Every so often, a dream project lands on your desk. Here’s one: redesign Vladimir Nabokov’s book covers. All twenty-one of them. Let me rephrase. Every so often the most daunting project of your entire life arrives on your desk.
—I’ve read about 3/4 of this book and absolutely loved it, but something in me didn’t want to finish.
By the way, I saw these first through Heavy Eyes. Sure, it’s Graphic Design Blog #5002, but it appeals to me, for some reason.
On the Origin of Stories attempts an evolutionary explanation of the appearance of art—and, more specifically, of the utility of fiction. From its title (with its obvious echo of Darwin) to its readings of The Odyssey and Horton Hears a Who!, Boyd’s book argues that the evolution of the brain (itself a development of some significance to the world) has slowly and fitfully managed to produce a species of primate whose members habitually try to entertain and edify one another by making stuff up. (via HTMLGIANT / A Credo for a New Humanism)
…I think I started reading this a while ago, but then had to put it down. Woo-hoo for remembering!
Originally via But Does It Float. If you don’t read But Does It Float, you should be.
2009 Age Book of the Year winner, by first time novelist Steven Amsterdam.
I may have to go read this book just because of the cover.
Here’s an interview with Fukasawa.
who would you like to design something for?
I don’t care.
I like to work in different categories combined together,
that makes something new.
finding resources and trying to design new things.
Peter Ackroyd’s Hawksmoor was first published in 1985. Alternating between the eighteenth century, when Nicholas Dyer, assistant to Christopher Wren, builds seven London churches that house a terrible secret, and the 1980s, when London detective Nicholas Hawksmoor is investigating a series of gruesome murders on the sites of certain old churches, Hawksmoor is a brilliant tale of darkness and shadow.
Not the slightest bit interested in reading it, but I want to make out with the cover.
Yeah, same here—on both points.
