Penguin by Design - A Cover Story - Phil Baines

 

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The extraordinary story of Penguin covers and their rich and diverse design heritage. Ever since the creation of the first Penguin paperbacks in 1935, their jackets have become a constantly

evolving part of Britain s culture and design history. Rich with stun¬

ning illustrations ill ustrations and fill ed with de¬ tails of individua titl t itles, es, designers

PENGUIN

and even the changing siz e and

shape of the Penguin logo itse f, thi this s book shows how covers become

BY

designclassics.

By looking back at seventy years

of Penguin paperbacks, Phil Baines

DESIGN

charts the development of British publishing, book-cover design and the role of artists and designers in

creating and defining the Penguin

look. Coupling in-depth ana ysis of designers - from J Jan an Tschicho d to Romek Marber - with a broad survey of the range of series and

titles titl es published - from early Penguins and Pelicans, to t o wartime and 1960s Specia s, Classics, fiction and reference - this is a distinctive picture of how Penguin has con¬

sistently established its identity through its covers, influenced infl uenced by and influencing - the wider devel¬

opment of graphic design and the changing fashions in typography,

photography, il illustration lustration and printing techniques.

Fil Filled led with inspiring images, Fenguin by Design demonstrates

just how difficult it is not to judge a book by its cover.

UK £16.99 CAN $35.00

D

 

w

Wherever you go-take a

Penguin Book

Phil Barnes

PENGUIN

BY DESIGN Periguins, taken on the train

a Cover Story 1935-2005

Elevate and entertain Pelicans, as you'd expect

Suit the adult intellect Puffins, on the other hand

For the growing mind are pl anned

ALLEN LANE an imprint of Poster designed by Will William iam Gri Grimmond mmond (20 x 30 inches).

PENGUIN PENG UIN BOOKS

 

Contents For Jackie, another Penguin book

ALLEN LANE Published by the Penguin Group

Penguin Books Ltd, 80 Strand, London wczr orl, Eng and Penguin Group (USA) Inc., 375 Hudson Street, New York, New York 10014, USA Penguin Group ( Canada), 10 A corn Avenue, Toronto, Ontario, Canada M4V 3 bi (a d vis on of Pearson Penguin Canada Inc.)

n o d u c o n 6

Penguin Ire and, 2 5 St Stephens G reen, Dublin 2 , I reand (a d vison of Penguin Books Ltd)

Penguin Group (Austraia), 250 C amberwel Road, Camberwel, Victoria 3124, Austrai a (a dvis on of PearsonAustraia Group Pty Ltd)

I. Establis ishing Paperback Publis ishing, 1935-46 61 10

Penguin Books Inda Pvt L td, 11 C ommunty C entre, Panchshee Park, New Deh - 110 017, I nda

I I .C o n ss t e n c ya n d C o m p e it io n1 9 4 7 5 9 4 8

Penguin Group (NZ), cnr Arborne and Rosedae Roads, Abany,

Auckland 1310, New Zeaand (a dvis on of Pearson New Zeaand Ltd)

I I I .A r tD r e cio n a n d G a p hcD e s g n1 9 6 0 7 09 4

Penguin Books (South Africa) (Pty) Ltd, 24 Sturdee Avenue, Rosebank 2196, South Africa

Penguin BooksLtd, Registered Offices: 80 Strand, London wc2r orl, Eng and www.penguin.com First published 2005

I V L f e a t eL a n e1 9 7 0 9 5 1 6 0

VR e in v e nin gth eB a n d1 9 9 6 2 0 0 52 2 0

B bo g r a p h y a n d S o u r c e s 2 4 7 L o g o D e v e o p m e n 1 9 3 5 2 0 0 5 2 5 0

Copyright © Phl Banes, 2005 n d e x 2 5 2

The mora r ight of t he author has been asserted

Al rights reserved Without limiting the rights under copyright reserved above, no part of th s publi cation may be reproduced, stored in or introduced into a retrieva system, or transmitted, in anyform or by any means(e ectronc, m echanca ,

photocopyng, recordng or otherwise), without the prior written permiss on of both the copyright owner and the above publisher of th s book Set in Adobe Sabon and Monotype Gil l Sans Display Bo d Desgned by David Pearson

Co our reproduction by Dot G radations Ltd, Wickford, Essex Printed in Great Britan by Butler & Tanner Ltd, F rome, Somerset

A CIP cata ogue record for th s book is avalable from the British Library

isbn: 0-713-99839-3

A c k n o w e d g e m n s 2 5 6

 

increasing u use se of commissioned designers, photographers and ill ustrators,

Introduction

and an embracing of new printing and typesetting techniques.

With a tiny number of notable exceptions - Anthony Burgess's A Clockwork Clockw ork

The deveopments ve opments and changes seen in Penguin covers a aso so reflect the in¬

Orange, for example, or J ohn Berger's Ways of Seeing - very few paperback

creasingly sophisticated attitudes of publishers and readers towards design

book covers have the same relationship with their contents as pop rrecord ecord

questions. The dilemma from any publisher's point of view is whether to use

sleeves have with theirs. This is main y because the first massmass-market market paper¬

a cover to promote themselves or the individual title. Part of the fascination

backs were reprints of existing titles licensed from hardback publishers, and

of studying book covers is in seeing these tensions played out in p practice. ractice. For

any visual association with those books previous existence was unwanted.

Penguin, at first glance it would seem that in the 1930s the publisher's identity

As paperbacks evo ved, so did ideas of how they should appear andhow they

was the most important aspect of the design; today it would be easy to sug¬ gest that on many titles the publisher is invisible. While there are elements

should reach their intended market. Penguin books, first published in 1935, were the first mass-market paper¬

of truth in this thi s - and reasons why it should be so - it fail s to appreciate how

backs in Britain. The vision of Allen, John and Richard Lane, Penguin began

many different titles and series there were in the early years (and how diverse

life as an imprint of The Bodey Head, republishing existing works of fiction

they could be) and ignores the strong promotion of key series through con¬

and non-fiction. Within a year it was a separate company, and within another

sistent styling today.

few years it was commissioning new writing, launching new series and re¬

This book - inevitably part history, definite y part ce ceebration, ebration, andby

defining the boundaries of publishing. The appearance of the classic Penguin

design part critique - explores, through over 500 illustrations, the develop¬

cover design has so ingrained itself in the nation nations s consciousness that today,

ments outlined above. Despite the number of covers presented, the most from

seventy years later, everybody thinks they know what a Penguin looks like.

a single publisher ever reproduced in one volume, it is not a catalogue: the

This book will show that the story of Penguin cover design is far more inter¬

Penguin list is just too long. It aims instead to outline the development of

esting and complicated than first imp ressions might suggest.

the brand and the introduction of new series and imprints, to show the main

The story of the companys cover designs parall els the emergence of graphic design as a profession. This discipline, combining strategic thinking,

changes in design, and to suggest that Penguin covers are about far more than three coloured stripes and a dancing bird.

a strong visual sense, organizational ability and the craft skills to implement them all, only developed slowly. Art schools had existed in Britain since 1858, and members of the Arts and Crafts Movement of the mid to late nineteenth century, such as William Willi am Morris and W. R. L Lethaby, ethaby, instigated a serious re¬ appraisal of the role of the artist in society generally. But in the 1920s and

A note on book sizes There are two standard book sizes within the paperback industry:

1930s, art for industry usually meant 'il 'illustration lustration for books or 'commercial

A format: the original Penguin size, 7 Vg x 4 3/8 inches (181x111 mm) .

art' - poster design - for companies such as the Underground Group or Shell

B format: 71/2 x 5 inches (198 x 129 mm), first used by Penguin in 1945 for

Petroleum, who recognized the value of artists in creating memorable pub¬

Russian Review and widely used over the last twenty years.

licity material. Aspects of typographic design and arrangement were studied only as part of an apprenticeship, the length and content of which was con¬

For certain series other sizes were introduced. For example, the first volumes of the Modern Painters series and Puffin Picture Books were approximately

tro led by the printing industry. Early Penguin cover design was rooted in the traditions of the print trade. But as the rebuilding of the economy after the Second World War brought about new working practices there was a merging of disciplines and changing

double Penguin (that is, two A-format books placed pl aced side by side). Occasionally, standard metric sizes such as A5 (210 x 148 mm) have been used, for example in the Pelican History of Art series.

expectations, and Penguin designs changedto reflect these deveopments. There started to be a separation of page design from cover design, an

 

Penguin by Design

Introduction

7

 

THE

A note on picture selection and reproduction of images i. See Arch ves in Bibliography andSources {p. 2.49) .

Although over 500 covers may seem a lot to feature in a single book, over a have stayedin print ffor or decades and had severa cover designs. Thefina se seec¬ ec¬

The Medum is the Massage (pp.

tion reflects my appreciation of that history based on research and time spent

144-5)-

PENGUINS

70-year period Penguin have published pub lished many thousands of tit titles, les, and many

x. Ways of Seeng (pp. 176-7) and

in both of the major Penguin archives; working and discussing ideas with the book's designer and picture researcher David Pearson; and talking to past

ARE

designers and employees of the company. While I was writing writ ing the chapter introductions David made a first selection sel ection from the archive at Rugby. From that initial visit other titles suggested them¬ seves, se ves, and as we each found out more, ta ked to past designers, and discussed

COMING

possible themes and page sequences, further titl es cried out for iinclusion. nclusion. I cannot claim this book to be comprehensive, because there are simply too many stories to tell and too many books to show. The largest omission is Puffin, whose first title is shown, but whose story is not pursued, as I felt it was a separate story with a relationship to Penguin different from those of other series. A so beyond the scope of this book is the mass of publicit publicity y mater¬ ial the company has produced to promote and describe its products. But I have tried to explain the main strands of the history, to introduce significant titles, series or designs, and to show, when possible, covers that have not been reproduced in this way before. A frustration I have with many ill ustrated books is the lack of a sense of sca e of the objects repr reproduced. oduced. This book has been designed to accom¬ modate both of the commonly used Penguin formats at actual size. To help make comparisons easier, reproductions have been restricted (with only two exceptions ) to one of three sizes: 100 per cent, 46 per cent and 30 per cent. In the captions, capti ons, the date given is that of each book's printing p rinting as given on its imprint page, not of the title s first publi publication cation by Penguin. Some titles re¬ tained a particular cover design for a considerable period of time, so the date may in fact be later than the cover design. With recent publications, dates

 5

are harder to give wi with th any accuracy because of the practice (now common

throughout publishing) publi shing) of indicating indicati ng printing histories through the useof a row of numbers (1098765 (1098 76543 43 2 1) rather than giving the year of printing. Designers, illustrators or photographers are credited as given on, or inside, the cover. If a credit is given in [square brackets] the information is not on oppos te: Press advertisement,

 

'A

OVER pukkiv ^

the book itself and has come from other sources.

0 A

25 May 1935.

8

Penguin by Design

 

I. Establishing Paperback Publishing, 1935-46

isPliiii

 

warehouse. This was the arrangement until a three-acre site sit e was developed

dividing line between Pelican and Penguin subject areas. The design of

in 1937 for both offices and warehouse on the Bath Road, Harmondsworth,

Pelicans followed the horizontal stripes of the Penguins but with a pale

opposite what is now Heathrow Airport. F or the next sixty years, Harmonds¬

blue colour and a pelican logo drawn, like the penguin, by Edward Young.

worth was one of the most famous addresses in publishing; as early as 1945,

The development of Penguin in the few years before the outbreak of war

the littl e pamphlet publ ished to mark the companys tenth anniversary could

was very much dependent on the personalities of the Lane brothers and those

say:

they grew to trust. Of the Pelican advisors, Williams soon became the key

It has become one of the prominent place names in bookish topography, just Penguin Books HeadO fice, Bath

Road, Harmondsworth, M ddesex, 1940.

ne so insensible

ff suddenly, for ing was wrong. Od Stye No. 2.

r three weeks anc

sual in conseque

5 in the bundle a Tm es New Roman

as the Penguin book factory has become a landmark on the Bath Road. P ain men in motor-cars, passing it, say to each other, 'That's where the PenguinBooks come from,' and know that they have thereby established their stake

in the cultura life of their time.

DSO DSC, of HMS Storm. He was the first RNVR officer to command an operationa submarine in the Second Word War.

long recognized as a superb editor and became the lynchpin of everything

that happened at Harmondsworth until her retirement in i960 . William Emrys Williams

In November 1937 the publishing programme was further broadened with the launch of Penguins fi first rst periodical (pp. (pp . 36-7 ), Penguin Parade, and the publication publicati on of the first Penguin Special, Edgar Mowrer's Germany Puts

In that initial period, and for some years subsequently, the basic design of

the Clock Back (pp. 28-31). Penguin Parade was followed by several more

the covers altered only in details. Edward Young Y oung was made the Production

periodicals,6 but it was the Specials that made Penguins expansion and its

Manager and, as such, was responsible for typ typographic ographic design. Penguins print p rint

domination of the paperback market possible. These were topical publica¬

runs were becoming increasingly large, and several pri printers nters were used. This -

tions that, in i n the eighteen months between their initiat initiation ion and the outbreak of

and the over-long hours everyone at the firm was working - explains some

war, dea t main y with the rapid y deve oping poitica issues of the time. The

of the subtle variations which occur on the cover designs. Inside, the text was

urgency of the subject matter was reflected in the speed of production (four

originally set in Od Style Styl e No. z, but in 193 1937 7 - during the preparation of ini¬

weeks from typescript to bookshop) and in their cover designs. The Specials

tia designs for the Penguin Shakespeare series - a change was made to Times

featured headlines on the covers, many stripes, and different variants of the

New Roman, which had been introduced into The Times (and hence proven

Gil l Sans typeface used with a amost most Victorian abandon. The poitica poi tica Specia s

Eunce Frost

for large runs on poor-quality paper) in 1932 and was made available to the

sold 100,000 copies in a matter of weeks, compared to typical fiction sales of

6. Penguin Hansard, August 1940;

trade in 1933. 1933 . Young Y oung continued in the role of Production Manager until he

around 40,000 in three or four months. Thus the series contributed hugely

joined the Roya Nava Vo unteer Reserve (RNVR) in 1940, 194 0, when he was

to the companys cashflow, and the sales figures in tthe he pre-war years would

succeeded by Bob Maynard and later J ohn Overton.

dictate what Penguin could achieve during the war itself.

The list itse f changed rapid y in the first eighteen months. IIn n addition to

Lieutenant Commander E. P. Young,

figure, and a secretary newly appointed in 1937, Eunice Frost, was before

New Writing, November 1940;

Review, October 1945; Science News, June 1946; Film Review,

Further new series appeared before the war: the short-lived Illustrated

the reprints, Lane introduced new series to broaden the appeal of Penguin.

