- Paperback: 112 pages
- Publisher: Yale University Press (Aug 2003)
- Language English
- ISBN-10: 0300099525
- ISBN-13: 978-0300099522
- Product Dimensions: 2.4 x 1.9 x 0.1 cm
- Amazon Bestsellers Rank: 618,289 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Product Description
Review
Chip Kidd, who is celebrated for his work as a book jacket designer, makes a fascinating read. ... The book is beautifully designed. --Blueprint
--This text refers to an out of print or unavailable edition of this title.
Review
This is a great monograph ...
--This text refers to an out of print or unavailable edition of this title.
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First Sentence
Pull a book at random from your bookcase and look at its cover. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Back Cover
Pull a book at random from your bookcase and look at its cover. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Back Cover
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1 review
12 of 12 people found the following review helpful
Clarity, wit and the horizontal split
20 Feb 2005
Format:Paperback|Amazon Verified Purchase
This is a slim, handsome book spotlighting the work of graphic designer, Chip Kidd, and featuring crisp, clean photographs of roughly five dozen of the covers he designed for books under the Alfred A. Knopf imprint.
People tend to either know exactly who he is or have no idea, but Kidd's the guy who did the T-Rex for the cover of "Jurassic Park." He also did landmark jackets like Tartt's "The Secret History" ; Cormac McCarthy's border trilogy ("All the Pretty Horses"); the reverse canvas of Robert Hughes' "Nothing if Not Critical" ; Martin Amis' big paycheck "The Information" ; the evocative Elmore Leonard and James Ellroy covers; and the stark, bloodstained Richmond Lattimore translation of the New Testament.
The book also touches on Kidd's novel, "The Cheese Monkeys," and his books about "Peanuts" and "Plastic Man" and his surprisingly absorbing books on "Batman" memorabilia.
Vienne's introduction - a little under 18 illustrated pages - provides a solid mix of biographical and technical information and the pictures, though somewhat reduced, are still large enough to appreciate.
The notes are also insightful. For some reason, I'd never really identified Kidd's tendency toward covers with a horizontal split; I also wasn't aware that he'd godfathered (though not designed) the jacket of Chris Ware's "Jimmy Corrigan," and was amused to learn the story behind the cover of Edmund White's bio of Jean Genet (Kidd found the signed photograph of Genet in an East Hampton bookstore but couldn't afford its $3,000 pricetag so he rented it; in route to his office, the glass over the photo cracked and Kidd kept the pane with the starburst crack rather than replacing it with a new one).
Overall, an engrossing look at a guy whom I know mostly through his art which, ironically, almost always adorns the art of others.
People tend to either know exactly who he is or have no idea, but Kidd's the guy who did the T-Rex for the cover of "Jurassic Park." He also did landmark jackets like Tartt's "The Secret History" ; Cormac McCarthy's border trilogy ("All the Pretty Horses"); the reverse canvas of Robert Hughes' "Nothing if Not Critical" ; Martin Amis' big paycheck "The Information" ; the evocative Elmore Leonard and James Ellroy covers; and the stark, bloodstained Richmond Lattimore translation of the New Testament.
The book also touches on Kidd's novel, "The Cheese Monkeys," and his books about "Peanuts" and "Plastic Man" and his surprisingly absorbing books on "Batman" memorabilia.
Vienne's introduction - a little under 18 illustrated pages - provides a solid mix of biographical and technical information and the pictures, though somewhat reduced, are still large enough to appreciate.
The notes are also insightful. For some reason, I'd never really identified Kidd's tendency toward covers with a horizontal split; I also wasn't aware that he'd godfathered (though not designed) the jacket of Chris Ware's "Jimmy Corrigan," and was amused to learn the story behind the cover of Edmund White's bio of Jean Genet (Kidd found the signed photograph of Genet in an East Hampton bookstore but couldn't afford its $3,000 pricetag so he rented it; in route to his office, the glass over the photo cracked and Kidd kept the pane with the starburst crack rather than replacing it with a new one).
Overall, an engrossing look at a guy whom I know mostly through his art which, ironically, almost always adorns the art of others.
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