranescu PRODUCTION COORDI NATOR Elena Goranescu T YPE FAC E S Hand Drawn PAPE R Gloss C1S FSC, 95 lb. (White) I N KS 4-color process COATI NG / F I N I S H Matte PR I NTE R / B I N DE R Friesens M ETHOD OF PR I NTI NG Offset DE S IG N E R

ART DI R ECTOR

I decided to use positive/negative space with this one and present the subject in a slightly playful way. DE S IG N E R COM M E NTS

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McGill-Queen’s University Press A House in Memory Last Poems Author

David Helwig

David Drummond Elena Goranescu PRODUCTION COORDI NATOR Elena Goranescu T YPE FAC E S Hand Drawn, New Baskerville PAPE R Supreme Gloss Cover Matte 93 Lb (10.6 pts) I N KS 4-color process COATI NG /F I N I S H Matte finish Scuff Free Lamination PR I NTE R / B I N DE R Imprimerie Gauvin M ETHOD OF PR I NTI NG Offset DE S IG N E R

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McGill-Queen’s University Press Protective Practices A History of the London Rubber Company and the Condom Business Jessica Borge David Drummond ART DI R ECTOR Elena Goranescu PRODUCTION COORDI NATOR Elena Goranescu T YPE FAC E S New Baskerville PAPE R Gloss C1S FSC, 95 lb. (White) I N KS 4-color process COATI NG / F I N I S H Matte PR I NTE R / B I N DE R Friesens M ETHOD OF PR I NTI NG Offset DE S IG N E R

DE S IG N E R COM M E NTS This was one where you really had to walk a fine line—how much can you show without really showing it. I let the subtitle do all the heavy lifting.

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McGill-Queen’s University Press Through Post-Atomic Eyes Claudette Lauzon and John O’Brian, editors David Drummond Elena Goranescu PRODUCTION COORDI NATOR Elena Goranescu T YPE FAC E S Gotham Bold PAPE R Gloss C1S FSC, 95 lb. (White) I N KS 4-color process COATI NG /F I N I S H Matte PR I NTE R / B I N DE R Friesens M ETHOD OF PR I NTI NG Offset DE S IG N E R

ART DI R ECTOR

This one went through quite a few rounds where I tried different directions until we hit on this one. It was a big ask to do dye cuts on the jacket and took quite bit of selling on the part of my great production manager who really went to bat for it. DE S IG N E R COM M E NTS

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University of Minnesota Press Bring That Beat Back How Sampling Built Hip-Hop Nate Patrin Michel Vrana Daniel Ochsner PRODUCTION COORDI NATOR Daniel Ochsner T YPE FAC E S Futura PT (Adobe) PAPE R 12pt C1S I N KS 4-color process COATI NG / F I N I S H Matte film PR I NTE R / B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset DE S IG N E R

ART DI R ECTOR

The author and publisher provided an excellent image of Grandmaster Flash at his turntables for this book about sampling in hip-hop. The title gets a “sound effect” treatment, with repetition of the words “Bring That Beat Back” from the title in various combinations serving to illustrate sampling and scratching. Further conveying the idea of sound waves are bright colours, and concentric circles. DE S IG N E R COM M E NTS

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University of Minnesota Press Digitize and Punish Racial Criminalization in the Digital Age Brian Jefferson Brad Norr Design Ana Bichanich PRODUCTION COORDI NATOR Ana Bichanich T YPE FAC E S Futura (Bauer Type), Neutra Text (House Industries) PAPE R 10 pt C1S I N KS 2/c (black + PMS 809C) COATI NG /F I N I S H PGS Gloss Stay Flat / Lithomatte PR I NTE R / B I N DE R Phoenix Color M ETHOD OF PR I NTI NG Offset DE S IG N E R

ART DI R ECTOR

The design plays off the idea of digital surveillance and incarceration. The title type prints in fluorescent spot yellow/green, while the background is a black-on-black icon of a cell tower, achieved with spot gloss/Lithomatte coatings. The icon also resembles a person behind bars. DE S IG N E R COM M E NTS

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University of Minnesota Press News Parade The American Newsreel and the World as Spectacle Joseph Clark Monograph / Matt Avery ART DI R ECTOR Rachel Moeller PRODUCTION COORDI NATOR Rachel Moeller T YPE FAC E S Neue Plak (Monotype) PAPE R 10 pt C1S I N KS 4-color process COATI NG / F I N I S H Matte PR I NTE R / B I N DE R Bookmobile M ETHOD OF PR I NTI NG Digital DE S IG N E R

DE S IG N E R COM M E NTS Typography inspired by the type/layout of newsreel openings.

