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"Salter's life and work bridged two continents and cultures and spanned the political turmoil of the mid-twentieth century. He survived both world wars, the rise of National Socialism in Germany, and permanent exile in a new land, but nothing halted his tireless and brilliant design work. Classic Book Jackets tells Salter's story and describes the innovative thinking he brought to his clients and students (including his designation of seven jacket types that are still valid today). It includes more than two hundred reproductions of his finest works as well as a complete catalog of his jackets, designs, and lettering jobs for the book trade."--BOOK JACKET.
The Jackets is a collection of short stories in which Liz DeJesus explores the connection between colors and emotions. Love unrequited, love fulfilled, and unrelenting reality crushing hopes and dreams are some of the experiences symbolized in the jacket colors that structure the rhapsodic explorations of the stages of love as experienced by young women. Red is the color of love at first sight for Laura. Orange are the flames of passion for Mia. For Penelope, brown is the color of nature„of the ancient gods and their unfettered love-making. Each chapter explores a unique perspective: a writer trying to find her muse; a young woman trying to flee an abusive relationship; a cashier getting lost in the woods and finding more than she had ever bargained for. In this intriguing blend of fiction and fantasy, the women in these stories hope for relationships, break out of them or find themselves involved with mythical gods and creatures. These fantastical pieces make for entertaining reading and give insight into young womenÍs eternal search for romance. DeJesusÍ style is direct and uncompromising. Her women are courageous and captivating. This book will be a page-turner for women at every stage of life.
The Jacket is about a book that gets more than it ever dared to hope for or even dream about.
Book-jackets (or "dust-jackets," as they are often called), along with other detachable book coverings such as slip-cases, have been regularly used by publishers in the English-speaking world and some countries of the European continent since the early part of the nineteenth century. Historians of publishing practices, however, have not accorded them the scrutiny that one might have expected such a ubiquitous and noticeable phenomenon to receive. This illustrated book is intended as a compact introduction to the historical study of these objects, which -- though removable from the books they cover -- are essential parts of those books as published. The present work offers a concise history both of publishers' detachable book coverings (primarily British and American) and of the attention they have received from scholars, dealers, collectors, and librarians. It also surveys their use by publishers (as protective devices and advertising media) and their usefulness to scholars of literature, art, and book history (as sources for biography, bibliography, cultural analysis, and the development of graphic design). In effect, the book constitutes a plea for the preservation and cataloguing of this significant class of material, so that it will be available for future examination. Following the text is a list of some of the surviving pre-1901 examples of British and American publishers' printed book-jackets and other detachable coverings. This list, with 1,888 entries, is the outgrowth of a process the author began in 1969: he has kept a record of every pre-1901 jacket that he came across or learned about. Because surviving jackets from the nineteenth century are scarce (most having been thrown away by the original booksellers or purchasers of the books), and because the large majority of those that do survive are known in only a single copy, it is important to have a listing that indicates their whereabouts, or at least the basis for knowing that they exist or once existed. The list thus provides a guide to the body of evidence on which generalizations about the history of nineteenth-century jackets must be based, until more examples are reported. The book also contains two image sections: the first containing eight black-and-white plates, and the second containing sixteen color plates. G. Thomas Tanselle, former vice president of the John Simon Guggenheim Memorial Foundation and adjunct professor of English at Columbia University, is president of the Bibliographical Society of the University of Virginia and co-editor of the Northwestern-Newberry Edition of the writings of Herman Melville. He has previously served as president of the Bibliographical Society of America, the Grolier Club, and the Society for Textual Scholarship. His books include Royall Tyler (1967), Guide to the Study of United States Imprints (1971), A Rationale of Textual Criticism (1989), Textual Criticism and Scholarly Editing (1990), The Life and Work of Fredson Bowers (1993), Literature and Artifacts (1998), Textual Criticism since Greg (2005), and Bibliographical Analysis (2009). His collection of American imprints is in the Beinecke Library at Yale, where his assemblage of nineteenth-century book-jackets will soon be placed as well.
Why do some book covers instantly grab your attention, while others never get a second glance? Fusing word and image, as well as design thinking and literary criticism, this captivating investigation goes behind the scenes of the cover design process to answer this question and more. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW As the outward face of the text, the book cover makes an all-important first impression. The Look of the Book examines art at the edges of literature through notable covers and the stories behind them, galleries of the many different jackets of bestselling books, an overview of book cover trends throughout history, and insights from dozens of literary and design luminaries. Co-authored by celebrated designer and creative director Peter Mendelsund and scholar David Alworth, this fascinating collaboration, featuring hundreds of covers, challenges our notions of what a book cover can and should be.
Caleb Morrison, a young man obsessed with collecting antique jackets from around the world, believes his life is defined by his growing collection. Each jacket represents a unique story, a piece of history, but Caleb's obsession leaves him feeling hollow. That is, until he meets Aria Flynn, the owner of a vintage store who challenges his view of life and materialism. Aria teaches Caleb that the true value of life lies not in the things we own, but in the experiences and connections we make. Aria has a deep connection to a mysterious group known as the Brotherhood, individuals who control a secret power tied to the very fabric of existence: the threads that connect all lives, moments, and fates. As Caleb becomes drawn into Aria's world, he learns that his collection of jackets is not just a hobby—each jacket is part of a much larger story, a hidden thread that binds him to the Brotherhood's ancient power.
You can't judge a book by its cover...but some covers simply speak for themselves. The most influential book jacket designs from throughout the 20th century are on display, and the fascinating images track their evolution from throwaway utilitarian "dust jackets" into a powerful modern art form. Three hundred hardcover and paperback book jackets appear in full color, including many from rare first editions seldom seen outside a serious collector's library. Accompanying analysis commemorates the contributions of top European and American artists like Victor Gollancz, Paul Rand, and Barnett Freedman; explains how cover art styles helped launch such publishing brands as Penguin and Bloomsbury; and explores the impact of today's digitally designed covers.
With one master pattern, this resource guides knitters through creating 12 jacket silhouettes in five standard sizes, with four different weights of yarn. Reminiscent of the designer details that have made the Chanel jacket a signature piece for more than 50 years, the details in this book add professional finish to collars, pockets, fabrics, and hand-stitched silk lining. The process to create a perfect-fit jacket requires only simple math and graph paper. Using real-body examples, Jean Frost shows how to adjust patterns for narrow shoulders, long arms, short or long waist, a large bust, and other common fitting problems.
The Jacket Technique is for those who want to let go of their blocks quickly, effectively, and have the desire to experience a life that truly fits them.
Nostalgic black-and-white and period color photos depict the legendary Army Air Corps and Air Force jacket as worn by airmen in World War II and the Korean War. Anecdotes and a history of the jacket's service are accompanied by marvelous images of the hand-painted art that more often than not adorned the backs of these garments. *This is a paperback re-issue of Hell Bent for Leather.*