Classics were launched in May 1938 (pre-dating Penguin Classics proper

Six Shakespeare plays appeared in April 1937 1937,, but more signif significant icant was the

by eight years; pp. 24-5) 24 -5) , the county-by-county Penguin Guides in March

August 1946; and Musc Magazine,

February 1947.

appearance of the first non-fiction titles under the Pelican imprint a month

1939, 1939 , and the hardbacked and ill illustrated ustrated King Penguins in November 1939

later (pp. (pp . 22 -3) . In 193 1936 6 Lane had asked George Bernard Shaw to let him

(pp. 26-7 26 -7 and 7676-7). 7). The Kings were initia ly edited by Eliz Elizabeth abeth Senior,

publi publish sh The Inte ligent Woman s Guide to Sociaism, Sociai sm, Capita ism and

but her role was taken over by Nikolaus Pevsner - author of Pioneers of

Sovietism. Shaw responded positively and offered to write a new section ex¬

Modern Design (1936) - after her death in an air raid in 1941. It marked the

plaining Bo shevism and Fascism. This was the first origina writing writi ng published

beginning of a long and fruitful relationship between Penguin and Pevsner,

by the company, and Lane found other 'intellectual' titles to sit alongside it

and was one of several p prominent rominent associati associations ons between the company and

5. Ten Years of Penguins: ly j-

and create a non-fiction series. He appointed app ointed V. K. Krishna Menon as Fditor, Fdit or,

respected academics.

I94S, P-12,-

with Peter Chalmers-Mitchell, H. L. Beales and W. E. Williams as advisors.

War was eventually declared on 3 September 1939, and Penguin, while

As it developed, the list embraced writing on politics, economics, social sci¬

also benefiting from happy accidents - such as the discovery that a battledress

ences, literature and the visual arts, and from the start there was no rigorous

pocket could accommodate a Penguin as if made for it - was better placed

14

Penguin by Design

Transatlantic, September 1943;

New Bioogy, Ju y 1945; Russan

/. Establishing Paperback Publishing, /935-46

15

Nko aus Pevsner

 

7. J ohn Lanewas killed in action

than most other publishers publi shers to deal with warti wartime me conditions. When paper

and thirty-two pages of plates, sixteen in colour. While the series editor was

when hs shp, HMS Avenger, was

rationing was introduced in 1940, allocations were calculated as a percentage

Sir Kenneth Clark, Director of the National Gallery, G allery, credit for much of the

of paper consumption in the twelve months before hostilities began. Penguin,

organization and realization of the series lay with Eunice Frost. Somehow,

although handicapped by the restrictions, had a far greater allocation than

good paper was obtained, paintings were tracked down for photography,

sunk on 15 November 1941.

most other publishers. The typographic standards that were introduced at the

and high standards of colour reproduction were achieved under incredibly

same time, specifying among other things the ratio of text area to page size,

difficult circumstances.

could be easily met. And the key to everything was the personality of Allen

Noe Carrington

In 194 5, between VE Day and the dropping of the first atomic bomb.

Lane - who remained at Harmondsworth to run the firm after af ter John and

Penguin celebrated its tenth birthday with, among other events, the publica¬

Richard joined the RNVR and were called up - ready to seize every oppor¬

tion of Ten Years of Penguins: 1935-1945 as a tribute to what had been

tunity to use Penguin Books as a positive force in the war effort while not

achieved during that time. It was simply a piece of publicity, up-beat, confi¬

forgetting the good of the company. In this, it was a great advantage that

dent, self-congratul atory - and rightly rightl y so. It was not its role to analyse the

one of his most influential editors, W. E. Williams, had a leading role in the

future of paperback publi pub lishing shing and how competition would affect Penguin.

Army Bureau of C Current urrent Affairs (ABCA), which backed many initiatives that

A ongside ceebrating its it s tenth anniversary, Penguin, with wit h its leftish po itica itic a

Emile Victor Rieu

enabled Penguins to be distributed in large quantities to Brit British ish and Alied Al ied

leanings, was seen by some to have had a role in the Labour Party s euphoric

soldiers across the globe. Thousands of Penguins formed a large proportion

post-war post-w ar election victory, and, in another indication of their apparently in¬

of the books sent via the Services Centra Book Club ( SCBC) from 1940;

exorable growth, in J anuary 1946 a further new series appeared, tthe he Penguin

in 1942 a Forces Book Club was set up to print editions of books to be dis¬

Classics, the first title being E. V. Rieu's translation of Homer's Odyssey. As a

tribu tributed ted through the army s own channels; and an EVT (educational and

new generation of people grew up with Penguin as a central part of the coun¬

vocational training) and 'release scheme was established in 1941 1941,, a Pri Prisone soner

try s cultural life, lif e, its future seemed assured.

of War book scheme in 1943, and Services Editions in 1945. As if that wasnt enough, new series were also being launched for the popu¬ Eleanor Graham

lation at large, l arge, who were now without many other sources of entertainment. Penguin Poets first appeared in June 1941, Planning, Design and Art books

in April 1942 , Hand H andbooks in December and Reference in April 19 1943. 43. As thousands of city chil dren faced wartime evacuation. Lane launched Puffin Picture Books in December 1940 (following up a pre-war suggestion by Noel Carrington, who then edited the series until the early 1960s; pp. 34-5), and a year later Puffin Story Books appeared, under the guidance of

Eleanor Graham. The picture pict ure books were noteworthy for their use of colour printing from auto-lithography (in which the artist draws directly on to the printing plate) and their larger format - approximately twice as wide but the same height as a normal Penguin - while the standard-sized story books

featured illustrations illu strations from the outset. A desire to give the public access to art at a time when the principal London galleries had evacuated their coll ections to safer pl aces resulted in

the Modern Painters series (pp. 42-3) 42 -3).. The first four titles, titl es, Henry Moore, Graham Gr aham Sutherland, Duncan Grant and Paul Nash, appeared in April 194 4. Similar in size to Puffin Picture Books, they contained twelve pages of text Penguin by Design

I. Establish ng Paperback Publishng, 15)35- 46

17

 

Still She Wished for Company

The horizonta grid, 1935

Arie, 1935.

(dustjacket), 1937.

[The accent in the authors name ony appears from the second

The first Penguin titles appeared at a

cover printing on.]

time when the various ro es of designer,

PENGUIN BOOKS

art director and printer were not clearly

differentiated. differenti ated. Thebasic horizonta triparti te division of the covers, as wel as the penguin itsef , were devised by Edward Youngs who became the com¬ pany s first Production Manager. The co ours used to indicate subject matter -

0 <

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initia ly just j ust orange for fiction, green for

STILL SHE WISHED FOR COMPANY MARGARET IRWIN

crime, dark bl ue for biography, cerise for

travel & adventure, red for plays - were

H

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O~ rr~

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I

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an aspect of the design which far out¬

lasted the origina l ayout.

ARIEL

6 dA6

The design featured typefaces popu ar

n e M r n e

at that time. Bodoni Utra Bold - a faux n neteenth-century revi va - was use d

COMPLETE

within the quartic for the publisher's

ND UN BRIDGED

name, while two weights of the re ativey new (1927-8) Gill Sans were used for the

ANDKE MAUKOIS

remainder of the front cover and spine

information. Although the imprint was

Fly ng Dutchman, 1938.

penguin books the publisher was the

$:f PENGUIN ^

bodley head, whose nam e remaned

V ItO tOOKS J

on the front for eighty titles titl es until Penguin became a separate company. The pri price ce was printed not on the cover itse f but on the dustjacket, which in a l other respects was identica t o the cover it protected.

cC

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COMPLETE

FLYING DUTCHMAN

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A F L Y N G P E N G U N > 1

ANTHONY FOKKER



m

Penguin by Design

II. Consistency and Competition, 1947-59

 

Buildings of England, 1951

Nottinghamshire, 1951.

ii . ui mi 111111 mi n 11111111111111 mi 11 liiiiiiin 11111^ 11 mi mi 11 ii 111111 linn mi 1 lt

Mdd esex (dustjacket), 15)51.

Nikolaus Pevsner had suggested the idea of a series of architectural guides to other publishers before the war, but it was

THE TH E

not taken up. Having been drawn into Penguin during the war, he suggested the

idea to Allen Lane and was encouraged

B U I L D.I N G S

to work on both the guides and another proposal: a Pelican history of art.

OF

Pevsner's personal touring of each

county was aided by notes provided by researchers who had worked for up to a

ENGLAND

year in advance. His own observations were then written up each evening, keep¬

ing the whole work fresh. This ambitious I- iiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiii-

task took twenty-three years to complete and needed many collaborators along the way. As early as 1954, and despite

Nottinghamshire 1 ~ 111111111111111111111n 11111n11111111111111 II 11111111111111111111111111111111111111

great critical acclaim, it was not making money, and sponsorship was needed if

the series was to continue. In addition to Pevsner waiving his royalty, grants from the Leverhulme Trust were instrumental in the completion of the series. Further smaller grants came from ABC T ele¬

vision and Arthur Guinness & Sons Ltd.

Northumberland (dustjacket), THE BUI LDINGS OF ENGLAND ENGLANDI957 I957-

North Nort humberland

In appearance, the volumes were pre¬

sented in a neo-classical style similar to

the Classics (p. 65). The typeface is again Eric Gill's Perpetua, and a roundel -

based on a photograph within the book - is also a feature.

The first titles appeared as paper¬ backs, and in 1952 these were given the

added protection of a dustjacket of iden¬ tical design. That same year hardback editions began to appear. These featured

a different dustjacket, initially retaining the roundel, but from 1953 they featured a black and white cut-out photograph on a green background.

72-

Penguin by Design

II. Consistency and Competition, 1947-59

PENGUIN BOOKS

8/6

73

 

 

Handbooks in the fifties The Penguin Knitting Book, 1957. Cover design by Heather Standring.

Handbooks first appeared in wartime,

with titles associated with the war effort such as Soft Fruit Growing and Rabbit Farming. Initially numbered as Specials, they became a separate named series

from 1943 onwards.

By the mid 1950s Hans Schmoller

had given them a distinctive co ver design

which featured a border filled with illus¬ trations. These could be representational or abstract. On these standard designs

JAMES NORBURY

m fM

T k[A

Penguin cBook

\\

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the typography followed a set pattern and was in the regular and italic variants

of Gill Sans. Occasionally [The Game of Chess) the logo itself could be drawn

v . . .. s . **

into the design. For certain subjects, more distinctive illustrations were commissioned. In these, every element of the standard design, except the idea of a border sur¬

COLQUHOUN

Paint

|

The Game of Chess, 1959.

/ <

Your Own

¦1 \

TTERNS FOR OVER rXTY GARMEN TS

NORMAN

\\ v

Paint Your Own Pictures, 1954.

PENGUIN HANDBOOKS

Pictures

A guide for those who would like to paint but do not know how to b egin, d i scussi ng the m ateri al s need ed , thei r preparati on, and the handling of paint

/

Q

—A

rounding the central 'type' area, was Soft Fruit Growing, 1951.

open to manipulation.

PENGUIN HANDBOOKS

The Art of Marriage, 1957.

PENG U I N

Pats du Jour, 1958.

HANDBOOKS

Cover illustration by David Gentleman.

Soft Fruit

Growir

MARY MACAULAY

The Art of Marriage

Full directions for the planting, growing and tending of blac kberries , c urrants , goos eberries , s trawberries ,tomatoes , mushrooms, figs, grapes and ot h er s of t f ru it s

74

Penguin by Design

11. Consistency and Competition, 1947-59

75

 

King Penguins under Hans Schmoller Animals in Staffordshire Pottery, When King Penguins first appeared in 1953. Cover designed by 19 3 9 it was as small collectable hardPeggy Jeremy. backs, and the series covered an eclectic range of subjects (pp. 2.6-7). The series

continued throughout the 1950s with

ANIMALS IN

Ntajfovtlnh I re i'ole ru A KING PENGUIN BOOK

Hans Schmoller as Art Director. As before, the cover designs are unified not by any particular 'look', but by a sensi¬ tivity to the material reproduced within,

which was carefully reflected through appropriate typography, illustration or photography. As well as having an overview of the opposite; ]ohn Speed's Atlas of series' Schmoller was directly involved England & Wales, 1953. as the designer of several titles, includThe Sculpture of the Parthenon, ing the formal - almost nostalgic -

1959. John Speed's Atlas of England & Wales, as well as the more contemporary Sculpture of the Parthenon.

Medieval Carvings in Exeter Cathedral, 1953.

Medeva Carvngs in

Exeter Cathedral

opposite:Ackerman's Cambridge, 1951. Cover design

by William Grimmond. Sem-Precious Stones, 1951. Cover designed by Arthur Smth.

76

Penguin by Design

II. Consistency and Competition,

77

 

The vertical grid, 1951

)OKS

opposite and l eft:

'.WW

PENGUIN BOOKS

Experimental layouts by Jan Tschichold, 1948 (assisted by

The Illustrated Classics covers (pp. 24-5) can be seen as precursors to the vertical

grid, which may have made its first ap¬ pearance on dustjackets for books with covers in the horizontal style as early as 1948. From roughs in the Penguin

Erik Ellegaard Frederiksen).

J. B, P M ESTLEY

Angel Pavement

v

archive in Bristol, it is apparent that this

Angel

vertical grid was being worked on within months of Tschichold finally perfecting Edward Young's horizontal grid. Begun

Pavement

by Tschichold with his assistant Erik Ellegaard Frederiksen, several variations were explored before it was resolved by Hans Schmoller. This design ensured con¬

tinuity with the earlier Penguin standard design through its three divisions and use of colou ol our. Th e central area was most

commonly used for simple line illustra¬ tions but could also contain an extract from a book review o r some 'blurb'.

The first title with the vertical grid itself did not appear until 1952. - Synge's Collected Poems.

The Death of Grass, 1958.

PENGUIN BOOKS

With only a few exceptions, such as Edward Young's One of Our Submarines

John Christopher Christopher

(p. 59), fiction adopted this design, but the crime series - apart from the Games designs (pp. 86-9) - continued almost

exclusively with the horizontal grid until

The Death of Grass An unus ual and abs orbing piec e of s c i e n c e - f ic t i o n a b o u t t h e r e l e n t l e s s trans formation of England when the balanc e of nature is ups et.  T h e D e a t h o f G r a s s s t i c k s w i t h c ommendable pers ev eranc e to the s urfac e of the earth we know ... J o h n C h r i s t o p h e r h a s c o n s t r u c te d an unus ually dramatic and exciting tale.