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University of Minnesota Press On Not Dying Secular Immortality in the Age of Technoscience Abou Farman Salamander Hill Design ART DI R ECTOR Ana Bichanich PRODUCTION COORDI NATOR Ana Bichanich T YPE FAC E S Helvetica Neue (Monotype), New Baskerville (ITC) PAPE R 10 pt C1S I N KS 4-color process COATI NG /F I N I S H Matte PR I NTE R / B I N DE R Bookmobile M ETHOD OF PR I NTI NG Digital DE S IG N E R

This book is a study of the cryonics movement. I wanted to find an original and simple way of showing “not dying” and came up with a light switch taped in the on position. DE S IG N E R COM M E NTS

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University of Minnesota Press Timescales Thinking across Ecological Temporalities Bethany Wiggin, Carolyn Fornoff, and Patricia Eunji Kim, editors Michel Vrana ART DI R ECTOR Ana Bichanich PRODUCTION COORDI NATOR Ana Bichanich T YPE FAC E S Extenda (Zetafonts), Caslon Pro (Adobe) PAPE R 10 pt C1S I N KS 4-color process COATI NG / F I N I S H Matte PR I NTE R / B I N DE R Bookmobile M ETHOD OF PR I NTI NG Digital DE S IG N E R

Like many book designers, I catalog images and typefaces that I think will be of use sometime in the future. When I read the brief for this book, I immediately thought of Zetafonts’s Extenda, a dynamic typeface that starts wide and thick and becomes thinner as more characters are added. With a little bit of tweaking, the typeonly layout conveyed the idea of geological time, with the color overlay helping to underline the idea of the Anthropocene and climate change. DE S IG N E R COM M E NTS

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151


University of New South Wales Press Hysteria A Memoir of Illness, Strength and Women’s Stories throughout History Katerina Bryant DE S IG N E R

Alissa Dinallo Rosie Marson Protrakt Extra Bold (Arkitype), Gotham

PRODUCTION COORDI NATOR T YPE FAC E S

Medium 220gsm artboard I N KS 4-color process COATI NG /F I N I S H Matte lamination plus spot UV PR I NTE R / B I N DE R Griffin Press M ETHOD OF PR I NTI NG Offset PAPE R

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DE S IG N E R COM M E NTS Hysteria explores author Katerina Bryant’s struggles and experiences with psychiatric disorders, and the complex world of mental health, specifically that of women, and their questionable treatment throughout history. For the cover I used an image of a classic bust of Venus that has been glitched and distorted, a visual representation of how the women Bryant writes about have been viewed by the medical industry. To compliment this, I also distorted the typography so that some letters were stretched out.


Northwestern University Press Tapping Out Poems Nandi Comer Marianne Jankowski Marianne Jankowski I LLU STR ATOR Miguel Valverde, Lady Poison (2019). Author photo by Kahn Santori Davison PRODUCTION COORDI NATOR Morris (Dino) Robinson T YPE FAC E S Thunderhouse Regular; Rotis Serif Standard 55 regular PAPE R 10pt C1S I N KS 4-color process COATI NG / F I N I S H Matte lay-flat lamination PR I NTE R / B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset DE S IG N E R

ART DI R ECTOR

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Oxford University Press Kim Jong Un and the Bomb Survival and Deterrence in North Korea Ankit Panda Steve Leard ART DI R ECTOR Brady McNamara I LLU STR ATOR Steve Leard PRODUCTION COORDI NATOR Joellyn Ausanka (ProductionEditor) and Genieve Shaw (Manufacturing) T YPE FAC E S Futura Std (Adobe); Unknown PAPE R 80# jacket stock, CIS I N KS 4-color process COATI NG /F I N I S H Matte scuff resistant PR I NTE R / B I N DE R LSC Communications M ETHOD OF PR I NTI NG Offset DE S IG N E R

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University of Pittsburgh Press Imperial Liquor Poems Amaud Jamal Johnson Joel W. Coggins Rashaad Newsome PRODUCTION COORDI NATOR Melissa Dias-Mandoly T YPE FAC E S Ginchiest regular & shadow (38.lineart Studio), Novocento Sans Wide (Synthview Type Design) PAPE R 10 pt. C1S I N KS 4-color process COATI NG / F I N I S H Gloss lamination PR I NTE R / B I N DE R Versa Press M ETHOD OF PR I NTI NG Offset DE S IG N E R

I LLU STR ATOR

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University of Pittsburgh Press The Prince of Mournful Thoughts and Other Stories Caroline Kim Kelly Blair ART DI R ECTOR Joel W. Coggins I LLU STR ATOR Kelly Blair PRODUCTION COORDI NATOR Melissa Dias-Mandoly T YPE FAC E S Lydian (Monotype) PAPE R 100# C1S enamel I N KS 4-color process COATI NG /F I N I S H Gloss lamination with embossing PR I NTE R / B I N DE R Maple Press M ETHOD OF PR I NTI NG Offset DE S IG N E R

