Majid Abbasi Christoph Abbrederis Sean Adams ... - Mattonbutiken
Majid Abbasi Christoph Abbrederis Sean Adams ... - Mattonbutiken
Majid Abbasi Christoph Abbrederis Sean Adams ... - Mattonbutiken
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<strong>Majid</strong> <strong>Abbasi</strong><br />
<strong>Christoph</strong> <strong>Abbrederis</strong><br />
<strong>Sean</strong> <strong>Adams</strong><br />
Conrado Almada<br />
Antoine + Manuel<br />
Marshall Arisman<br />
Dana Arnett<br />
Tarek Atrissi<br />
Marian Bantjes<br />
Noma Bar<br />
Gary Baseman<br />
Donovan Beery<br />
John Bielenberg<br />
Michael Bierut<br />
Peter Blegvad<br />
Barry Blitt<br />
Irma Boom<br />
Bruno Bressolin<br />
Stefan Bucher<br />
Paul Buckley<br />
Philip Burke<br />
Mikey Burton<br />
Chris Capuozzo<br />
Ken Carbone<br />
Pep Carrió<br />
Celina Carvalho<br />
François Chastanet<br />
Seymour Chwast<br />
Josh Cochran<br />
Paul Cox France<br />
Paul Cox UK<br />
Michael Patrick Cronan<br />
John Cuneo<br />
Henrik Drescher<br />
Jordi Duró<br />
Stasys Eidrigevicius<br />
Graham Elliott<br />
Marc English<br />
Oded Ezer<br />
Sara Fanelli<br />
Ed Fella<br />
Nicholas Felton<br />
Kevin Finn<br />
Jeffrey Fisher<br />
Nathan Fox<br />
Amy Franceschini<br />
Craig Frazier<br />
John Gall<br />
Peter Girardi<br />
Milton Glaser<br />
Keith Godard<br />
Carolyn Gowdy<br />
Rodney Alan Greenblat<br />
Steven Guarnaccia<br />
Jonny Hannah<br />
Cyrus Highsmith<br />
Brad Holland<br />
Nigel Holmes<br />
Mirko Ilić<br />
Enric Jardí<br />
James Jean<br />
Jeff Johnson<br />
Michael Johnson<br />
Viktor Koen<br />
Bill Lacy<br />
Tim Lane<br />
John Langdon<br />
Jacob Joonhee Lee<br />
Uwe Loesch<br />
Ross MacDonald<br />
Kerry McElroy<br />
David McLimans<br />
Bruce Mau<br />
Chaz Maviyane-Davies<br />
Rebeca Méndez<br />
Rick Meyerowitz<br />
<strong>Christoph</strong> Niemann<br />
Neil Numberman<br />
Shogo Ota<br />
Everett Peck<br />
Daniel Pelavin<br />
Clive Piercy<br />
Dan Reisinger<br />
Tim Robinson<br />
Paul Rogers<br />
Laurie Rosenwald<br />
Stefan Sagmeister<br />
Paul Sahre<br />
Zina Saunders<br />
Stephen Savage<br />
Jeff Scher<br />
Tamara Shopsin<br />
Elwood H. Smith<br />
Kris Sowersby<br />
Art Spiegelman<br />
Barron Storey<br />
Scott Stowell<br />
István Szugyiczky<br />
David Tartakover<br />
Gary Taxali<br />
Scott Thomas<br />
Rick Valicenti<br />
Bob van Dijk<br />
Klaas Verplancke<br />
James Victore<br />
Tucker Viemeister<br />
Khoi Vinh<br />
Nate Voss<br />
Wang Xu<br />
Mauro Zennaro<br />
£24.95<br />
ISBN 978-0-500-28884-9<br />
978 0 500 28884 9<br />
ISBN 978-0-500-28884-9<br />
978 0 500 28884 9<br />
This sales blad contains uncorrected proofs<br />
of sample pages in miniature.<br />
The full specification for the book itself is:<br />
Trimmed page size: 29.7 x 22 cm<br />
paperback with flaps<br />
352 pages with 922 illustrations, 654 in colour<br />
ISBN 978-0-500-28884-9 £24.95<br />
(price subject to change without notice)<br />
Thames & Hudson<br />
181A High Holborn, London WC1V 7QX<br />
www.thamesandhudson.com
KEN CARBONE<br />
Ken Carbone, co-principal of New York-based Carbone Smolan<br />
Agency, has used sketchbooks since the 1970s. “However,” he says, “in<br />
1990 a museum curator showed me a rare Paul Gauguin sketchbook. It<br />
was a remarkable work of art and I felt like I was peering into the soul<br />
of this great artist. Its raw beauty and breadth of personal expression<br />
left me awestruck. This was the epiphany that inspired me to keep a<br />
sketchbook journal as part of my daily life.” He does not often use his<br />
sketchbooks for client projects, but “it is the total aggregate of images,<br />