COMPLETE 2/6 UNABRIDGED

Penguin by Design

II. Consistency and Competition, J947-T9

y t 79

 

The Greek Myths, Volume I,

The vertical grid: author identities

PENGUIN BOOKS

1955-

As the decade progressed, other fonts

ROBERT GRAVES

began to appear on covers as a way of

giving particular authors their own

The Greek

The Corvinus typeface (designed by Imre Reiner between 1929 and 1934)

101

r A Ths retelling of the stories of the Greek gods

was used for Aldous Huxley from 1951 and marked the very first departure from Gill Sans on a fiction cover. For other authors, a monogram or

and heroes, embodying the conclusions of modern anthropology and archaeology, is a new work written specially as

other symbol was devised. The most

Lady Chatterley s Lover, i960.

¦

LADY

Aldnus Huxley

[Phoenix redrawn by Stephen Russ.]

CHATTERLEY'S

L OVER

limited identity.

Myths VOLUME ONE

Brave New World, 1955.

P E N G U IN B O O K S

PENGUIN BOOKS

BRAVE N EW WORLD

BL,-

lavish of these was the phoenix and

5

flames for D. H. Lawrence. This design

a companion to the

would become the best known of all the

Penguin Classics

D. H.

A Novel

LAWRENCE

author identifiers after Penguin success¬

fully defended their publication of an un-

3/6

expurgated edition of Lady Chatter ley's

— 2/6 —

COMPLETE AND 3^ U.EXPUM^TEO

¦ifr

Lover in the Hgh Court in i960 and it went on to sell 3 million copies.

Over My Dead Body, 1955.

PENGUIN BOOKS

PENGUIN BOOKS

Over

HEMINGWAY

REX STOUT

Selected Short Stories, 1957.

ERNEST

My Dead Body

fin L vJ

Men Without Women, 1955.

Men Without

Women

fdl

SHORT STORIES

A Crime Club

Winner of the Nobel Prize for Literature

Choice

1954

™ 2/6 — 80

2/6

Penguin by Design

II. Consistency and Competition, 1947-51947-5-9 9

81

 

The vertical grid: integration of illustration The New Men, 1959. Cover

illustration by Erw n Fabian.

The vertical grid layout was designed for, and worked well with, illustrations of a

simple kind, but as time went by the il¬

The Fa jama Game, 1958.

PENGUIN BOOKS

PENGUIN BOOKS

PENGUIN BOOKS

The Man Who Never Was, 1956.

Richard Bissell

THE THE

Cover illustration by Peter Arno.

 

NEW MEN

lustrations grew larger and were allowed

THE M A N W HO

to invade the flanking orange borders.

After the initial designs featuring

NEVER WAS

single-colour illustrations, it is possible to see in the evolution of these covers

a gradual gnaw ng away at the fixed

Kp fy

attitudes which had dominated Penguin practice and which Allen Lane held as

..^1

u

j  

sacrosanct. The principal changes are

E WE N MO N T A G U

illustrated here and on the following spread.

C. P. SNOW

The first steps towards a greater graphic freedom involved a careful en¬

COMPLETE 2/6 —„

2/6

croachment on the border [The Pa jama Game). Another attempt to ad d variety saw illustrations that integrated the type

in some way [The Seeds of Time and Edmund Campion, 1957. Cover

illustration by Derrick Harris.

The Black Cloud). Commercial pressures dictated that

The Seeds of Tme, 1963.

P E N G U IN B O O K S

PENGUIN BOOKS

Cover drawng by John Griffiths.

cinema and television were taken advan¬

tage of whenever possible. Frequently this meant the use of photography. Inte¬

grating this within the confines of the vertical grid was not always satisfactory

[Breakfast at Tiff any's) or possible [The

The Black Cloud, i960. Cover design by John Griffiths.

EDMUND

CAMPI ON

i

The famous Elizabethan Jesuit scholar and missionary

Contenders). Inevitably, full-cover

 /s

d

images eventually appeared for a small

number of titles [The Cruel Sea).

iHll iH EVELYN WAUGH

— 2/ 2/6 6—

82

Penguin by Design

SCIENCE FICTION BY A SCIENTIST

1 JOHN WYNDHAM^

1

II. Consistency and Competition, 1947-51947-5-9 9

F RED H OYL E COMPLETE 2'6 u—,oCEo

83

 

The Cruel Sea, 1956.

Penguin Science Fction, 1961. Cover illustration by Brian Keogh.

E

The Contenders, 1962. Cover photograph from the Radio 1 Times Hulton Picture Library.

Breakfast at Tiffanys, 1961. [The cover shows Audrey Hepburn in Blake Edwards film Breakfast at Tiffanys.] The Misfits, 1961.

Marilyn Monroe, Clark Gable, and Montgomery Clift in a scene from the Seven Artists Production released through United Artists.

The stor y on which th« bucd, star r ing Audr ey F

PENGUIN BOOKS 2 6

84

Penguin by Design

II. Consistency and C ompetition, 1947-5 9

85

 

The Abram Games

The Great Escape, 1957. Cover illustration by Abram Games.

cover experiment, 1957-8

PAUL BRI IC CKHILL

THE GRE EA AT ESCAPE

Facing growing competition, Penguin

The Big Show, 1958. Cover

carried out an experiment to see what

illustration by David Caplan.

effect full-colour covers would have on sales. Hans Schmoller invited Abram Games to be Art Director of the project.

Games established a simple grid

which provided a 1 ^-inch panel for the author, title and logo above a clear area containing the illustration. The pub¬ lisher's name was at the foot of the cover, overprinted or reversed-out of the illus¬ tration. The type used was the regular

and extra bold weights of Gill Sans, and the logo sat on a panel coloured orange for fiction, green for c rime or magenta for non-fiction.

Games was responsible for c ommis¬

sioning other illustrators to provide

covers, and nine did so during the life of

PIERRE CLOSTERMANN

FLAMES IN THE SKY

D

the project. To Games's dismay the com¬

pany did not promote the covers in any

Fames in the Sky, 1958. Cover

way, and some of the public did not be¬

illustration by Abram Games.

lieve they were Penguins at all. Less than

thirty covers had appeared before Allen Lane decided to stop the experiment on the grounds that the extra expense of the full-colour printing was not offset by an increase in sal sales. es.

86

Penguin by Design

II. Consistency and Competition, 1947-59

87

 

Tibetan Marches, 1957. Cover illustration by Stanley Godsell. Tappan's Burro, 1958. Cover illustration by Dennis Bailey.

ANDRE MIGOT

TIBETAN MARCHES

The Case of the Drowning Duck,

ERLE STANLEY GARDNER ZANE GREY

THE CASE OF

TAPPANS AN S BURRO

THE DROWNING DUCK

1957. Cover illustration by

NGAIO MARSH

Hans Unger.

FINAL CURTAIN

Fna l Curtain, 1958. Cover illustration by Dennis Bailey.

My Uncle Silas, 1958.

[Cover illustration by Edward Ardizzone.] The Song of the Whip, 1957.

ERLE STANLEY GARDNER

H. E. BATES

THE CASE OF

MY UNCLE SILAS

THE HAUNTED HUSBAND

The Case of the Haunted Husband, 1957. Cover

MARGERY ALL1NGHAM

illustratio on n by David C aplan.

THE TIGER IN THE SMOKE

The Tiger in the Smoke, 1957.

Cover illustration by

Cover design by David Caplan.

Abram Games.

________

PENGUIN BOOKS

Penguin by Design

II. Consistency ami Competition, 1947-59

89

 

— < — — —

John Curtis as temporary Art Director, 1957-9 Nijinsky, i960. The drawng of Nijinsky on the cover is taken from a poster by Jean Cocteau painted in 1909.

Romo la Nijinsky Nijinsky

Despite the failure of the Games ex¬

periment, Penguin covers continued to evolve. John Curtis, Publicity Manager since 1952, took over as temporary

E a ^ „ m m

ARTIFICIAL SATELLITES

1 A pic ture guide to rockets rockets,, satellites, satellites, and spac e probes

cover Art Director from 1957 to 1959.

As well as working with illustrators

rMICHAEL EL W« OVEN ENDEN

such as David Gentleman (who had first been commissioned to work for Penguin by Hans Schmoller), Curtis was instru¬ mental in c ommissioning covers from younger designers such as Derek Birdsall

(later to form Omnific) and Alan Fletcher, Colin Forbes and Bob Gill (who became Fetcher/Forbes/Gill an d, later, Pentagram).

For certain titles, such as those in the

Penguin

jp) Biography

  s

91

I

  888

• •

Biography series, Curtis encouraged a departure from the dominant designs of

I n li

stripes and borders and allowed a much

' -^J

freer use of elements on the cover. For The Daghileu Ballet, 1909-

a series of illustrated books aimed at a

1929, i960. The illustration

younger audience (which were at one

on the cover is taken from a drawng by Jean Cocteau.

point going to be called Picture Pelicans)

k •

he commissioned more radical covers with a strong use of white, and bold

typography to match the quality of the

f i • ¦ . .

illustration.

;K i

Curtis's art direction was most notable on the Pelican series. The imprint and

•

logo were reduced to a strip at the foot of the cover and the remainder could be designed afresh for each title. The illus¬ trative element of these covers shows a fascination with printing processes, over¬

printing, reversing-out, and even the power of the white cover board itself. And for the first time on a Penguin book, opposite: Artificial Satellites, i960. Cover design by

John Griffiths.

the typography was allowed to be ex¬

A Pe Penguin Book 5s

pressive and suggestive rather than

simply readable and/ or beautiful.

90

Penguin by Design

01

 

THE TH E

Applied Geography, 1961. Cover design by Juliet Renny. Archaeology from the Earth,

ru

1961. Cover design by Bruce Robertson.

Ethics, 1961.

GREAT

Cover design by Robn F or. The Great Crash 1929, 1971. Cover design by Derek Birdsall.

P. H. Nowell-Smith

Archaeology from

36 the Earth

Sir Mortimer Wheeler

a Pelican Book

Geology and Scenery, 1961.

Radio Astronomy, i960.

Cover design by Kenneth

  OLO Y

Rowland.

The Social Fsychology of Industry, 1962.. Cover design by

F. GRAHAM SMITH

The Meaning of Art, 1961. Cover design by Herbert Spencer.

Derek Birdsall.

A PELICAN BOOK 5'-

91

A PELICAN BOOK 4'-

m

Penguin by Design

A Pelican Book

II. Consistency and Competition, 1947-5-9

93

 

II s I. Art Direction and Graphic Design, 1960-70

m W;M.

Qstfo&o

¦ >9 I,.-! •gt^r ,r\*M W ¦: : - •¦:¦:

m gg

l$pT h i Under Mayer's management the messages about identity were contraand Jeremy Aynsley, June 1984. Bristol Archive, DM1585/6 & 18.

but they are also the work of a generation of designers from an art school

dictory. The use of orange as a brand identifier on fiction was repeatedly

rather than a trade printing background, using typesetting houses who

questioned, lambasted and stoutly defended in turn. Such vacillation was

were often struggling with the demands of expensive new typesetting equip¬

fortunately offset by the consistent design styles applied to other series. That

ment and unsure how to apply the inherited skills of metal type to that new

these smaller series carried and upheld the Penguin brand, while the fiction

technology.

list concentrated on individual titles and market share, was of crucial im¬

Another Mayer marketing strategy was an increased use of the larger B format, and much of the Design Department's time was spent converting ex¬

portance after the difficult 1970s. While many will argue that, from a design point of view, Mayer's era

isting artwork to the new size. Although the type itself was slightly enlarged,

marks the all-time low in quality at Penguin, that opinion obscures the fact

books adjusted in this way were easy to tell because of the unusually generous

that, while the company made a lo ss of £242,000 in 1979, it made a £5-64

margins around the text area. There was considerable criticism at the time

million profit only three years later. Mayer's view was that 10-15 Per cent:

that this was nothing more than a cynical marketing ploy - the increase in

of the books would have to change radically in order to secure their market

retail price was greater than the increased production cost - and that Penguin

share and thus safeguard the remainder of Penguin's output, and the com¬

was betraying its origins, which lay in providing good reading at the cheapest

pany's survival was more important than design ideals or standards.

possible price.

David Pelham resigned as Art Director in 1979, having been frustrated

At the same time, Mayer decided that the previous Penguin practice of re-

for some time by the changes around him. Speaking a few years later about

typesetting every title bought from other publishers and styling it to conform

that time he said:

with the Composition Rules could no longer be justified if that practice made

The art department... became the whipping boys, because if a book didn't

sell, if the editor had made a mistake, if the marketing people hadn't pulled

their finger out, if they had pulled it out in the wrong direction, they could always say 'Sorry, it was the cover, it was never the book, it was never any¬

thing else' So you got a lot of flak in spite of the f act that they had all in a democratic way sat around a table and said 'Yes, we'll go with that.'

publishing a title uneconomic. New titles could now simply be photographic¬ ally reproduced ('offset'), with Penguin only needing to generate new prelim¬

inary pages (the title page, imprint page, and so on). While this undoubtedly made the publication of certain titles viable, it was at the expense of a con¬

sistent appearance and was a dilution of the high standards built up by the company since Tschichold's reforms in 1947.

There were changes in location also. In 1979 the Art Department and

Pelham was succeeded by Cherriwyn Magill, previously at Penguin and

editors - at John Street, Holborn, since the 1960s - moved to larger premises

then Macmillan. The Modern Classics were restyled by her, and she com¬

on the New Kings Road, Chelsea, and in 1985 the addition of Michael Joseph

missioned Ken Carroll Carroll and Mike Dempsey (later to form the design group

and Hamish Hamilton to the Pearson portfolio - Frederick Warne having been

Carroll, Dempsey and Thirkell with Nick Thirkell) to redesign Reference.

acquired two years previously - meant that further relocation was necessary.

The King Penguin name was resurrected in 1981, this time for a paperback

The editorial and design teams now moved to Wrights Lane in Kensington.

list showcasing contemporary fiction, with a series style by Carroll and

In 1984 Magill left and Steve Kent took over. Among his first jobs was the

Dempsey designed to accommodate commissioned illustrations. There is a certain politeness in much of the typography of the early 1980s

redesign of the Classics series. For this, only its third significant design, he reverted to a serifed typeface - Sabon - and a 'panel' design similar to that

covers, characterized characterized by the use o f serifed, often condensed, 'Modern' type¬

favoured in the 1950s. The redesign was launched in August 1985, the com¬

faces (pp. 212-13), perhaps as a reaction to the perceived visual poverty of

pany's fiftieth year.

modernism. There are references to various historical periods in the form of

Penguin celebrated that anniversary with an exhibition at the Royal

typographic details such as patterned borders or rules, but on the whole it

Festival Hall in London, but for many older employees of the firm another

is done with little depth of knowledg knowledge e and none of the craft skills associated

link with the past disappeared with the death, soon afterwards, of Hans

with classical setting. In part these covers represent visual trends of the time.