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Princeton University Press Inside the Critics’ Circle Book Reviewing in Uncertain Times Phillipa K. Chong Chris Ferrante ART DI R ECTOR Maria Lindenfeldar PRODUCTION COORDI NATOR Erin Suydam T YPE FAC E S Franklin Gothic No. 2 Roman (Linotype), ITC Cheltenham Light (ITC), Gazette (Linotype) PAPE R C1S I N KS 4-color process COATI NG / F I N I S H Matte lamination PR I NTE R / B I N DE R Phoenix Color M ETHOD OF PR I NTI NG Offset DE S IG N E R

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Princeton University Press The Obama Portraits Taina Caragol, Dorothy Moss, Richard J. Powell, and Kim Sajet Miko McGinty ART DI R ECTOR Miko McGinty PRODUCTION COORDI NATOR Steve Sears T YPE FAC E S Gotham, Lyon PAPE R GardaGloss Art I N KS 4-color process COATI NG /F I N I S H Matte lamination on both sides PR I NTE R / B I N DE R Graphicom S.p.A. M ETHOD OF PR I NTI NG Offset DE S IG N E R

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Jacket is printed on both sides and scored so it can be removed and refolded to show the other side. DE S IG N E R COM M E NTS


Princeton University Press Sunnis and Shi’a A Political History Laurence Louër DE S IG N E R

Layla Mac Rory

Erin Suydam Alternate Gothic No1 (URW Type Foundry), Caslon Pro (Adobe Originals) PAPE R C1S I N KS PMS 487 U; PMS 333 U COATI NG / F I N I S H Scuff-free matte PR I NTE R / B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset PRODUCTION COORDI NATOR T YPE FAC E S

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Princeton University Press The World According to Physics Jim Al-Khalili Chris Ferrante Maria Lindenfeldar PRODUCTION COORDI NATOR Jacquie Poirier T YPE FAC E S Futura PT (Paratype) PAPE R Rainbow Sapphire with BB 171 embossing texture I N KS Foil stamping (Lustrofoil SD525 dusted silver) COATI NG /F I N I S H Uncoated PR I NTE R / B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset DE S IG N E R

ART DI R ECTOR

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Stanford University Press The Peculiar Afterlife of Slavery The Chinese Worker and the Minstrel Form Caroline H. Yang DE S IG N E R

David Drummond Rob Ehle

ART DI R ECTOR

Vicki Vandeventer Corpus Gothic (T-26), Bodoni, Bodoni Classico (Linotype) PAPE R 80# c1s I N KS 4-color process COATI NG / F I N I S H Matte lamination PR I NTE R / B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset PRODUCTION COORDI NATOR T YPE FAC E S

DE S IG N E R COM M E NTS The first round of submissions included a cover with railroad tracks, a fairly large image, crossing the cover, and the text sitting rather small beneath it. It was a handsome cover. But putting the tracks across the title in the second round was a stroke of genius. This became one of our favorites of the season.

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161


University of Tennessee Press The Wanderer in African American Literature Gena E. Chandler Elisa Razak ART DI R ECTOR Stephanie Thompson I LLU STR ATOR Elisa Razak PRODUCTION COORDI NATOR Stephanie Thompson T YPE FAC E S Baskerville, Avenir, ITC New Baskerville PAPE R 100 # Sterling Litho I N KS 4-color process COATI NG /F I N I S H Matte PR I NTE R / B I N DE R Thomson Reuters M ETHOD OF PR I NTI NG Digital DE S IG N E R

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This cover explores depictions of the wandering figure, using footsteps as a marker of paths travelled and flying birds as a symbol of freedom and new futures. DE S IG N E R COM M E NTS


University of Texas Press Against Abstraction Notes from an Ex-Latin Americanist Alberto Moreiras Anne Jordan ART DI R ECTOR Dutin Kilgore DE S IG N E R

PRODUCTION COORDI NATOR

Cassandra Cisneros

Baskerville 100# text enamel I N KS Pantone 276C COATI NG / F I N I S H Full bleeds scuff-resistant matte film lamination PR I NTE R / B I N DE R Phoenix Color M ETHOD OF PR I NTI NG Offset T YPE FAC E S PAPE R

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163


University of Texas Press Mainstream Maverick John Hughes and New Hollywood Cinema Holly Chard DE S IG N E R

Alex Camlin Derek George

ART DI R ECTOR

Linda Ronan Tusker Grotesk (Lewis McGuffie Type), Rage Italic Com (ITC), Directors Gothic 210 (Lettering Inc) PR I NTE R / B I N DE R Ingram Lightning Source M ETHOD OF PR I NTI NG Digital PRODUCTION COORDI NATOR T YPE FAC E S