writings, and memories that filters down into my projects. These books<br />
are a creative database that I draw upon during the design process.”<br />
Carbone takes the sketchbook ethos to a high level of precision. For<br />
instance, “I have covers custom-made of white goat skin, which I paint<br />
with leather dye when I start a new book. It’s like a christening. These<br />
sketchbooks contain nearly 5,000 pages of ‘beginnings.’ I really don’t<br />
consider any single page a finished work, but more as fuel to explore<br />
a particular idea further. I’m not precious about how the pages are<br />
composed. The act of capturing a thought or recording the source of<br />
inspiration is more important than how it is entered into the book. I<br />
rubber-stamp the date in the corner of the page when I make an entry.”<br />
The books here span almost eighteen years.<br />
JOHN GALL<br />
John Gall, longtime art director of Vintage<br />
Books, is a packrat who has used some kind of<br />
sketchbook his entire student and professional<br />
life. “I use them as an escape from the day job<br />
– a place to get away from ‘design think’ and<br />
problem-solving,” Gall wistfully explains. “I<br />
can use my hands, cut things up, paste them<br />
down, free associate, make wrong decisions,<br />
that kind of thing.”<br />
Gall’s book covers are as airtight as<br />
possible. But of late, he says, “I have been<br />
trying to get a little looser with the concept<br />
– adding more ambiguity.” That’s where the<br />
sketchbooks play a role.<br />
“Even though there is a free-associative<br />
element to these images, I do present myself<br />
with rules when approaching a page, mostly<br />
to do with things I tend not to like about<br />
collage in general. It will be something like:<br />
‘no funny heads made out of appliances,’ ‘no<br />
surreal-looking narrative,’ ‘no foreground<br />
and background,’ and ‘no type(!).’ Of course,<br />
I break these rules as often as I follow them.<br />
I also try not to work with anything of any<br />
inherent beauty or value. I prefer recycling<br />
the dregs of our visual culture.”<br />
These books from 2001–9 are best<br />
characterized as “labored spontaneity,”<br />
says Gall, revealing his penchant for double<br />
entendre.<br />
78 79<br />
151<br />
MILTON GLASER<br />
With Seymour Chwast (page 92), Milton Glaser co-founded Push Pin<br />
Studios in New York in 1955. He is currently the principal of Milton<br />
Glaser Inc., and designs posters, packages, publications, environments,<br />
and more. He is an icon of American design.<br />
Glaser has kept a sketchbook since he was at the High School<br />
of Music & Art in New York. Given his historic output, it would be<br />
wonderful actually to see some of these earliest objects, now lost.<br />
Nonetheless, enough of Glaser’s work is documented to give a fairly<br />
accurate picture of his creative evolution. The reason why he still keeps<br />
a sketchbook is pretty logical: “To remind me of what I’ve forgotten,”<br />
he says. What is distinct about these sketchbooks is that “they are<br />
more tentative and less professional” than Glaser’s finished work,<br />
and are “made for my own viewing,” although the finish brought to<br />
these sketches is not all that dissimilar from some of his posters and<br />
illustrations.<br />
Asked if there is any kind of thematic strand, he simply notes “how<br />
particular it is to recognize any themes from a few thin lines.” Many of<br />
the images here are from past travels, especially in Italy. Glaser admits<br />
he takes great pleasure from these lines. And the sixty or so books he<br />
retains are full of pleasurable encounters.<br />
156 157 258 259