Schmoller. Schmoller's work was celebrated by Jerry Cinamon and others

Penguin by Design

IV. Life after Lane, 1970-95

 65

 

4. This did not initially affect the

in a special issue of the Monotype Corporation's journal Monotype Recorder,

design of text pages, which was still

which appeared the following year.

done in the time-honoured way of casting-off a manuscript (that is, calculating its length), and then

marking it up with instructions for a trade typesetting house to follow.

The senior management of the company changed again during the late 1980s as Mayer became more involved in Penguin's American operations.

Trevor Glover - previously Managing Director of Penguin Australia - re¬ turned in 1987 to become Managing Director, to be followed in 1996 by Anthony Forbes Watson. In 1984, to the dismay of many, Pelicans were ended as a separate imprint.

Created by Allen Lane in 1937 to provide the serious reader with authorita¬ tive books on a variety of subjects, it was felt that they had begun to be per¬

ceived by the public as too high-brow, and that therefore the Pelican livery was a barrier to sales. The fact that the Pelican name couldn't be used by

Penguin in the US, where another publisher had an imprint of that name, only made it more inevitable that the Pelicans' time was up. As with the Education series titles before, books from the list continued to be published elsewhere, and several of the 'Pelican histories' have become 'Penguin histories'.

MM.KAYE

THE FARPAVIUONS

Changes in production occurred again in the early 1990s, as the Apple

Mac Macintosh intosh was introduced to the art departments by Production Director Jonathan Yglesias. Used by designers soon after its appearance in the United States in 1984, it was the first personal computer system to offer page-

layout programs, readily available fonts, and a 'graphic user interface' in one convenient package. Cover designers benefited from the immediacy of design programs such as QuarkXPress, Freehand and Illustrator, and image-

manipulation software like PhotoShop. The ability to preview designs - with typography and imagery combined - on-screen made it possible to try out multiple solutions quickly, and, if necessary, for discussions to take place around a computer. The merging of creative and production roles was met

with misgivings by some (reflecting concerns throughout the graphic design profession generally), but the positive aspects of the new ways of working made it possible for a greater dialogue to occur between editors, picture re¬

The great

searchers and designers. This process continues today.

bestseller!

A story of

opposite: The Far Pavilions, 1979. Cover illustration by Dave Holmes and Peter Goodfellow.

opposite: When M. M. Kaye's The Far

'selling cover' and marked a new, more

love and war

Pavilions was published by Penguin in

aggressive approach by the company to

as towering as

1979, it was given a jacket unlike the

achieving sales and reversing the finan¬

majority of fiction covers the company

cial difficulties of the previous years.

then produced. This was unashamedly a

Penguin by Design

the Himalayas

 

David Pelham's fiction non-grid

Words, 1983. Cover design by Omnific.

David Pelham's approach to the fiction covers combined the freedom of Alan Aldri Aldridge dge with a far more consistent spine

Danger UXB, 1981. Cover design

I loathe my 0

by Neil Stuart. Cover illustration

childhood

Michael Innes

and all that

/ippleby atAllington

by Chermayeff & Geismar. Two Vews, 1971. Cover design by Roland Box.

remains of it...'

Appleby at Alington, 1971.

publisher's identity. For the front cover

Words by Jean-

Forbes.

he defined a set of positions for the logo but left the arrangement of everything everything

Paul Sartre

and back cover treatment to hold the

Cover design by Crosby/Fletcher/

else down to the individual designer or illustrator. If If there is a unifying feature

of his covers it is the quality of the typo¬ graphic detailing and its integration with the other elements of the design.

As with Aldridge, the cover treatments Ytkiko, 1980. Cover design by John Gorham.

JOHN

responded to each title, and illustration,

Nightrunners of Bengal, 1971.

MASTERS lUj

photography, design and typography

Cover design by Steve Dwoskin.

were all used as he felt appropriate. His

Kes, 198Z. Lne [i.e. not halftone]

art direction also reflected an approach

treatment on cover photograph by Enzo Ragazzni.

to the use of period style different from

Save Me the Waltz, 1971. Cover

either Aldridge's or Facetti's. Aldridge

design by Bentley/Farrell/Burnett.

had used styles such as art nouveau to

attract attention rather than as historical

signifiers, and Facetti introduced history only through the illustrative element. Pelham saw the need to attract attention

but wanted covers which did that for a reason. He did not have Facetti's purist attitude to aesthetics, and when he felt it appropriate he commissioned covers A Cockwork Orange, 1985. Cover design by Davd Pelham.

which were unashamedly nostalgic. Perhaps the best examples of this were

the covers for the Evelyn Waugh titles

designed by Bentley/Farrell/Burnett (p. 172). The practice of giving certain authors their own d istinctive treatment, which was begun in the 1950s (p. 81), was continued under Pelham, and four very different expressions of that idea are shown on the following following two spreads.

168

ANTHONY

1

A CLOCKWORK

£

IH HO O T IC IC H I Win n er o f the No bel P rize f o r Literature 1972

L

1 Penguin by Design

 g ) P A T R I C K W / 1 T S O N

AJtR EG O str H dngtynew bl end o psychotoakal Ihtll ef

IV. Life after Lane, 1970-95-

The Train Was On Time, 1979.

Cover illustration by Candy Amsden. Pnin, 1971. Cover design by John Gorham. Ate r Ego, 1979. Cover

illustration by Danny Keinman.

 

Bonjour Tristesse, 1976. Cover photograph by Ian Hessenberg. Those wthout Shadows, 1973.

John Updike

John Updike

Rabbit, Run

Pigeon Feather eathers s

Rabbit, Run, 1970. Cover design by Derek Birdsall/ Mchael Foreman.

& other st stories ories

Cover photograph by Steve

Pigeon Feathers & Other Stories, 1978. Cover design by Derek

Campbell.

Birdsall/M chael Foreman.

John Updike

The Heart-Keeper, 1978. Cover photograph by Steve Campbell.

The Same Door

A Certain Smile, 1969. Cover

The Same Door, 1968.

John Updike

Cover design by Derek Birdsall/

Seventy Poems

Mchael Foreman. Seventy Poems, 1972.

photograph by Van Pariser.

Cover design by Derek Birdsall/ Mchael Foreman.

F R AN CO ISE SAGAN

Penguin by Design

IV. Life after Lane, 1970-95

171

 

Black M schief, 1988. Cover

PUT O UT AORE HAS/ HAS/

design by Bentley/Farrell/Burnett.

cRoaldcDahl @

Put Out More Flags, 1987. Cover

"^RoaWDahl @

Someone Lke You, 1982. Cover design by Omnific. Swtch Bitch, 1982.

design by Bentley/Farrell/Burnett.

Cover design by Davd Pelham.

Someone

Like You

Helena, 1987. Cover design by

Over to You, 1973.

Bentley/Farrell/Burnett.

Cover design by Omnific.

Scoop, 1984. Cover design by

Kss K ss, 1970.

Bentley/Farrell/Burnett.

Cover design by Omnific.

172

Penguin by Design

IV. Life after Lane, 1970-95

 

The End of the Affair, 1971.

Graham

Cover illustration by Paul Hogarth.

The End of the Affair, 1973. Cover design by Derek Birdsall.

GRAHAM fie

mr

GREENE

Greene

The End

of the Affair

hen the flying bomb destroys the house S arah and Bendrix survive... but their affair ends. Bendrix, puzzle d and tortured by jealousy, puts a private iffBk investigator on to Sarah s trail... a masterly and disturbing fZ^^story of obsessive love.

Graham Greene

The End

of the Affair Affair

A failed experiment One reason given for the curious lack of illustrations on a number of Graham Greene covers is that his approval had

The End of the Affair, 1975.

Cover illustration by Paul Hogarth.

not been forthcoming. An alternative explanation is as follows.

Despite being happy wth the Paul

Hogarth illustrations illustrations used on his books, Graham Greene felt the books were

selling well on the strength of his name alone, and he rang up Art Director

David Pelham to discuss the possibility of purely typographic covers. Pelham felt this was wrong and asked Derek Birdsall to call Greene and persuade him otherwise. The phone conversation with Greene had the opposite effect,

and Birdsall rang Pelham to say he felt Greene may have a point. Pelham then

asked Birdsall to design the typographic covers for a couple of titles, which duly

ap p eared in the bookshop s. Sales fell Our Man in Havana, 1968.

Cover illustration by Paul Hogarth.

O A P EN EN G U I N B O O K

Greene

Our Man in Havana, 1973. Cover design by Derek Birdsall.

Graham

GRAHAM

O ur Man in H Havana avana

Onr Man in Havana

Graham raha m s Greene Our Man in Havana

dramatically. For the next reprint Paul

Our Man in Havana, 1975.

Hogarth's Hogar th's paintings reappeared on the

Cover illustration by

covers and, as if to compensate for what

had happened, both image and type were enlarged considerably. Shown here are the three sequential

cover designs for two of the titles.

Agent Secre 59200 t Servce... :5 Wormoldand invented the the results storiessurprised he sent the British him most of all...

174

Penguin by Design

IV. Life aft er Lane, lyyo-ys

I75

Paul Hogarth.

 

a Pelican f^S) Original Ways of Seeing, 1972 Ways of Seeing, 1972. The cover of this book is a conceit.

The front cover shows The of It appears as though the text actually D e a m sb yR e n e M a g r it t e ( p h o o 1 •1 1 1 •1

WAYS O F SEE EII N G Based on the BBC television series with

JOHN BERGER

' , , , °,, ,, b e g n s t h e e o n th e c o v e- w h c h w a s

RudolphBurckhardt).

its makers' intention - but established practice prevails and it has a conven¬

tional title page and starts beyond. A

co-publication with the BBC, both the cover and contents of Ways of Seeing

Seeing comes before words. The child looks and recognizes before it can speak. But there Is also another sense in w hich seeing comes before words. It is seeing which establishes our place In the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by It. The relation between what we see and what wo know Is never settled.

were designed by Rchard Hollis. Containing seven essays, four of text and images, three of images only, Ways of Seeing was an unusual form of inte¬

grated book. Printed in black only, it is not a visual essay like The Medium is the Massage (pp. 144-5), which has a dis¬

tinct film-like quality. In the word/image essays in Ways of Seeing the words are

the prevailing voice, wth images placed

The Surrealist painter Magritte commented on this always-present gap between words and seeing in a pain tin g called The K ey o f Dreams . The way we see things Is affected by what we

exactly where they are discussed. To re¬

inforce the dominant aspect of the text it is set, not in the regular weight of a serif

typeface, but in the bold weight of the She is not naked as she is. She Is naked as the spectator e

sans serif Univers. Each paragraph is in¬

dicated by deep indents (about a quarter

Often - as with the favourite subject of S usannah and the Elders - this is the actual theme of the picture. We Join the Elders to spy on Susannah taking her bath. She looks back at us looking at her.

of a line long) that also mark one of the points from which images are aligned.

The book's design was particularly

Tho mirror was often used as a sym bol of the vanity of woman. Tho moralizing, however, was mostly hypocritical.

WAYS OF SEEING

disliked by Hans Schmoller. 'Is this meant to be centred?' was written angrily across cover proofs returned to the de¬

b a s e d o n t h e B B C t e l e v i s io n s e r i e s w i t h

JOHN BERGER

signer, and when the printed book was

placed on his desk he promptly hurled it down the corridor in disgust.

In another version of the subject by Tintoretto, Susannah Is looklnfl at hornolf in a m irror. Thua she joins tho spectators of herself.

British Broadcasting Corporation and Penguin Books

You painted a naked woman because you enjoyed looking at her, you put a m irror in her hand and you colled the painting Vanity, thus morally condemning the woman whose nakedness you hod depicted for your own pleasure. The real function of tho mirror was otherwise. It wos to mako tho w oman connive In treating herself as, first and foremost, a sight. The Judgement of Paris \ •» another theme with > inwritten idea of a man or m 1 looking at naked

 

The g)

The Dick, 1973. Cover photograph by Dennis Rolfe.

John Franklin Bardin Omnibus

Final Curtain, 1978. Cover design by Robert Hollingsworth,

with dn intioduction by Julia an n Sym ons

photograph by Peter Barbieri.

Crime crimes With the first illustrative crime covers in

The John Franklin Bardin

the early 1960s it had been the intention

Omnibus, 1976. Cover

to reflect the mood of the book rather

photograph by Paul Wakefield.

than create a literal depiction of it (pp. 104-5). Illustration was also seen as a way of breathing new life into o therwise tired titles. Straightforward Straightf orward - rather than man¬ ipulated - photography was introduced

during Alan Aldridge's time as Art Director and gave the covers a certain realism, but in the process they lost much of their mystery. That process continued under Pelham and beyond. So obvious was the idea behind the cover photograph on many titles that the most memorable feature was the distinctive typographic treatment used for the author's name.

The Slent Partner, 1978.

The Night ofWenceslas, 1977.

The cover design incorporates

Cover photograph by

scenes from the Mario Kassar,

Robert Golden.

Andrew Vajna presentation of

Inside Information, 1978. Cover photograph by Robert Golden.

a Joel B. M chaels, Garth H.

THE NIGHT OFWENCE SLAS

Drabinsky, Stephen Young production, The Slent Partner.

Penguin by Design

IV. Life after Lane, 1 970-yj

179

 

Education, 1971-2

\

SS:

1

1231;

David Pelham commissioned Derek Birdsall's company Omnific to give the

MANAGEMENT OF C H A N G E C O N F L ICI C T \

in 1971. Previous designs had stressed

\i

particular subject areas with colour

coding and patterns, but Birdsall kept fW'O,

m

Conflict, 1972. Cover design: Omnific/Derek Birdsal .

J

PROBlEUSOfPLANNING

4444444444444 B

spine allowed. Ranged right to a com¬ mon line, it gave the series considerable

CD

bookshelf presence.

The front covers used strong typo¬

CO

graphy with graphic humour to il lus¬ trate the content of each book. Working

CO

CO

Management of Change &

f 44444444444

varying sizes of the bold sans serif type¬

face Railroad Gothic, as large as the

Inflation, 1972. Cover design:

44444 4444444 444444444

unity across the whole range by using

phasizing their individuality by using

Omnific/Philip Thompson.

Omnific/Derek Birdsal.

whole of the Education series a new look

white backgrounds and black type , em¬

The City, 1977. Cover design:

PSYCHOLOGY AT WORK

closely with Charles Clarke, Penguin

zoo titles and commissioned thirty other designers to work on many of them.