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University of Texas Press My Mexico A Culinary Odyssey with Recipes Diana Kennedy Amanda Weiss ART DI R ECTOR Derek George DE S IG N E R

Dan Pederson T YPE FAC E S Sharp Slab Extra Bold (Sharptype), TT Norms Extra Bold (TypeType) PAPE R 80# Rainbow Opaque BB171 I N KS Black, Yellow, Pantone 7535 COATI NG / F I N I S H Matte film PR I NTE R / B I N DE R Phoenix Color M ETHOD OF PR I NTI NG Offset PRODUCTION COORDI NATOR

DE S IG N E R COM M E NTS For this reprinted and revised edition of My Mexico, I was inspired by the original cover design from 1998 that used intricate illustrations and patterns from Jorge Enciso’s Design Motifs of Ancient Mexico (1947). I also kept in mind Kennedy’s love for environmentalism, which led me to using this abstract plant/flower pattern that I turned and repeated to feel like rows of a garden or vines climbing up a wall. I chose a thick slab serif and bright yellow to compliment Diana’s vigorous personality, while counterbalancing it with a cool beige to keep it feeling organic.

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165


University of Texas Press Supersex Sexuality, Fantasy, and the Superhero Anna F. Peppard, editor Amanda Weiss ART DI R ECTOR Derek George DE S IG N E R

PRODUCTION COORDI NATOR

Cassandra

Cisneros T YPE FAC E S

Borough Grotesk Pro (Lewis

McGuffie) 4-color process PR I NTE R / B I N DE R Ingram Lightning Source M ETHOD OF PR I NTI NG Digital I N KS

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University of Toronto Press Questions of Order Confederation and the Making of Modern Canada Peter Price DE S IG N E R

Kathleen Lynch\Black Kat

Design PRODUCTION COORDI NATOR

Peggy Stock-

dale Eldon (Waldenfonts) 10pt C1S Cover stock white I N KS 4-color process COATI NG / F I N I S H Gloss lamination PR I NTE R / B I N DE R Integrated Books International M ETHOD OF PR I NTI NG Digital T YPE FAC E S PAPE R

DE S IG N E R COM M E NTS This was an all-type solution to represent feelings of confusion and contention discussed in the book, which focused on the period following Confederation. I tried to represent, with the typography and layout, a sense of being part of one entity, yet unclear how one belongs to and identifies with that entity.

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Trinity University Press Duchess of Angus Margaret Brown Kilik DE S IG N E R

Derek Thornton / Notch Design Sarah Naw-

PRODUCTION COORDI NATOR

rocki Market Deco (Steve Ferrera), HammerKeys (Matt Lyon) PAPE R 12 point C1S cover white I N KS 4-color process COATI NG /F I N I S H Matte scuff-resistant nylon layflat film lamination and matte varnish coating PR I NTE R / B I N DE R Sheridan M ETHOD OF PR I NTI NG Offset T YPE FAC E S

This cover uses the idea of a wallpaper-looking pattern that you might see in the 1940s. The colors are meant to jump out and suggest the main character, as well as San Antonio. DE S IG N E R COM M E NTS

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Vanderbilt University Press Cyborgs, Sexuality, and the Undead The Body in Mexican and Brazilian Speculative Fiction Elizabeth M. Ginway Quarto (Hoefler&Co.), Founders Grotesk X-Condensed Regular (Klim Type Foundry) I N KS 4-color digital inkjet COATI NG / F I N I S H Matte lamination PR I NTE R / B I N DE R Ingram Lightning Source M ETHOD OF PR I NTI NG Digital T YPE FAC E S

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Wayne State University Press Stars and Silhouettes The History of the Cameo Role in Hollywood Joceline Andersen Brad Norr Carrie Downes Teefey PRODUCTION COORDI NATOR Carrie Downes Teefey T YPE FAC E S Comrade Bold and Bold Condensed (Font Bureau), Maxwell Sans (Kimmy Design) PAPE R 10pt C1S I N KS 4-color process COATI NG /F I N I S H Matte lamination PR I NTE R / B I N DE R Ingram Lightning Source M ETHOD OF PR I NTI NG Digital DE S IG N E R

ART DI R ECTOR

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DE S IG N E R COM M E NTS The author’s ideas of using a silhouette to play off the dual-meaning of “cameo” lead to this fun design, which features a pastiche concept as an homage to Saul Bass movie posters. Since Bass designed the poster for Vertigo, there’s a nod to Hitchcock and his numerous film cameo appearances, discussed at some length in the book.


