Ben & Jerry’s Flavor

For the interior design of Ice Cream Social, Brad Edmondson’s history of Ben & Jerry’s, I asked, What makes Ben & Jerry’s visual flavor?

Title Page

Ice Cream Social Title Page

B&JContents

Ice Cream Social: Table of Contents

Mr Natural. I bet he enjoys Ben and Jerry’s.

B&J’s packaging and clever/irreverent product names have their roots in the 1970s. The early designers must have had copies of U&lc in their offices, and the cartoon illustrations of Gilbert Shelton’s Fabulous Furry Freak Brothers comics, and the lighter side of R Crumb in their minds.

It turns out that Ben & Jerry’s style was created by hand, by illustrator and graphic designer Lyn Severance. Be sure to follow the link to see the scope of her work.

Since B&J’s original shop opened in 1978, I think it is safe to speculate that she was inspired in part by Joel Kaden and Tony Stan’s American Typewriter (1974), but when I consider that she did all the lettering herself, and eventually turned her designs into typefaces, to call her work anything other than original and trendsetting would be a mistake. She tapped into the youthfulness and enthusiasm for the handmade that was in the culture at the time and applied it with great success.

ITC American Typewriter

So, for the major display type elements of the interior, American Typewriter Bold was an essential ingredient. Next, I needed to find a text face that would harmonize with the right amount of authority and formality. In this day an age, slab serifs have enjoyed a significant revival, and that would have been one direction to go. Instead, I let my instincts guide me, and reached back into my typesetter past. I remembered a typeface that was popular in the 70s and 80s, but hasn’t really made it into the 21st century digital culture, (aside from the fact that it you can buy the font in OpenType form): Stemple Schneidler.

Stemple Schneidler Book

To me, the typeface feels like the older, wiser, relative of the youthful American Typewriter. Why do I think it blends with American Typewriter? I suppose it is because of the emphasized serifs, and it could also be that it is a Venetian typeface reinterpreted in the 1930s. I’d argue that the B&J style also looks back to early animated cartoons and lettering styles from the 1930s. Stemple Schneidler has great legibility and earthy elegance.

You’ll see a bit of Shag Mystery (brought in from Irene Morris’s clever cover) as well as Ironwork and Berliner Grotesque to add crunch. The smooth creamy narrative flows in Stemple Schneidler with American Typewriter ripple (heads).

Chapter Opener

Chapter Opener

Photo page

Photo page

Ice Cream Social won a silver award for design in 2014 from Pub West.

Stonehouse Is in the House

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The Mountain Poems of Stonehouse, translation and commentary by Red Pine published by Copper Canyon Press.

Thinking of Eric Gill, and his background as a stonecutter, I set the book title with Gill’s beautiful Perpetua Titling capitals. I fell in love with the shapes of the letters, I admit.

Then, we found the image of the man in his simple hut, in the midst of dragon-shape pine trees. After acquiring the image rights, we learned that this scene was a detail from the  familiar painting, “The Thatched Hut of Dreaming an Immortal” by Tang Yin (late 16th C), the wide painting depicts a man hovering in space at the left side. The Immortal hovers just beyond the book cover too.

StonehouseSoft

The interior design balances the vertical lines of Chinese and the dense commentary on the verso pages with the poem number and translation on the recto page. All along, we wanted to keep the attention on the poems, with no more than 2 poem per spread.

I selected Minion for the text, as the sections of commentary can be long and we had limited space. Minion is slightly condensed so fits more words on the page than Bembo (another face I considered). Why not Perpetua for the text? Aside from the problem of fitting commentary, I don’t use Perpetua anymore for text because it falls apart when printed POD, and even though this book was printed on web press (at McNaughton and Gunn), you never know how the text may be printed in future.

The Mountain Poems of Stonehouse

Copious notes and commentary are part of what make Red Pine’s books so great.

The Mountain Poems of Stonehouse: spread 2

Stonehouse: The page has to work with less text, too.

Multilingual books are always full of puzzles to solve. In this case the poems contain some archaic characters, so we relied on a compositor in Taiwan to compose the Chinese. Delivered as a PDF, each page contained several poems. I placed the PDF and cropped out the other poems. Midway through, the Chinese compositor changed the spacing and organization of the source pdf changed. Aargh! I had to relink and check and recrop all those text boxes. What are blogs for if not for complaining, right?

I’ll end with one of my favorite poems from this collection:

Poem 13, by Stonehouse

Poem 13 by Stonehouse, translated by Red Pine

 

 

 

 

 

 

 

 

 

To buy a copy of the book, buy direct from Copper Canyon Press, or browse your local bookseller.

 

Day at the LA Art Book Fair

Yesterday I spent the day at Printed Matter’s LA Art Book Fair at the Geffen Contemporary at MOCA.  Here are some of the books and ephemera I brought home:

Printed materials from LA Art Book Faire

Books and ephemera from the LA Art Book Fair, 2014*

If you have a chance, get down there to see it tonight or tomorrow! The Fair is full of creative energy with visual and tactile excitement. This isn’t a fair of stodgy conservative expensive fine editions, although there are a few example of that. This fair celebrates the creative adventure of making books and shows the work of first-time as well as seasoned publishers.

