Majid Abbasi Christoph Abbrederis Sean Adams

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