University of Wisconsin Press Half A Novel Sharon Harrigan Jeremy John Parker ART DI R ECTOR Jennifer Conn PRODUCTION COORDI NATOR Terry Emmrich T YPE FAC E S League Gothic, Run Wild PAPE R 12 pt, C1S white I N KS 4-color process COATI NG / F I N I S H Matte lamination DE S IG N E R

PR I NTE R /B I N DE R

Versa Press Offset

M ETHOD OF PR I NTI NG

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University of Wisconsin Press Insults in Classical Athens Deborah Kamen Debbie Berne Design ART DI R ECTOR Jennifer Conn PRODUCTION COORDI NATOR Terry Emmrich T YPE FAC E S Helvetica Neue PAPE R 100#, C1S, white I N KS 4-color process COATI NG /F I N I S H Matte lamination PR I NTE R / B I N DE R Perfection Press M ETHOD OF PR I NTI NG Digital DE S IG N E R

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University of Wisconsin Press No Day at the Beach Poems John Brehm DE S IG N E R

Eric C. Wilder Jennifer Conn

ART DI R ECTOR

PRODUCTION COORDI NATOR

Terry

Emmrich Lulo Clean Outline Bold (Yellow Design Studio), Garamond PAPE R 12 pt, C1S white I N KS 4-color process COATI NG / F I N I S H Matte lamination PR I NTE R / B I N DE R Versa Press M ETHOD OF PR I NTI NG Offset T YPE FAC E S

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Yale University Press Anger The Conflicted History of an Emotion Barbara H. Rosenwein DE S IG N E R

Alex Kirby

Percie Edgeler BD Plakatbau (Buro Destruct), Barlow Semi Condensed (Tribby Type) PAPE R 130gsm Silk I N KS PANTONE 806 C (Neon Pink); PANTONE Black 6C COATI NG /F I N I S H Matte laminate PR I NTE R / B I N DE R TJ International Ltd M ETHOD OF PR I NTI NG Offset PRODUCTION COORDI NATOR T YPE FAC E S

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Once the rough concept was approved by Yale’s Cover Team and the author, I had a bespoke stamp fashioned by the experts at Blade Rubber Stamps. I then stamped out “Anger” dozens of times, until I achieved the desired amount of vexation for each portion of the title. The final jacket uses two Pantone inks, including a neon. DE S IG N E R COM M E NTS


Yale University Press Beethoven A Life in Nine Pieces Laura Tunbridge Jenny Volvoski ART DI R ECTOR Dustin Kilgore PRODUCTION COORDI NATOR Maureen Noonan T YPE FAC E S Walbaum, Brandon PAPE R 80# white I N KS 4-color process COATI NG / F I N I S H Matte polypropylene PR I NTE R / B I N DE R John P. Pow Company M ETHOD OF PR I NTI NG Offset DE S IG N E R

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Yale University Press The Orphanage A Novel Serhiy Zhadan Sonia Shannon ART DI R ECTOR Dustin Kilgore PRODUCTION COORDI NATOR Aldo Cupo T YPE FAC E S Fournier MT, Saira Condensed, Futura PAPE R 10 pt white I N KS 4-color process COATI NG /F I N I S H Matte polypropylene PR I NTE R / B I N DE R John P. Pow Company M ETHOD OF PR I NTI NG Offset DE S IG N E R

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Yale University Press Series: Veritas Titles: The Lonely Crowd; Arms and Influence; On Democracy; Seeing Like a State; The Madwoman in the Attic Various DE S IG N E R

Woody Harrington

PRODUCTION COORDI NATOR

Maureen Noonan and Orna Johnston

Helvetica Neue 10 pt white I N KS 4-color process COATI NG / F I N I S H Matte polypropylene PR I NTE R / B I N DE R John P. Pow Company M ETHOD OF PR I NTI NG Offset T YPE FAC E S PAPE R

Yale’s Veritas Paperback series is a collection of academic classics, with titles covering a wide spectrum of themes from politics to gender studies. To solve this design challenge, we developed a flexible system that could work for an ongoing series of 20+ covers. Each paperback features a clean typographic treatment with a graphic illustration meant to pay homage to the golden era of midcentury design. DE S IG N E R COM M E NTS

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Index Compositors Allred, Julie 123