When the size of the books was

Cover design: Jones Thompson. Human Ageing, 1972.. Cover

Whats the Use of Lectures?, 1974. Cover design: Omnific/

Stephen Scales.

AGENG

the p roduction and artwork for over

Psycho ogy at Work, 1978.

design: Omnific/Derek Birdsal.

HUMAN

Educations editor, Om nific handled

CO

W H A T ''SS T H E U S E O F LECTURES?

enlarged to the B format the spine align¬ ment of the typography was retained, which ensured continuity.

2> 33 ^

^S

s 2c171

2H

S O C IO L O G Y O F RELIGION

XI

(/ )O

Socioog} of Religion, 1976. Cover design: Omnific/ Martin Causer. Learner Teacher, 1972. Cover

o X o

design: Omnific/Martin Causer. Management and Motivation, 1979. Cover design: Omnific/ Derek Birdsal.

9

I

i3 Penguin by Design

IV. Life after Lane, 1970-9 s

81

 

Erving Goffman Encounters

Ray L.Birdwhistell ll Kinesics and Context Essays on Body-Motio ion

University titles, 1972

Communication

Pelham commissioned John McConnell (who joined Pentagram in 1972) to design the university range of titles pro¬

Religion and the Decline of Magic, 1971. Designed by

John McConnell.

duced by Penguin Education. To differ¬ entiate them from the general Education

 Hm H

titles designed by Derek Birdsal , the uni¬ versity titles featured black covers with an understated typography - typewriter (curiously, a Birdsall favourite: see the

John Updike titles, p. 171) - and simple line drawings that directly illustrated each title.

opposite: Encounters, 1972. Designed by John McConnell. Kinesics and Context, 1973. Designed by John McConnell.

Stephan Korner

D. ¥. Harding

Fundamental Questions

Experience into Words

of Philosoph ophy

Anna Preud Normality ity and Patholo og gy in Childhood

Normaity and Pathoogy in Childhood, 1973. Designed by

John McConnell.

opposite: Fundamental Questions of Philosophy, 1973. Designed by John McConnell. Experience into Words, 1974. Designed by John McConnell.

 

Library of Physical Sciences Another of the Education department's sub-series was designed by Lock/

Penguin library of physical sciences: Physics

Penguin library of physical sciences: sciences: Chemistry

Free-electr t ron physics

Orbitals Orbita ls and symm etry

* • • • • •

>•••••• • ••••••

area containing the name of the series

• • • • • • • • •••

and the P enguin Education logo, below

• • ••<

which was the title and author name. The sans serif type used was Univers

• • •• • • ••• • ••••• ••••«• • •• • • • • • • * •

'0*0000mm*

*"%%%%%%%%%%%%

* 0 0 0 0•••••••

• • • • • • • • • • • • < * •••••••••• • • • • • •• • « • . • • • • • • • • • ¦

rather than Helvetica, which had almost become the Penguin standard since the

D. S. Urch

P.S. Farago

Pettersen Ltd. They featured a consistent

1

*####•••••••• • #«•##••••••• ¥ ** 00000* t 9 • 00000

•

•0000000%0%**\* 000000000000*% ^ 00000*%y • «**% % 1 ~ ••%% % t

f•00000

• • • • • • •

••••&«•• • •••••••ÿ « •••••••

r••000 9••000

* • • • • •« • • *• . • •• # « •• • • • # #• • • ••• • • • «

.•••00

early 1960s. The lower two thirds of each cover featured a simple design of geometric opposite: Free-Eectron Physics, 1970. Cover design by Lock/Pettersen Ltd. Orbita s and Symmetr y, 1970.

elements creating a pattern suggestive

of the subject matter and making effect¬ ive use of the two colours in which each

• • • • • • • • • • • • • ¦ • • • • -¦••••••' ' •••••..•••••••..¦«.¦••••••• •••••••••••• •••••••••••••« ••••••••••••• ••••••• ••••• • ••••••••••••• ••••••• ••.••• •ÿ••••• ¦•••••¦-•••••••• ¦¦»••• ••••• • ••••••••••¦•••.« •••. * • • • • • •••ÿ • • • •

¦• • • • • •¦ • • • • • > ¦ • • • • • • • ¦¦ • • •• • • • • • • * • • • •m m ' • • • * • .• ¦ '• •• • • ••¦ ¦ . « • • • • .••• • IB * * • 5 :1 ^ 9 * H ^ \ > . j a

w-'

Sir Ernest Gowers

Vo ent Wen, 1972.

a Pelican Book

Cover design by Patrick McCreeth

Violent Men

An In quiry in to the Psycho lo gy o f Vio ie n ce Ha n s T o c h

(photograph John Hybert, Stroboscopic equipment by Dawe

The Young@ Young @ Offender

Income Distribution ft

.Ia n Ppn

Yoga, 1974. Cover photograph

siSiiii mmm

by Barry Lategan.

Income Distr ibution, 1974. Cover design by Brian Delaney.

fit '

188

Penguin by Design

Cover design by Jones Thompson

Ireland. Vo

Instruments Ltd).

The Young Offender, 1974.

IV. Life after Lane, 10-9 5

189

 

Alcohoism, 1979. Cover

A n xe tyQ

p h ot ograp h by P h i l i p Webb.

and Neurosis

Anxiety and Neurosis, 1976.

Charles Rycroft

Cover design by Michael Morris.

Creativity in Industry, 1975.

Crea reativ tivity ity 0 in Industry P. R. Whitfield

Communications, 1982. Cover design by Caroe Ingham. Education, 1976. Cover design by Alan Fetcher.

Communications Raymond Wlliams

Ple a s e t urn o ve r

190

Penguin by Design

/V. Life after Lane, 1970-95

Cover design by David Pelham.

 

Self and Others, 1975. Cover

design by Martin Bassett.

R. D. Laing

R. D. Laing

192

The Divided Self, 1974. Cover

T h e D iv ivid e d S e l f

Self and Others

design by Germano Facetti.

Penguin by Design

IV. Life afte r Lane, 1970-9j

19 3

 

Science fiction Apeman, Spaceman, 197z.D avid Pelham's early designs for the Cover design by David Pelham. science fiction series continued the use

of strongly coloured illustrations and

b ack backgrounds introduced by Alan Aldridge. For some series, the typo¬

A Plague of Pythons, 1973.

Science Fictio Fiction n^

Cover design by David Pelham.

APEMAN,8PA(jEMAM

The Pengun Science Fction Omnibus, 1973. Cover design

Edited by Leon E. S tover and Harry Harrison with a foreword by Carleton S .Coon

by David Pelham.

graphic arrangement of series name,

author and title did not vary, but specific typefaces were chosen to go with par¬

ticular illustrative styl es or individual authors (this spre ad and p. 196). By the 1980s, this consistency was

no longer adhered to (p. 197). While the airbrush fantasy illustrations followed the estab ished tradition, they became difficult to appreciate because the typo¬ graphy was allowed to become too large and so competed for attention. A science fiction logo was introduced and awk¬

wardly placed alongside the wording, further disturbing the balance.

B a c k E a s e r o x F a u sA e p h..

The Space Merchants, 1973.

Science Fiction

Nul , 1972. Cover desi gn by

Cover design by David Pelham.

MIQHAELMOCFQOQK

David Pelham.

A Cure for Cancer, 1973.

A Cure for Cancer

194

Penguin by Design

Cover design by David Pelham.

I95

 

The Traps of Time, 1979-

Cover illustration by Adrian The Termina Beach, 1974. Cover

Science Fiction

illustration by David P elham.

. I . C J . M L L A1 1 1 )

The Drowned World, 1976. Cover

TheTerminal Beach

illustration by David P elham.

Science Fiction

Chesterman. Tiger! Tiger!, 1979.

The Drowned World

Cover illustration by Adrian Chesterman.

Search the Sky, 1979.

RAY

Cover illustration by Adrian

BRADBURY

The Four-Dimensiona Nightmare, 1977- Cover

Chesterman. The Day It Rained Forever,

THE DAY IT RAINEDIOREVER"

illustration by David Pe lham.

1984. Cover illustration by Adrian Chesterman.

The Drought, 1977- Cover illustration by David P elham.

196

Penguin by Design

/V. Life after Lane, 1970-95

197

 

| Penguin Modern European Poets

Modern European Poets, early 1970s Penguin Modern European Poets Three Czech Poets, 1971.

Begun in 1965, this series featured por¬

The cover, designed by Sylvia

traits of the authors as a key element of

Clench, shows: large detail, Vtezslau Nezva ; above, Antonin Bartusek; below, Josef Hanzlik (photographs by Dilia, Prague).

Three Czech Poets V ite z sla u N e z v a l An to n in Ba rtu se k Jo se f Ha n z lik

its cover designs. Over time a variety of

Penguin Modern European Poets

Guillevic Selected Poems

Abba Kovner and Nell elly y Sachs Selected Poems

treatments were used to keep these

covers looking interesting and to help unify images which came from a variety of sources and could be of variable qual¬

ity. Techniques included combining halftone photographs; reducing photo¬ graphs to high-contrast versions and

printing each in a different colour; and tracing photographs to create simple line opposite: Selected Poems (Abba Kovner and Nelly Sachs), 1971. The cover, designed by Sylvia Clench, shows: large detail, Nelly

drawings. As with all Facetti covers, the typography is set in Helvetica in a stan¬ dard pattern.

vc

w

Sachs; smal detail, Abba Kovner. Selected Poems (Gullev ic), 1974. Cover design by Sylvia Clench.

Penguin Modern Poets, Volume 25 (pp. 200-201), a new look, 1975

Photography had featured prominently Selected Poems ( Sandor Weores

and Ferenc Juhasz), 1970. The cover shows: large detail, Sandor Weores; sma l detail, Ferenc Juhasz.

on this series since its inception in 1963. The series featured many photographic

Penguin Modern European Poets

styles, initially understated, delicate,

Paavo Haavikko and T omas T ranstromer Selected Poems

and almost abstract. Volume 25 marked something of a new beginning, with larger type and a single close-up image

across back and front. The power of

this look was not employed for long; the photography returned to landscapes, and the series ended with Volume 27 in 1979. Modern Poets reappeared in 1995 with numbering starting again at 1 and no acknowledgement of this earlopposite: Selected Poems (Johannes Bobrowski and Horst Bienek), 1971. The cover, designed by Sylvia Clench, shows: large detail, Horst Bienek; smal detail, Johannes Bobrowski. Selected Poems (Paavo Haavikko and Tomas Transtromer), 1974. Cover design by Sylvia Clench.

198

Penguin by Design

 

Penguin Modern Poets is a series designed to introduce

contemporary poetry to the general reader by publishing representative work by each of three modern poets in a single volume. In each case the selection has been made to illustrate

the poet's characteristics in style and form. Cover photograph by Harri Peccinotti

Pengun Modern Poets, Vo ume

Penguin Modern Penguin Modern Poets 25 25 Gavin Ewart Zulfikar Ghose

25 (back and front cover), 1975. Cover photograph by

Harri Peccinotti.

B. S. Johnson

r A

200

Penguin by Design

IV. Life after Lane, 1970-95

z o

 

A M dsummer Night's Dream,

New Penguin Shakespeare, 1980

1980. Cover illustration by

TH E NEW B K PEN GU IN Perices, 1986 . Cover illustration by Pau Hogarth.

When David Pelham came to redesign the New Penguin Shakespeare in 1980,

like Facetti he too fe t the need to make

iimm

Pau Hogarth.

the new / v penguin

the various titles distinct from each other. Pelham commissioned Paul Hogarth, who had previously ill ustrated a series of titles by Graham Greene (pp. 174-5).

PERICLES

The translucence of his watercolours provides a clear break from th e previous series design (pp. 15 2-3), b ut the effect is somewhat spoilt by the fussy typo¬ graphy above.

A M I D SU SU M M E R

In this design typography is used to suggest the Elizabethan period, broken-

NIGHT'S DREAM

script lettering combining with copper¬ plate flourishes. In terms of hierarchy, Shakespeare has become the most im¬

portant element again, fragmenting the series title and reducing the space for the

title of the play itsef . The quaity of the 'Shakespeare' lettering is let down by The Merchant of Vence, 1980.

Cover illustration by Pau Hogarth.

the weight of the rules above and below, which are too heavy, and on certain

covers {The Merchant of Venice and A Midsummer Night's Dream) the close letter-spacing of the Garamond capitals in the play's title is unfortunate.

THE MERCHANT OF VENICE

202

Penguin by Design

7 V. Life after Lane, 1970-95

203

 

Cookery, 1970s

The wde-ranging cookery list - which Mnce Matters, 1979. Cover

formed part of the Handbooks series -p hotograph by Robert Golden, was given a unified appearance in the 1970s by the use of photography ex¬

tending over both covers and spine. On

a shef, shef , either in the bookshop or in the home, this made for a striking display, and the pictures on the front al lowed the title to be 'read' instantly from the image alone. There was therefore no need for any suggestive typography:

initial y the uncompromisingy straight¬ forward Facetti principles were

followed. On some titles, this discipli ned ap¬ proach was allowed to lapse, and intru¬ sively positioned 'homely' serif typefaces started to appear (Cordon Bleu D esserts

andPuddings).

Cordon Beu D esserts and Puddngs, 1976. Cover photograph by Alan and Freda Span.

 

PENGUIN SPECIAL • PENGUIN SPECIAL • PENGUIN SPECIAL

Specia s: the end of the line Theres God in Them Thar Plls, 1975. Cover desgn by Peter Fluck.

Specials continued as a series into the 1980s but seemed to have lost their

way. Originally their success had been

built upon a combination of topica and urgent subject matter, good writing, speed of production and an absence of competition. The growth of newspaper

Debt and Danger

THERE'S *

The World Financial Crisis

GOLD ^

HAROLD LEVER AND CHRISTOPHER HUHNE

IN THEM THAR PILLS Alan Klass

consumption andte evision finaly l ed to their demise.

While the published titles continued to reflect the key issues of British and world politics, the cover designs seem opposite: The Concorde Fiasco, I973. Cover design by Deirdre Amsden: airport photograph by courtesy of The British Airports

Authority. Debt and Danger, 1985. Cover photograph courtesy of IMF.

to suggest a lack of i nterest within the

ldlhfsL tot IMFSfe

company. They have neither the con¬

viction nor the consistency of previous

Brazil set to win approvaln resunie

covers (pp. Z8-31 and iiz-15). Of those shown here, only The Homeless

l^rgentina m oves to halt liquidity crisis J

and the Empty Houses rea ly combi combines nes text and image into a powerful com¬ position, but even that is marred by the insensitive 'Special' corner tab. The

The Homeess and the Empty Houses, 1977. Cover desgn by

David King.

others feature obvious visual ideas pre¬

M I C H E L C R IC K

sented by ordinary and uninteresting

S C R G IL L

graphic means, a sad end for a series

that had so significantly contributed to Penguins initial success.