Over 200 exhibitors show off their books, zines, posters, wall paper and ephemera. Artists and produces are there at the tables. With your attention focused in the strange and exciting world of an artist book, or engaged in conversation with a creator, you’ll emerge refreshed by the vitatlity of the book arts!

*Books and ephemera including clockwise from bottom Beautiful Monsters: Paper cuttings by Jad Fair produced by Knust/Extrapool; Otis Books catalog by Rebecca Chamlee; Mahmoud Darwish: Once poemas produced by crc (Casa Refugio Citalaltépetl); Venice Beach Biannual 2012 by Lisa Anne Auerbach, Robby Herbst, Kimberly Varella; Everything Sings: Maps for a Narrative Atlas by Denis Wood produced by Siglio Press. NIH NIH by Miniature Garden (Jamie Stewart, Denise Schatz, Casey Cook)

Paris Was a Woman

In 2013, Counterpoint Press asked me to design the reissue of Andrea Weiss’ richly illustrated history of the Paris cultural scene in the 1920s and 30s.

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About the design

The book includes many illustration in the form of photographs and documents. I was grateful for the previous editions as they provided a plot to follow for the sequence of the illustrations. The trim size was different from the previous, and the schedule was short. I knew I had to accomplish the best layout on the first page proof as there wasn’t time to rework. I chose a 5 column grid for a lively asymmetry.

To approach the text design, I did some research.  As usage lags invention, typography from the Belle Epoque and were still used in signage and publications from the time covered by the book, so I included those influences in my type palette. I used Fontshop’s FontBook app to browse typefaces designed in the 1910-1940 period.

For the text I chose Stemple Garamond, a beautiful Garamond (Stemple, 1924). I like to think that the date a typeface is created has some of the DNA of its time. For the display type, I chose Handle Oldstyle (1917), designed by a rare woman typographer. Handle pairs nicely with the letterforms of the Garamond.

For subheads and running feet I chose Cooper Oldstyle Italic, a stalwart of advertising of the time period, and Quadraat. Quadraat Sans has a bit of deco in it and a bit of warmth.

Stemple Garamond
Handle Oldstyle
Quadraat Sans Semibold
Cooper Oldstyle Italic

Many of the photos were scanned from books, or rough scans from the photos and so needed attention to adjust the gray tones and bring details out of the shadows.

This is a wonderful book. While I was familiar with Gertrude Stein and Shakespeare Books, there were many other women, such as Janet Flanner and Djuna Barnes, who contributed to the cultural milieu that was expat Paris in the 1930s.

Here’s a link to the author’s website, where there is a link to purchase the book:
andreaweiss.net/books/paris-was-a-woman/

Published in 2013

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I feel satisfied that my time was well spent when I stack the books I helped publish in 2013.

This “shelfie” includes titles from Copper Canyon Press, Counterpoint, Berrett-Koehler, Westchester State University, American Poetry Review, Silverfish Review Press, FamilyWealth Consulting, and Unfettered Mind Media.

Contact me about your publishing project and add your book to the stack this year!

You can read the titles better here:

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Book appears in the New York Times

It has been an exciting week, with a review of Tom Hennen’s Darkness Sticks to Everything in the New York Times along with a photo of the book.

While designing the book, I grew to love the poems and have been telling all my poetry friends to read Tom Hennen. Well, the book is now out, and I hope is reaching many new readers.

For this title, we found another great cover image in the work of Susan Bennerstrom. I chose a smaller trim size, that fits the generally brief poems and prose poems well. You might even carry this in your coat pocket.

http://www.nytimes.com/2013/06/06/books/darkness-sticks-to-everything-surveys-tom-hennens-poems.html?ref=books

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Books of poetry by Alan Stephens arrive

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Today, I received the results of 2 years’ work:  three volumes of poetry by Alan Stephens, edited by his son, Alan Archer Stephens. There are a few poems by Alan Stephens on the web here, and a beautiful website about the books is here at alanstephenspoems.com.

This book project was unusual in that we pursued excellence in a way that publishing ventures rarely do.

I centered the poems on the page for nearly 1000 pages of poems. Nobody is crazy enough to do that anymore. There are lots of complicated hierarchies of things — part titles, subtitles, part title epigrams, poem part titles, poem subtitles . . . lots of things to obsess over. And we did. By printing single books at LightningSource (now Ingram), we were able to make adjustments and perfect even more details.

Today I held those hardcovers for the first time. The book makes it possible for me to read the writing in a way I couldn’t while it was onscreen, or on single letter-size pages. I found I was reading, enjoying, and then had tucked the jacket flap in as a bookmark so I could read the poem again next time I opened the book. Books really are a wonderful technology.

We built these books to last, and I believe they have the qualities that will make them stay in book collections for a long time.

VJBScribe designed and composed the books. Dowitcher Press handled printing, fulfillment and marketing. Some information about ordering books is here.

Collected Poems: 1958–1998
Selected Poems
Running at Hendrys: Sonnets

by Alan Stephens
Limited edition hardcovers available from Dowitcher Press