Li, Ryan 51

Bourgoyne, Barbara Neely 37

Ludwig, Yve 71

Broaddus, Kaelin Chappell 35

Malpass, Gillian 73

Brownoff, Alan 19, 111

Markvoort, Garet 21

Buis, Laura 81

Nelson, Mark 59

Bulman, Luke 69

Neustrom, Michelle A. 117, 121

BW&A Books 123

Nix, Michelle 107

Classic City Composition, LLC 89

Shimabukuro, Jill 79, 93

Copperline Book Services 23, 31, 53, 115

Tobin, Isaac 49

Due, Claus 45

Trefold 17

Hauser, Kurt 57

Tseng Information Systems, Inc. 25, 55

Hei Shing Book Design 113

Westchester Publishing Services 27, 29, 33, 83

Hei Shing, Chan 113

Wing Ki, Chiu 113

Hill, Mindy Basinger 41

Zakrisson, Carl-H.K. 47

Holland, Lori 39

zijn digital 21

Jørgensen, Camilla 17

Designers Avery, Matt 85, 87, 129, 149

Drummond, David 142, 143, 144, 145, 146, 161

Bauer, Margaret 63, 95

Due, Claus 45

Black Kat Design 167

Ferrante, Chris 39, 83, 157, 160

Blair, Kelly 156

Harrington, Woody 177

Boom, Irma 101

Harrison, Aimee C. 31, 53, 115, 135, 136, 138

Bourgoyne, Barbara Neely 37

Harvey, Shannon 21

Broaddus, Kaelin Chappell 35, 139

Hauser, Kurt 57

Brownoff, Alan 19, 111

Hei Shing Book Design 113, 130, 131, 132

Bulman, Luke 69

Hei Shing, Chan 113, 130, 131, 132

Camlin, Alex 164

Hill, Mindy Basinger 41

Chase, Gregg 123

IN-FO.CO 21

Cisneros, Cassandra 75, 105

Ireland, Brad 61, 65

Coggins, Joel W. 155

Jankowski, Marianne 153

Debbie Berne Design 172

Jordan, Anne 163

de Vicq de Cumptich, Roberto 134

Jørgensen, Camilla 17

Dinallo, Alissa 152

Jules, Rita 67 Index

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Kirby, Alex 174

Razak, Elisa 162

Le, Rickie 41

Richardson, Courtney Leigh 27, 53

Leard, Steve 154

Salamander Hill Design 150

Li, Ryan 51

Shannon, Sonia 176

Ludwig, Yve 71

Shimabukuro, Jill 79, 93

Lynch, Kathleen 167

Sisk, Drew 33, 137, 138

Mac Rory, Layla 159

Sorochin, Cecilia 89

Malpass, Gillian 73

Sowa, Natalie 128

Mayes, Erin 103

Tauch, Matthew 23, 25, 29, 55

McCall Associates 107

Thornton, Derek 168

McGinty, Miko 158

Tjandra, Lia 126

Michaels, Adam 21

Tobin, Isaac 49, 127

Monograph 85, 87, 129, 149

Trefold 17

Neimark, Rebecca 141

Tsai, Bianco 133

Nelson, Mark 59

Twenty-Six Letters, Inc. 141

Neustrom, Michelle A. 117, 121

Volvoski, Jenny 175

Nix, Michelle 107

Vrana, Michel 147, 151

Norm 97

Washburn, Amanda 99

Norr, Brad 148, 170

Weiss, Amanda 165, 166

Notch Design 168

Wilder, Eric C. 173

Parker, Jeremy John 171

Wilkirson, Hayward 140

Putens, Nathan 81

Zakrisson, Carl-H.K. 47

Illustrators/Photographers Balnova, Natalya 83

Leard, Steve 154

Blackwell, Su 141

Linos, Dimitrios 133

Blair, Kelly 156

Newsome, Rashaad 155

Conti, Fabrizio 128

Razak, Elisa 162

Cordier, Charles-Henri-Joseph 139

Sárkány, Roland 39

Davison, Kahn Santori 153

Tobin, Isaac 127

Hei Shing Book Design 130, 131, 132

Wing Ki, Chiu 130, 131, 132

Hei Shing, Chan 130, 131, 132

Valverde, Miguel 153

iStock.com/Sloop Communications 140

Xagoraris, Pantelis 138

Presses Aarhus University Press 17, 45, 47 University of Alberta Press 19, 111 University of California Press 126 180

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Index

University of Chicago Press 49, 51, 79, 93, 127, 128, 129


Chinese University of Hong Kong Press 113, 130, 131, 132, 133

University of New South Wales Press 152 Northwestern University Press 153

Columbia University Press 134

Oxford University Press 154

Concordia University Press 21

University of Pittsburgh Press 155, 156

Duke University Press 23, 25, 27, 29, 31, 33, 53,

Princeton University Press 39, 69, 71, 73, 83, 157,

55, 115, 135, 136, 137, 138

158, 159, 160

University of Georgia Press 35, 139

Stanford University Press 161

Getty Publications 57, 59

University of Tennessee Press 41, 162

University Press of Kentucky 140

University of Texas Press 75, 85, 87, 103, 105,

Louisiana State University Press 37, 117, 121

163, 164, 165, 166

University of Massachusetts Press 141

University of Toronto Press 167

McGill-Queen’s University Press 142, 143, 144,

Trinity University Press 168

145, 146 University of Minnesota Press 147, 148, 149, 150, 151

Vanderbilt University Press 169 University of Virginia Press 89 Wayne State University Press 170