• At l ast, the ful l i nsi de story • T h e f i r s tb o o k t o r e v e a l w h o b o m b e d t h e R a i n b o w W a r r i o r a n d h o w • W r i t t e n i n c o o p e r a t i o n w i t h p o l ci e i n v e s t i g a t o r s a n d G r e e n p e a c e N e w Z e a l a n d

opposite: Scargill and the Mners, 1985. Cover photograph

of Arthur Scargill by Bryn Co ton/Frank Spooner Pctures.

Death of the Rainbow Warrior, 1986. Cover des gn by Dexter Fry.

206

Penguin by Design

Michael King

 

Lace, 1983. Cover photograph

TV ti e-ins and airport foil,

DAVID

•imjvn-RN vnps alrestsku im; \o\ 1:1,1

by Allen Voge.

lic.VDild I Ai n Wonmn s Hii liesl FnnliiNics

The Fall and Rise of Reginald

1 9 7 0 s and 1 9 8 0 s

REGINALD

Renin, 1979. The cover photograph shows Leonard Rossiter in the title roe of the BBCTeev s on series The

Since the 1950s the company had gladly Kinflicks, 1984. Cover

taken advantage of any opportunity illustration by Cathy Wyatt. to 'tie-in' a book with a television pro¬

Fa l and Riseof Regnad Ren n, produced and drected by Gareth

gramme or film. But the demands of

Gwenan. BBC Copyright photo¬

marketing departments and production

graph by David Edwards. Cover

companies meant that their covers were

design by Mck Keates.

never elegant combinations of text and image. The Penelope Keith inset on More

of the Good Life and the triangu ar flash on The Fal andRise of Reginad Renin mar what would otherwise be acceptable compositions. Nothing, though, can excuse the mix¬

LISAAUHER

ture of conflicting elements on Absolute Begnners.

In the search for bestsellers, many more

covers than before were aimed squarely

at popuar taste. Kinfl icks is often cited as an example of this, but given its sub¬

ject matter it is hard to imagine a tasteful

More of the Good Life, 1977. The cover shows Richard Briers,

cover. Lace is more typical of the genre, Money, 1987.

'MwkjjL

Fe icty Kenda and Peneope

Keith in the BBC-TV production of The Good L fe, produced

cliche photography and typography screaming for attention at the airport newsstand. Money at first glance seems

by John Howard Davies. BBC

to be of the same ilk - gratuitous use of

copyright photograph by David

foil-blocking and lurid soft-focus imagery

Edwards. Cover lettering by Shirts eeveStudos.

- but Money's cover is an illustration of

inspiration

Absoute Begnners, 1986.

the story itself, not a come-on in the same

.1

f/ Vt fe The cult novel novel

Photograph: Dav es and Starr. Cover desgn by Tracy D ew.

sense at a l.

of the year - Sunday Times

' NOW A 11 " WrP. 51 S ^ MAJOR FILM V ? \ 11

Colin Maclnnes

zo8

Penguin by Desig

IV. Life after Lane, 1970-95

Z09

 

IRINGPENGLUNI New King Penguins, 1981

The Farewel Party, 1984. Cover

illustration by Andrzej Klimowski.

Am ong collectors and lovers of Penguin history there was much disquiet about the resurrection of the King Penguin name for a series of contemporary literature.

IKING I ENG UlNl

ANGELA CARTER The Infernal Desire Machines of Doctor Hoffman

The basi c desi gn of these was by Ken Carrol and Mke Dempsey and featured an inset panel containing the series title

(in Century Bo d Condensed) on both cover and the white spine. Commissioned illustrations played a prominent role

in the series, and Andrzej Kl imowski's covers for Milan Kundera's titles are jus¬ opposite: Th e Inferna D esire Machines of Doctor Hoffman, 198Z. Cover illustration by James Marsh. The Sow Train to Mlan, 1985.

Cover illustration by JohnClementson.

tifiably well known. They are, however, only one example of a variety of styles which were used on covers in a series that

continued for nine years. Unfortunately as with the science fiction covers shown on p. 197 - the typography of author and title is often intrusive.

The joke, 1987. Cover

illustration by Andrzej Klimowski.

ANGELA CARTER T he Bloody Bloody Cham b er

opposite: The Boody Chamber, 1987. Cover illustration by James Marsh. The Heart is a Loney Hunter,

1983. Cover illustration by Nick Bantock.

HH

 

THE PENGUI IN N

Reference

A Dictionary of Poi tics, 1974. Cover design by Martin Causer.

Reference titles had been produced under that series name by Penguin since

1944, the first being A D ictionary of Science, by E. B. Uvarov, which had

originally appeared as a Special in 19 42. By the 1980s the l ist had grown to in¬ clude a range of titles related to the use

A Dictionary of

POLITICS

of language as well as dictionaries dictionari es and reference books on many other subjects.

From the early 197 0s a series of cover designs was provided by Omnific.

These fo lowed the pattern they had a ¬ ready used on the Education titles (pp. 180-81): strong typography with an em¬

D I C T IOI O N R Y O F

ECONOMICS GRAHAM BANNOCK, R. E. BAXTER

phasis on a keyword from the titl e and a

AND EVAN DAVIS

visua or typographic t ypographic play on the subject matter as the supporting illustration. The 1980s redesign was by Ken

Carrol and Mke Dempsey and featured

Share

prominent typography of a more polite kind. 'Modern' typefaces (i.e. seriffed Usage and Abusage, 1981.

with an extreme contrast between thick

and thin stems) had b ecome fashionable, and Century Bo d Condensed is used in a formal centred arrangement above an illustration. The basic structure of this design lasted until 1997, when the back¬ ground colour was changed to black and a more prominent use of orange branding was introduced. T he typeface used for the title on l ater books reverted to a condensed sans serif, which gave

the spines, particularly, more impact.

opposite: The Penguin Dictionary of Economics, 199Z. Cover photographs: Ace Photo Agency, Zefa, a graph of the FT Share Index.

pengun mm reference

US GE ND

  BUS GE ERIC PARTRIDGE

 

PENGUIN (g) CLASSICS

bram Stoke Stokerr Dracula

On 29 August 1985 a new design for

Dracua, 1993.

the Classics series was introduced with

The cover photograph shows

fifteen new titles, twenty-one reissues

New Women STO R IE IE S B1890-1914 Y MEN AND W OMEN

Penguin Classics, 1 985

f

Henry Irving as Mephistophe es from the colecti ons of the

and fifty-eight reprints. By December a

Theatre Museum by courtesy

further 205 titles had b een repackaged.

of the Board of Trustees of the

The new design by Art Director Steve Kent has none of the tension between

Victoria and Albert Museum,

London.

o d andnew which characteri characterized zed the previous 'black' design of Facetti. Instead Kent sought to play up the 'clas¬

1

sic fee wth forma typography, and in that respect it recalls the 1950s covers. The design features the typeface Sabon,

centred rather tightly tightly,, white wth in a black panel. Imagery is either used as a

complete background or occupies the area below, and butting up against, the title panel.

One shudders to think what Jan Tschicho d (designer of Sabon) woud have made of its letterspacing on these

i,

covers. Compare these with his own re¬

Sagas ofWarrior-Poets, 2002.

vision of the Classics from 1947 (p. 65).

The cover shows an illuminated

Another element el ement of the design bor¬

Sagas of Warrior-Poe Warri or-Poets

initia letter from Jonsbok wth a sal ing scene, early 14th-century

rowed from the original classics was

Ice andc manuscript © Stofnun

the use of colour coding - in the form

Arna Magnussonar a Isiand,

of narrow strips at the top of the spine

Reykjavik [GKS 3269a 4to].

- to denote the origin of the contents:

red for British and American; ye low for European; purple for classical; and green for oriental.

opposite: New Women, 2002.

ftoWmam n f-TOBna uttnn pu utt

TiiviH Wh tlcim aU

Cover photo © Huton Archive.

 

Originas, 1989

Men Behaving Bady, 1989 .

Cover illustration by Dirk Van Dooren. Cover design by the Senate.

Once illustration was allowed on to Penguin front covers in the 1950s, there were only a few titles whi ch did not use some pictorial element as part of their layout. Until 1989, however, there were no covers which had attempted to leave both author and title off the front.

Like the 1981 King Penguin titles, Originals were a series sh owcasing con¬

temporary fiction. Their design, by the Senate, was different in nearly every opposite: Blood and Pater, 1989. Cover illustration by Robert Mason. Cover designed by the Senate.

Jaguars Ripped My Flesh, 1989. Cover photography by M chae Trevillion. Cover designed by the Senate.

respect. The s ze was non-standard

(shorter than A format but as wide as B); the only type on th e front cover was the word 'Originals' in a box that con¬ tinued onto the spine; they were the first Penguin covers to be matt-laminated,

wt h flaps and printing inside; and there was no Penguin logo on the front. Such self-consciousness didn t last,

however: only the original titles ap¬ The Fourth Mode, 1989.

peared in this pure form, and sales were

Cover Illustration by Andrze

so disappointing that the design was re¬

Klimowski. Cover design by the Senate.

the fourth mode

worked in a more conventional m anner (bottom three covers). Unsold copies

i: A M I) 0 I) I A

of the first titles were re-covered and all subsequent books carried the amended

' A book for people who findte evs on too sow

design. The series later changed size to a

standard B format, though a couple of titles were produced as A5 .

The problems wth the t he type and format detract from an otherwise brave attempt to use continuous illustration on back and front covers with a recog¬ opposite: On Extended Wngs, 1989. Cover desgn by the Senate. Cover photo by

David Fairman. Camboda, 1989. Cover photography by Robert

nizable series style. This series aso

continued a practice, begun with Hans Schmoller's commissioning of David Gentleman and others in the 1950s, of using illustrators - such as Dirk Van

Shacketon 8c Richard Baker.

Dooren and Daryl Rees - barely out

Cover desgned by the Senate.

of college.

Penguin by Design

/ V. Life after Lane, 1970-95

 

Pengui n 6 0s, 1995 Penguin's 60th anniversary occurred in 19515 , an1998].

One of the first intentions of the new

The D ay of the T riffids, d s, [>1998].

Penguin General Art Director, John

Photography by Lucinda Noble,

Design: Intro, London.

Animal Farm, [>1998]. Illustration: Peter Fower.

Hamilton, was to reinvigorate the

design of the fiction list. Key titles were selected as 'Essentials' and grouped as

mo

an informal series. Believing that they needed to appeal to new buyers whose

disposable income was otherwise being spent on music and clothing, Hamilton

T H E D A Y OF T H E T R I F F I D S J OH N W Y N D H A M

commissioned leading illustrators and design groups to produce all-over de¬

signs of a kind first significantly seen on the Originals in 1989 (pp. 216-17). For Hamilton, the Penguin brand, as seen in the logo and orange spine, was some¬

thing of a liability; the orange spine was abandoned for these and all his subse¬

quent cover designs, while the logo was played down at every opportunity. There is no obvious unity to these cover designs except the boldness of Lark R se, [>1998]. Cover:

their execution, and the use of promi¬

A Clockwork Orange, [>1998].

details from photographs by

nent designers and illustrators helped

Photograph: Dirk Van Dooren.

Tessa Traeger.

achieve that goal. It is a credit to the

Cat's Crade, [>1998]. Cover

designs that the majority are still con¬

photography by Mk e Venebles.

sidered good sellers and remain in current use.

Cat's Cradle Kurt Vonnegut

226

Penguin by Design

y Re-inventing the Brand, 1996-2005

 

Nineteen Eighty-Four, [>1998]. Cover photographs: Darren Haggar, Dom nc Bridges. The Thirty-Nine Steps, [>1998]. Cover photo: © Images Colour

Library.

p 0 m mA

The Pague, [>1998]. [Cover design by gray3i8.] Det a of Venus, [>1998]. Illustration: Paul Wearing.

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Penguin by Design

V. Re-inventing the Brand, 1996-200 ^

2.29

 

Ilff Il /A IA

VICTORIA / Orwell and Politics

  Orwell and the D spossessed

0

Orwell's England

Orwell in Spain

Modern Classics, 2000

above: Orwell and the Dspo ssessed, 2,001. Cover

illustration by Marion Deuchars. Orwe l and Politi cs, 2001. Cover

illustration by Marion Deuchars.

After a brief period of being known as

widely regarded authors - is slightly

For other titles, the editors may decide

Twentieth-Century Classics, Modern

different from that on new and contem¬

that existing illustrations or photography

Classics returned with a new cover tem¬

porary titles seeking to make their

may be a better approach, and in-house

plate by freelance designer Jamie Keenan.

presence felt for the first time. A wide

picture researchers will then be given

As in many other Penguin series designs

range of imagery was, and still is, com¬

the task of finding suitable material. The

combining type and image, the typo¬

missioned for this series. The George

range of Modern Classics shown on the

graphic element is restrained, being

Orwell t itles feature the work of Marion

following pages demonstrates these

incorporated with the logo in a small

Deuchars and were widely praised when

varied strategies at work.

silver panel. From the outset t he inten¬

they first appeared:

tion was to use a variety of typefaces on these covers. Out of the initial list, only

Trade Gothic, Franklin Gothic and Clarendon have been used to date, white for the author name and black for the

title. The real job of animating the title and attracting the book-buying public falls to the image. The role of illustration on titles such as these - mostly established works by

230

The covers contain fragments of hand¬ writing, bits of documentary photo¬

graphy and, in one case, a portion of the Union Jack ... These, and other graphic elements, suggest a sure-footed under¬

standing of Orwell's work, and provide the bookshop browser with what

Stephen Ba y ley called a graphic haiku . (Shaughnessy, p. 21)

Penguin by Design

V. Re-inventing the Brand, 1996-2005

above: Orwell's England, 2001. Cover illustration by Marion Deuchars.

Orwell in Spain, zooi. Cover illustration by Marion Deuchars.

 

opposite: a Handful of Dust, 2.000. The cover shows an orig na

illustration for the journal Gebrauchsgraphik, April 1930 (photo: Martin Breese/Retrograph

Archive). A Clockwork Orange, 2.000. Photography © Veronique Holland. Junky, 2002.

