Ingenious design, definitive photography, propoganda, typographic antecedents – they are all here in another eclectic issue.
Young Chilean designer, Francisca Prieto, deconstructs the book, the poster and the typeface, then reconstructs them in a unique way, guided by principles of mathematics and origami.
Meanwhile, Martin Andrews completes his examination of book illustration, with more fine art (work).
Our first article to extend to 12 pages is more than justified by stunning images from Photographie magazine, (published originally by the studio company of Paris typefounder Deberny & Peignot), described by Kerry William Purcell. Steve Heller considers paper propoganda (the Coalition’s recent Weapons of Mass Persuasion), while Jeffrey Head writes on Herbert Matter’s famous mural for the Grosse Point, Michigan Public Library, reproducing Matter's own descriptions for the first time.
As David Jury unearths the bills and billheads that were the early ancestors of corporate stationery, we begin a new Baseline lexicon – on digital typefoundries.
In 1925, the critic, poet, and one of the founders of Surrealism, Andre Breton, posed the question: when would ‘all the books that are worth anything stop being illustrated with drawings and appear only with photographs?’ A few short years after this statement, the photographic image had established itself as one of the most provocative, poetic, and radical forms of representation in modern society. A plethora of groundbreaking exhibitions, books and publicity, the work of some of the most influential figures in history of photography, ushered in the creative flowering of the medium across Europe. Unquestionably the increasingly effective presence of photography was tied to the emergence of these new recruits and their passionate conviction regarding its creative worth…
…It was out of this hotbed of revolution in the photographic form, that one of the most influential photographic annuals of the 20th century was published in Paris on the 15 March 1930. Photographie began life as a one off special issue of the graphic arts bimonthly magazine Art et métiers graphiques (No 16). Art et métiers graphiques (AMG) had been launched three years earlier in 1927 by the owner of the Deberny and Peignot type foundry, Charles Peignot. Under Peignot’s guiding hand, AMG went on to became one of the most luxurious and stimulating publications ever produced in commercial art.’…
©2003 Bradbourne Publishing Ltd.