Museum of Modern Art 95, 97, 99, 101

University of Wisconsin Press 171, 172, 173

University of Nebraska Press 81

Yale University Press 107, 123, 174, 175, 176, 177

National Gallery of Art 61, 63, 65, 67

Production Coordinators Agnew, Skye 51, 128

Emmrich, Terry 171, 172, 173

Ausanka, Joellyn 154

Gallina, Victoria 59

Bichanich, Ana 148, 150, 151

Goranescu, Elena 142, 143, 144, 145, 146

Boldan, Terrance 81

Granville, Chris 23, 33, 135, 136, 138

Bourgoyne, Barbara Neely 37

Guerra, Merli 39

Broaddus, Kaelin Chappell 35, 139

Harrits, Cecilie 17, 45

Brownoff, Alan 19, 111

Hein, Lisa 129

Carruthers, Meredith 21

Hoagland, Nancy 53, 55

Chan, Sushan 113, 130, 131, 132, 133

Jerome, Jennifer 134

Cisneros, Cassandra 75, 87, 105, 163, 166

Johnston, Orna 177

Claude, Joseph 79, 93, 127

Kilgore, Dustin 87

Coggins, Niccole 89

Marson, Rosie 152

Critelli, Chris 25, 29, 31, 115, 137

Mayer, Mary 107

Cupo, Aldo 176

Moeller, Rachel 149

Davies, Joan 49

Mueller, Sarah 87

Deemer, Michelle 57

Nawrocki, Sarah 168

Dias-Mandoly, Melissa 155, 156

Neustrom, Michelle A. 117, 121

Edgeler, Percie 174

Nichols, Sally 141

Index

| 181


Noonan, Maureen 123, 175, 177

Sears, Steve 69, 71, 73, 158

Ochsner, Daniel 147

Shaw, Genieve 154

Pederson, Dan 165

Stockdale, Peggy 167

Pimm, Matthew 95, 97, 99

Stoffersen, Anette 47

Poirier, Jacquie 83, 160

Suydam, Erin 157, 159

Richardson, Courtney Leigh 27

Teefey, Carrie Downes 170

Robinson, Morris (Dino) 153

Thompson, Stephanie 41, 162

Ronan, Linda 85, 87, 103, 164

Vandeventer, Vicki 161

Sapir, Marc 101

Young, Jack 126

Typefaces

182

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Index

Alegreya Sans 29

Caslon Pro 113, 127, 151, 159

Alfarn 81

Chaparral Pro 55

Alright 57

Cheltenham Light 157

Alternate Gothic No1 159

Chestnut 121

Amber Whiskey 121

Comrade 170

Armitage 99

Cooper Black 127

Arno Pro 39, 49, 51, 53

Copperplate Gothic 130

Arnold Böcklin 115

Corpus Gothic 161

Atlas Grotesk 93

Custom Type 136

Avenir 162

Dala Floda 131

Balboa 87

Directors Gothic 210 164

Barlow 174

Dolly Pro 79

Baskerville 162, 163

DXAngelus Mediaval 99

Basic Sans 37

Eldon 167

BD Plakatbau 174

Elephant 93

Beastly 131

Extenda 151

Bell MT 73

Fanwood 41

Bembo 113

FF Kievit Black 59

Benton Modern 75

Founders Grotesk 169

Block Pro 83

Fournier Std 35, 139, 176

Bodoni 37, 161

Franklin Gothic 49, 75, 157

Bombardier 117

Futura 25, 147, 148, 160, 176

Bookman Swash 132

Galliard 89

Borough Grotesk Pro 166

Garamond 29, 123, 136, 137, 138, 171, 173

Brandon Printed 17, 175

Gazette 157

Bulmer MT 59

Ginchiest 155

Calisto MT Regular 31

Gotham 146, 152, 158


Granjon 133

Novocento Sans Wide 155

HammerKeys 168

Nudista 17

Hand Drawn 143, 144

Oli Grotesk 63

Harriet 85

P22 Marcel Script Pro 41

Helvetica 135, 137, 138

Palatino 140

Helvetica Neue 95, 150, 172, 177

Pitch 87

Helvetica Now 127

Plantin 73

Hope Sans 107

Post Grotesk 67

HVD Rowdy 140

Protrakt Extra Bold 152

IBM Plex Mono 33

Portrait Text 33

IM Fell English 128

Proxima Nova 126

Info Text 81

Quadrat 19

Ingeborg-Fat 134

Quadrat Sans 19

Jenson Pro 55

Quarto 169

JJannon 21

Rage Italic Com 164

Knockout 103, 111

Ronaldson 99

Le Monde Livre 103

Rotis Serif Standard 153

League Gothic 171

Run Wild 171

Lexicon (Eschede) 111

Sabbath Black 128

LL Riforma 97

Sabon LT Std 115

LL Unica77 21

Saira Condensed 176

Louize 67

San Marco 53

Lulo Clean 126, 173

SangBleu Empire 138

Lydian 156

SangBleu Kingdom 23