Cover photo by Will Amlot. The Fight, 2000. Cover photo of Ali in his training camp, Zaire, 1974 © Abbas/Magnum Photos. The Mahabharata, 2.001. Cover photo © Steve McCurry/ Magnum Photos. The Day of the Locust, 2000. Cover photograph: Torn Movie Poster, 1930, by Waker Evans © Museum

of Modern Art, New York. The Day of the Triffids, 2.001. Cover photograph © NCI/Science

Photo Library. The Great Gatsby, 2000. The cover shows Untitled (Bathing Suits by Izod) by George Hoyningen-Huene, from Vbgz/e, July 5, 1930. Courtesy

Vogue. Copyright© 1958 by Conde Nast Publications, Inc. Go Tel I t on the Mountain, 2.001. Illustration: Natasha Mchae s.

this page: Steppenwolf, 2001.

The M ahabhan

Money

Cover photograph: Untitled, Gellage No. II (detail), 1989, by

Michal Macku. The House of Bernarda Aba, 2.001. Cover: Spansh Night by Francis Picabia (1922), in the collection of the Museum Ludwig, Koln (photo:

© Rheinisches Bildarchiv/ADACP, Paris and DACS, London 2000). Money, 2000. Photography © Images Colour Library. On Broadway, 2000. Cover photography © Weegee

ICP/Hulton Getty. The Bg S eep, 2.000. The cover shows Arrested for Bribing Basketbal Players, New York, i942-by Weegee © Hulton Getty.

Go Tell It on the Mountaii

Zeno s Conscience

Zenos Conscience, 2.002.. Cover photography:Martin Scott-Jupp.

 

Penguin Classics, 2003

The Later Roman Empire (ad 354-378), 2004. Cover; Colossa Head of Emperor Constantine I (4th Century ad),

The latest design for the long-running

Classics series reflects a simlar thinking

to that behind the Modern Classics

Roman sculpture from the

(pp. 230-33). These are image-led covers

Forum, now in the Museo

with simple typography neatly contained

Capitolini, Rome (photo: Art Archive/Dagli Orti).

within a panel in the lower part. The design was begun by Pentagrams Angus

Hyland, and original proposals featured a ranged-left layout and the return of Gill Sans to Penguin covers. But diffi¬

culties in satisfying the US company (p. ZZ3) led to a reworked design being

PEN GUN UN

SSICS

completed in-house, featuring a centred arrangement. The t ypefaces used are

Futura (Paul Renner, Germany, 1927) for the author and Mrs Eaves (Zuzana

Licko, USA, 1995) for the title.

AM M I AN U S MA RCELL LII N U S The Later Roman Empire

(ad 354-378)

The practice of using art contempor¬ ary with the literature in question was begun by Germano Facetti in 1963 (pp. 124-5) and has been continued for Frankensten, Z003. Cover: Detail from The Wounded

Philoctetess (1975) by Nicolai Philoctete Abildgaard, by courtesy of the Statens Museum fur Kunst, Copenhagen (photo:

SMK Foto).

large parts of the current Classics list. For these new titles images are key, with

a quality of reproduction that Facetti could only have dreamed of when he ini¬ tiated his redesign. But this approach is no longer regarded as the only way to treat the covers of classic literature. In any case, after enlargement in 1985

when the English Library and other titles were incorporated, there is now a far more catholic interpretation of what ac¬ tually constitutes a 'classic'. For certain titles a departure from the norm has taken place and existing contemporary

BROTHERS GRIMM

illustration has been used, such as

Chaperon Rouge by V ncent Burgeon opposite: Seected Taes

PENGUI

S elec elected ted Tales

for the Brothers Grimm.

(Brothers Grimm), 2004. Cover illustration: Chaperon Rouge by V ncent Burgeon © Rue de F andre Design, Paris.

MARY SHELLEY Frankenstein

 

Fiction today Tough, Tough Toys for Tough, Tough Boys, 1999. Jake and Dinos Chapman, 'Li ttle Death Machine (Castrated)', 1993 © the artist; courtesy Jay Jopling/White Cube, London.

A plurality of style characterizes the con¬ temporary design of fiction, reflecting both the breadth of titles it represents,

and the fact that this sector is fiercely competitive. Failure to suc ceed here would seriously j eopardise the finances of the whole company. In many ways

tough,tough toys for tough,tough boys E d g y , r u t h l e s s , w a r p e d , b r i l li a n t E s q u i r e

covers today still utilize ideas first sig¬

nificantly introduced to Penguin by Alan Aldridge in 1965, but, because of the way the Penguin list is now organized,

Me,, Me

these approaches to marketing affect

¦ II irlag

a greater proportion of the list than in

I A M J u

rnr

his time. opposite: Kiss Me, Judas, 2.000.

Fiction is promoted in whatever way

Design & photo: Intro, London.

the editors, marketing department, and

Sixty Stories, 2005. Front cover design by Vault 49

Kth^v^.S^|u«fat-op«^ rihUwouklb* In wllh «•*»)¦ Mmxkn

a particular title to the broadest potential

readership. While this implies that cover designs are cleverly targeted at very spe¬

cific audiences, and that there is no single Fever Pitch, 2.000. Cover

dominant style employed, the aim - on

the part of Art Director John Hamilton

Cover typography: gray3i8.

EMLRGENT^EXI T

leonard cohen

- to commission the best contemporary designers and il lustrators ensures t hat a balance is usually s truck between the needs of the market and design integrity. Another difference between contem¬ porary and previous practice lies in the approach to the company's identity.  Where Pelham, in particular, was very concerned to remind book-buyers of

F ever Pitch Pitch

the publisher's identity (by a consistent use and position of the logo, use of the orange spine, etc. (pp. 168-75)), today, that is seen as unnecessary. In genera, ener a,

if it is felt that a logo would disrupt the opposite: Beautiful Losers, 2001. Design: Intro, London. Fary Ta es, 2004. [Cover design by Coralie Bckford-Smith.]

front cover design, it does not appear.

joy i n w ord s a n d p ossi b i l i tie s ANNE TYLER Wi th a n i n trod u cti on b y DAVID GATES

i

art director decide will best represent

photography: John Hamilton.

R eveal s a r ar e ex uber anc e, an unfai l i ng

 Funny, wise and and true R oddy Doyle

NICK HORNBY ¦ V -

 Gorgeously written . overwhelm ming. ing. One comes   o ut o f it having seen terrible and beautiful visions

 

Books for different markets:

HOMER'S

USA and classic texts ition behind

The way certain titles are marketed

today differs considerably from fifteen years ago. A new century, closer links

O Brother, _

Where Art Thou ?

between different parts of the company,

and developments in world politics generally, are some of the reasons for

changes in the Penguin list. The United States is now an important market as well as being popular as subject matter. For two of the three covers shown here on the left, the cliche of American brashness is used to reflect the content

of the titles, while Terror Inc. is remin¬ iscent of the earlier 'graphic ideas'

approach which underpinned nearly twenty years of Pelican cover design.

Other titles may appear with various covers in order to attract different kinds of readers. Homer's Odyssey, Penguin's original Classic from 1946, continues above: Stupid White Men, 2004.

in the Rieu translation - to be part of

[Cover design by Jm Stoddart.]

what the company refers to as 'black

Terror Inc, 2003. [Cover design by Coralie Bckford-Smith.]

right: Americans, 2003. [Cover design by Jm Stoddart.]

Classics' (pp. 234-5), but a quite differ¬ ent packaging of the same text aimed at a very different audience was produced as a film tie-in. There is also a newer (verse) translation by Robert Fagles -

with stylish black and white photo¬ graphy on the cover - in a mini-series entitled 'Wonders of the World' along¬

side titles by Goethe, Virgil and Dante, among others. other s.

opposite: The Odyssey, [>2000]. [The cover shows George Cooney, Tim B ake Neson and John Turturro in Joe and Ethan Coens fil m, O Brother, Where

A r t T hou ? ] The Odyssey, 2001. Cover design:

gray3i8. Photography: ©Jasper James/Mll ennium Images.

They have a plan but not a clue

 

Angels, 2.003. Jacket

illustration: Mick Brownfield.

'Funny, compassionate, well obser ved and ir r ever ent, this is a r omp of a r ead' Time O ut

A BRIEF HMtTORy oriNFiNrrr PAOLO ZELLINI

Books for different markets: 'chick lit' and non-fiction

An important part of the fiction list of recent years has been the genre com¬

monly known as 'chick lit', contempor¬ ary fiction for - and often by - young

women { Angels and Spell bound). For much of Penguin's history, designers

have tried to combn e effectiveness with a refined aesthetic, but when such an

approach fails to address the visual

sensiblity of the intended audience, it founders. These covers - like The Far Pavilions in the 1980s - are very care¬

fully calculated to appeal to potential readers.

With the demise of the Pelican im¬

print in 1991, titles which would once

SU SH I F O R BEG I N N ER S

have formed part of that series now appear in the general Penguin list and are marketed with the same concern for

title and lack of concern for identity(the four covers shown here on the right).

above: Porcupines, 2000 . Cover: photo of lodgepoe pin es

© Rod Planck/NHPA. A Brief History of Infinity, 2005. Cover design byDavid Pearson.

left: Einstein's Refrigerator, 2004. Design: Steve Turner. The Red Queen, 1.000.

TALES OF THE H

'S EINSTEIN

r:

Designed at Yacht Associates.

  r

Reference relaunch, 2003

The typography reflects the fact that

While the fiction and General lists play

opposite; The Penguin Dictionary of Architecture & LandscapeArchitecture, Z003. Cover photograph © Bridgeman

Art Library.

on the difference between individual

many series need to have the support of

titles, the smaller, specialize d series have

their American counterparts. Futura had

always stressed brand identity.

been introduced for the Classics redesign

The new cover designs for the Refer¬ The Penguin Concise English Dictionary, 2003.

D c t io n a r yo C o n cs e E n gis hD c t io n a r yo th e

dictionary theatre

in 2003 (pp. 234-5), and continuity into the reference list was thought desirabe.

ence titles were a repackaging exercise

replacing a look that had been intro¬

The Penguin Dictionary of

duced only four years before but which

the Theatre, Z003. Cover

had dated horrib y. The new look, by

photograph © Bridgeman Art

Library.

in-house designer David Pearson, com¬

The Penguin Rhymng

bn es allusions to Penguin's own history

Dictionary, 2003.

with a tactile element - rounded corners

- giving the madded bookshop appeal

The Penguin Dictionary

of Building, 2003. Cover

and greater durability.

photograph © Getty Images.

The historical quotations come in the

' Everyone w h o lovos w ords sh ould ow n

The essential guide f or

a copy' Andr ew Motion

all par ents

formof the horizontal tripartite division

The Penguin Dictionary of First Names, 2003.

of the front cover, which gently recalls

The Penguin Dictionary of

Penguin

the 1935 covers, and the promnent

RHYMING DICTIONARY

use of spine typography, which recalls

Business, 2003. Cover photograph © Leon St Amour.

Derek Birdsall's work for the Penguin

The Pengun Concise

Education series in 1971 (pp. 180-81).

Thesaurus, 2003.

Dictionary of

building

Dictionary of

first names

Although the Penguin brand is strongly

The Penguin Dictionary of

imposed on these titles, it is softened

Physical Geography 20 03.

by the use of an illustrative element - or

Cover photograph © Photonica.

a colour for 'difficult' subjects - in the upper portion of the cover.

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PHYSICAL GEOGRAPHY

 

Great Ideas, 2004

On Art and Life, 2004. Cover artwork: David Pearson

A Tale of a Tub 200 4. Cover artwork: David Pearson at Penguin.

Editorial Director Simon Winder came up with Great Ideas as a way of intro¬

at Penguin.

JONATHAN S WITT

SI G M U N D F R EU D

A T ILE Ol'A

ducing a different readership to key texts that have helped shape civiliza¬

tion. Art Director Jim Stoddart handed

responsiblity for the design to David Pearson, who decided to let the flavour

of each individual text influence the

Civilization and Its Discontents,

CIVILIZATION AND

2004. Cover artwork: v David Pearson at Pengun .

I T S D I SC O N T EN T S •It Is a f atal WISCAEEI AGE.

S O I IIII T O O R D E R A F F A I R S , as #0 ji.'iss f or a

look of its cover. Returning to the original A format

and typographically led, each front cover gives the author and the title and includes a quote from the work in add¬ ition to the pubisher and series name. Each is set in a manner suggestive of the

I1V ONE COMPAIVT, w h en lu anoth nr you m igh t be treated as a

PHILOSOPHER Pengun Booto

PENGUIN BOOKS GREAT IDEAS

C i v i il z a t oi n o v e r c o m e } t h e d a n g e r o v s o g g r e s s i v i yt o f the individual, by weakening him, disarming him a nd setting up an inter nal author ity to watch over him , lilt*

Oreal Ideas

lettering or typography of the time of

a gorrijon in a conquered town

the work's first pubication. This gives

PENGUIN BOOKS GREAT IDEAS

the appearance in many cases of an old-

fashioned title page, as though the book has no cover at all. Despite this great disparityof styes, the series is unified Meditations, Z004. Cover artwork: Phil Baines.

by being printed in the traditional printers' colours of back and red. The back cover and spine typography - in Dante - is consistent across all twenty titles. A tactile touch was added to the books by printing on an uncoated stock

and by debo ssing the elements of the front cover.

The Art Director and designers for the series were nomnated for the Design Museums Designer of the Year Award in January 2005.

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jiaugujiine CONFeSSIONfi O F A S IN N G F i

244

Penguin by Design

P E N G U I N B O O K G R E A T IDID E A

V. Re-inventing the Brand, 1996-2005

WHY

Why I Write, 2004.

Cover artwork: Alistair Hall at We Made This.

Poitical language is

designed to make lies sound truthfu and murder respectabe,

gam cp n oniince yu

Cover artwork: Catherine

Dixon.

  WRITE

A J A O II H

bui [101

Confessions of a Sinner, Z004.

PENGUIN BOOKS

1 h a d p i w i d ioi o y o u F O R C I M I iyi y A N D J A O g i v [ O ili l

uIn books ooks

great Ideas

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and to give an appearance of soidity

to pure wind

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GE ORGE ORWELL G R EA T I D EA S

245

 

Bibiography and Sources For the most comprehensive reading list on aspects of Penguin Books' history and development see

Graham, T., Penguin in Print: A Bibiograp hy, London: Penguin Collectors' Societ y, 2003.