Lyon 47, 129, 158

SangBleu Sunrise 23

Market Deco 168

SangBleu Versailles 23

Maxwell Sans 170

Sentinel 121

Miller 93

Seravek 141

Minion Pro 25, 71

Sharp Slab Extra Bold 165

MrPalker 134

Silverfake 121

MrPalkerDadson 134

Sina Nova 117

MrPalkerson 134

Skolar Latin 83

Mrs Eaves 89

TEFF Ruse 65

Neue Haas 45, 105

TEFF Trinite 61

Neue Plak 149

Thunderhouse Regular 153

Neutra Text 148

Toy 45

Neutral 101

Trade Gothic 53

Neuzeit S LT Std 31, 115

Tribute 79

New Baskerville 142, 144, 145, 150, 162

TT Norms Extra Bold 165

Index

| 183


Tusker Grotesk 164

Versus Black 107

Underwood Champion 141

Walbaum 175

Unknown 154

Warnock Pro 27

Untitled Sans 69

Whitman 31, 37, 95

Untitled Serif 87

Ziggurat 79

Veneer Clean 121

Printers/Binders Artron 57 Asia Pacific Offset Group 69, 107

LSC Communications 154

Books International, Inc. 141

Maple Press 79, 140, 156

Brizzolis, S.A 95

Narayana Press 17, 45, 47

Chicago Digital Distribution Center (CDDC)

Ofset Yapımevi 101

Conti Tipocolor s.p.a. 67, 71 Four Color Imports 55, 105

Perfection Press 172 Phoenix Color 75, 79, 85, 87, 89, 93, 127, 128, 148, 157, 163, 165

Friesens 19, 51, 103, 143, 145, 146

Porter Print Group 25, 53

Graphicom S.p.A. 158

Printer Trento S.r.l. 73

Graphius 99

The Prolific Group 21

Griffin Press 152

Sheridan 29, 31, 37, 39, 49, 75, 83, 85, 87, 89, 93,

Hang Tai Printing Company Ltd. 113, 130, 131, 132, 133

115, 121, 123, 126, 134, 147, 153, 159, 160, 161, 168 Thomson Reuters 41, 162

Houghton Boston Printers 111

TJ International Ltd 174

Imprimerie Gauvin 142, 144

Trifolio s.r.l. 59, 97

Ingram Lightning Source 35, 81, 117, 139, 164,

Verona Libri 61, 63, 65

166, 169, 170 Integrated Books International 167

Index

135, 136, 137, 138, 175, 176, 177

Bookmobile 149, 150, 151

129

184 |

John P. Pow Company 23, 27, 29, 31, 33, 49, 115,

Versa Press 23, 27, 33, 155, 171, 173


Acknowledgments The AUPresses Book, Jacket, and Journal Show committee recognizes the individuals and companies whose generosity and expertise made the 2021 show and catalog possible. We would like to express our appreciation to our judges Gail Anderson, Janet Hansen, Matthew Monk, and Andrew Shurtz 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, particularly handling the complicated logistics of distributing hundreds of books to the judges. CA L L F O R E N T R I E S DE S IG N AN D PRODUCTION

Regina Starace

AWA R D C E R T I F I CAT E

Barbara Bourgoyne Sheridan

DE S IG N AN D PRODUCTION PAPE R AN D PR I NTI NG

CATA LO G

Katrina Noble Dan Ruccia T YPE FAC E S Clash Display and Adobe Text Pro PAPE R , PR I NTI NG , AN D B I N DI NG Friesens DE S IG N AN D T YPE S ETTI NG E DITOR

2 0 2 1 AU P R E S S E S B O O K , JAC K E T, A N D J O U R N A L S H OW C O M M I T T E E

Dan Ruccia, Chair, Duke University Press Jennifer Blanc-Tal, Rutgers University Press Barabara Bourgoyne, LSU Press Ani Deyirmenjian, University of Toronto Press Mindy Hill, University of New Mexico Press Kevin Barrett Kane, Stanford University Press Katrina Noble, University of Washington Press Regina Starace, Penn State University Press Isaac Tobin, University of Chicago Press ©2021 Association of University Presses Association of University Presses 1412 Broadway, Suite 2135 New York, NY 10018 United States 917-244-1264 aupresses.org


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AUPresses 2021 Book, Jacket, and Journal Show Catalog  

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