PEN GUIN IN BOOKS LTD

Books and magazine articles

; I II M DULl SLX

Aynsley, J., & Lloyd Jones, L., Fifty Penguin Years, Harmondsworth: Penguin, 1985 22 December 19

Backemeyer, S. (ed.), Picture This: The Artist as Illustrator, London: A&C Black, Z005

Bailey, S., 'Ways of Working', Dot Dot Dot, 5, 2004

tear f> Mr Russ, ;U^ar

Baines, P., 'Face Lift: New Cuts at The Times', Eye, 40, summer 2001, pp. 52-9

Vhat a gorio us cover you have done for the Graves. Res

it makes the book worth buyng f o ri it tsc o v e ra o n eId o

congratuate you.

Best wishes,

Birdsall, D., Notes on Book Design, New Haven &c London: Yale, 2003

Bradley, S., & Cherry, B. (eds.). The Buildings of England: A Celebration, London: Penguin Collectors' Society, 2001 Burbdge, P. G., & Gray, L. A., 'Penguin Panorama', Printing R eview, Volume 20, No. 72, 1956, pp. 15-18

Cherry, B., The Buildings of Englan d: A Short History and Bibi ography, London: Penguin Collectors' Society, 1983

Cinamon, G. (ed.), 'Hans Schmoller, Typographer: His Life and Work', The Monotype Anthony Godwin

Recorder (new series), 6, Salford: The Monotype Corporation, April 1987 Edwards, R. (ed.). The Penguin Classics, London: Penguin Collectors' Society

(Mscella ny 9), 1994 , A Penguin Collector's Companion, London: Penguin Collectors' Society (revised

edition), 1997 Stephen Russ Esq

29 Shaw Hill MeIksham Wltshire

, Pelican Books, a Sixtieth Anniversary Celebration, London: Penguin Collectors'

Society (Mscel lany 12), 1997 , & Hare, S. (eds.). Twenty-one Years, London: Penguin Collectors' Society

(Mscellany 10), 1995 Facet ti, G., 'Paperbacks as a Mass Medium (magazine unknown, probaby US), pp. 24-9. The same text also appears as 'Penguin Books, London', Interpressgrafik, 1, 1969, pp. 26-41, with English translat ion on pp. 77-8

Frederiksen, E. Ellegaard, The Typography of Penguin Books (trans. K. B. Almund), London: Penguin Collectors' Society, 2004 Greene, E., Penguin Books: The Pictorial Cover 1960-1980, Manchester Polytechnic, 1981 Hare, S., Allen Lane and the Penguin Editors, Harmondsworth: Penguin, 1996 , "'Type-only Penguins Sell a Million" Shock', E ye, 54, winter 2004, pp. 76-7 Heller, S., 'When Paperbacks Went Highbrow: Modern Cover Design in the 1950s and 60s', Baseli ne, 43, 200 3, pp. 5-12

Bibiograph y and Sources

 

Holland, S., MushroomJungle: A H istory of Postwar Paperback Pubishing , Westbury:

www.pearson.com

The parent company s site, which contains in formation about the organization of the

Zeon,1993 Hollis, R., 'Germano Facetti: The Image as Evidence', Eye, 29, autumn 1998, pp. 62-9 Lamb, L., 'Penguin Books: Stye and Mass Production', Penrose Annual, V olume 46, I952? PP- 39_42' Lane, A., Fowler, D., et al.. Penguns P-o gress, 1935-1960, Harmondsworth: Pengun

(QM), i960 McLean, K.,]an Tschichold: Typographer, London: Lund Humphries, 1975 McLuhan, E., quoted in posting of 13 October 2003 at

entire group.

www.penguincollectorssociety.org The Penguin Collectors' Society site, containing much useful information, not least about their own pubic ations, but also links to other sites. The Penguin Collec tor and its predecessor the Newsletter have been pub ished twice yearly since 1974 and are a mne of information about all aspects of the company s history.

www.brushstroke.tv/weeko3_35.htm (webog of Melanie Goux) Moriarty, M. (ed.), Abram Games: Graphic Designer, London: Lund Humphries, 2003

Archives

Morpurgo, J. E., Allen Lane: King Penguin, London: Hutchinson, 1979 Peaker, C., The Penguin Modern Painters: A History, London: Penguin Collectors'

The Penguin Archive, including the collections of the papers of Allen Lane and Eunice Frost, company correspondence and editorial 'job bags', is housed at University of

Society, 2001

Pearson, J., Penguins March On: Books for the Forces During World War II, London:

Penguin Collectors' Society (Msce llany 11), 1996 Powers, A., Front Cover: Great Book Jacket and Cover Desigit, London: Mitchell

Bristol Information Services, Special Collections: www.bris.ac.uk/is/services/specialcollections The archive of Penguin Books itself is housed at the Pearson Group distribution centre

Beazley, 2001

Poynor, R., 'You Can Judge a Book by Its Cover', Eye, 39, spring 2001, pp. 10-11

in Rugby. It contains copies of virtually every title pub ished. Enquiries to The Archive, Pearson Shared Services, Pearson Distribution Centre, Central Park, Rugby CV23 owe.

, Typographica, London: Laurence King, 2001 , Communicate: Indep endent British Graphic Design sin ce the Sixties, L ondon: Laurence King, 2004 , 'Pengun Crime', Eye, 53, autumn 2004, pp. 52-7

Schleger, P., Zero: Hans Schleger, a Life of Design, London: Lund Humphries, 2001 Schmoller, T., 'Roundel Troube', Matrix, 14, pp. 167-77 Shaughnessy, A., 'An Open and Shut Case', Design Week, 26 April 2001

Spencer, H., 'Penguins on the March', Typographica (new series) 5, London: Lund Humphries, June 1962, pp. 12-33 , 'Penguin Covers: A Correction', Typographica (new series) 6, London: Lund Humphries, December 1962, pp. 62-3

, Pioneers of Modern Typography, London: Lund H umphries (1969), 1982 Ten Years of Penguins: 1935-1945, Harmondsworth: Penguin, 1945 Watson, S. J. M., 'Hans Schmoller and the Design of the One-Volume Pelican Shakespeare', Typography Papers, 3, University of Reading: Department of Typography & Graphic Communication, 1998, pp. 115-37 Williams, W. E., The Penguin Story, Harmondsworth: Penguin (Q21), 1956

Websites www.pengun. co.uk

The companys main website, with information about current titles, backg round information, and links to the various company divisions and worldwide sites.

248

Penguin by Design

Bibiograph y and Sources

249

 

Logo Development, 1935-2005

Penguin, 1935. Puffin, 1968. Penguin, 1946. Puffin, 1941. Allen Lane, 1967. Penguin, 1946. Porpoise, 1948. Penguin, 1938. 9- King Penguin, 1948. Puffin, 1940.

26. Pelican, 1937. 27. Ptarmgan, 1945. 28.Pengun, 1944 29.Pengun, 2003

30. Pelican, 1949 31.Pengun, 1938 32.Pengun, 1945 33.Pengun, 1935

34. King Penguin, 1948 35. Puffin, 1948

Pelican, 1948. Penguin, 1947. Penguin, 1949. Penguin, 1950. Puffin, 1941. Pengun, c. 1987. Pelican, 1948. Pelican, 1937. Kestrel, 1970. 20.Pengun, 1948.

21. Pengun Education, 1967. 22. Puffin, c. 1959.

23. Allen Lane, 2003. 24.Pengun, 1949.

25.Pelican Historyof Art, 1953.

36.Pengun, 1948 37.Pengun, 1947

38. Puffin, 2003 39. Penguin Education, 1967 40.Pengun, 1945 41.Pengun, 1947 42. Peacock, c. 1963

43. Penguin, 1948 44. Peregrine, 1962 45. King Penguin, 1939 46. Pelican, 1948 47. Kestrel, 1970

48. Penguin, 1937

2-5

 

Index

Causer, Martin 181,212 Central School of Arts & Crafts

To avoid excessive length, books are indexed only if they are referred to in the text or appear in more than one

M, 97

Chalmers-Mitchell, Peter 14 Chesterman, Adrian 197

Facetti, Germano 97-8, 97, 100, 101, 104, 106, 112,113,

146,162,163,168,192,198 and the Marber grid 99, 103, 118

cover design; titles are indexed under their authors. Italic

Christie, Agatha 12

and Classics 124, 234

figures refer to illustrations.

Cinamon, Gerald (Jerry) 97, no,

on Joanna typeface 126

163,165-6

Gentleman, David 52, 67, 75,90, 152., 153

Gibbngs, Robert 23, 24 Bue Angels and Wales 22,23

Gill, Bob 90,100,110,169 see also Pentagram

Gill, Eric 13

and Modern Classics 126

Gill Sans see typefaces

and New Penguin Shakespeare 152-5

Joanna see typefaces

Abercrombe, Michael 49

Barrett, Peter 119

Clark, Kenneth 17, 42 Clarke, Charles 180

advertising in a nd on books

Bassett, Martin 193

Clarke, Harry 219

and Penguin Handbooks 148

Beales, H. L. 14

Clementson, John 210

and Ulysses 158

Agel, Jerome 145

Bentley, Peter 168,169,172

Clench, Syvia 198

Farrell, Michael 168,169,172

Glover, Trevor 166

Albatross Books 13 and n.

Berger, John: Ways of^ee/wg 6,

Coes, Joan 13

Ferris, Karl 137

Godwin, Tony 97,97,99-100,

Colins (pubishers) 53

Fior, Robn 93

32-3

Aldridge, Alan 99-100, 100,101,

176-7

104, 106,108, 13Z, 134,

Bickford-Smth, Coralie 236,238

i38-9,142,179,194, 236

Birdsall, Derek 54, 90, 92, 93,

T he B ut t er f ly B all and Grasshopper's Feast (w th

WilliamPlomer) 100

andPelham 101,156,168 The Penguin Book of Comcs

(with George Perry) 100, 100 Alther, Lisa: iC/n/Z/c^s 209,209 Ambassador 101 Ams, Martin: Mowey 209,209,

233

Colis, Maurice: ce: Siamese White

20, 21

98,99,107, 109,110,162,

Conran, Shirley; Lace 208, 209

162,171,174,175,181,

Cooke, Alistair 3 8

183,189, 242

Coppola, Giannetto 94,134,

see also Omnific

Bishop, Graham 116,186 Bssel l, Richard; The Pa jama

Game 82, S3 Bloomfield, Diana 66 Bodley Head, The 6, ix and n., 13,19, ioon., 158 Boehlke, Henning 115,147

136 Corbett, P. E.: The Scupture of

the Parthenon 76, 77

Corgi Books 53 Cramer, Ross 135

Fiore, Quentin 145 Fishenden, R. B. 26,42,48 Fitzgerald, F. Scott: Tender is the

Fletcher, A lan 54,90,110,169,

Golombek, Harry; The Ga me of

190 see also Pentagram

Fluck, Peter 206

Klimowski, Andrzej 210

Marber, Romek 98-9, 9S, 104,

176 Holmes, Dave 166 Holy Trinity Church, Maryebone 13

Homer: The Odyssey 17, 40, 46, 46,47, 2.39,239 Hoye, Fred: The Back Cloud

Kneale, Nigel: The Quatermass

Experiment 57,59 Knights, L. C.: Some Shakespearean Themes...

116,117

Martin, Geoffrey 104

Kundera, Milan 210

Mason, Robert 216 Mayer, Peter 163,163,164,165,

Hubbard, C. E.: Grasses 62, 62

Laing, R. D. 188

Huizinga, J.; The Waning of the

Lane, Allen 12,13, i3n., 16, 36,

Middle Ages 116,117

124, 126,132 Mardersteig, Hans 13 Marsh, James 208

Krishna Menon, V. K. 14

82, 83

Hume, Rosemary, and Muriel

106,109,113,142,143 the Marber grid 102-11,118,

166 Mayers, Brian 115

41, 42, 46,48, 50, 53, 54,

Mayhew, George 105

82, 96 and n., 158, 162

Maynard, Bob 14

Downes: Cordon Beu

and Games 87

Mayne, Roger 119

Desserts and Puddings 205,

and Godwin 100

Miles, John 122

205

andPelham101

Mlligan, Spike 133

founding Penguin 6, 12 and n.

Monsarrat, Nicholas: The Cruel

Hutton, Clarke 26, 67 Hutton, Pascal 222-3

on Pelicans 22

Huxley, Aldous 52,80

and Puffin 34

Hyand, Angus 223,234

receives CH 101

5i

Morgan, Roy 66 Morpurgo, J. E. 48

Insel-Biicherei, cherei, Die (Leipzig) 26

Lane, John (snr) 12 and n.

Morris, Michael 189,190

gray3i8 229,236,238

International Standard Book

Lane, John (Allen's brother) 6,

Mowrer, Edgar; Germany Puts

103,126 Curwen Press 50, 51, 70

see also Pentagram

Forbes Watson, Anthony 166 Forces Book Club 15

Wenceslas 105, iy8

Forester, C. S.; The Gun 20, 20

Great Portland Street 13

Numbers (ISBNs) 158,

Green, Jane: Spellbound 240,

222

240 Greene, Graham175

The End of the Affair 106, I74i ^75

and Schmoller 163

Sea 82,85 Morija Printing Works (Lesotho)

Ingham Carol 190

Foreman, Michael, 134,171

and Tschichod 50

12,13, 16 and n., 41 Lane, Richard (Allen's brother) 6, 12,13, 16, 48, 96n.

Jacob, Gordon 49, 68 Janssens, A. 67

Jefferies, Richard; The Story of

Lawrence, D. H. 80 Lady Chatterleys Lover 46,

the Clock Back 15 Moynihan, Rodrigo; After the Conference: The Penguin

Editors 48-9 Muggeridge, Malcolm140

80, 81

Delaney, Brian 189

Fower, Peter 226

Burnett, Stephen 168,169,172

Dempsey, Mike 164,210,212

Fraser, Eric 39

Griffiths, John 83

Jeremy, Peggy 76

Titmuss; Our F ood Probem

Bush, Raymond: Soft Fruit

Deuchars, Marion 230-31

Fraser, Helen 222

Grignani, Franco 15 6-7

Johnson, M. L. 49

29,30

Dew, Tracy 208

Fratini, Renato 106,134

Grimmond, William 3,26,46,

Jonas, Robert 40,41,53

Lehmann, John 49

Diagram 188

Frederiksen, Erik Ellegaard 52,

Jonathan Cape 12

Licko, Zuzana 234

Joyce, James; Ulysses 12, 101,

Linklater, Eric: Poefs Pt/fc 12

of Reginald Perrin 208,

Lock/Pettersen Ltd 184

209

Growing 74, 74 Busselie, Michael 137

Diebel, John 66

the Empty Houses 206, Caldecott, Oliver 101

Dixon, Catherine 245

Baines, Phil 244

Caiman, Mel 18 6-7

Dolley, Christopher 162

Ballantine, Ian 41

Calvocoressi, Peter 162

Dwoskin, Steve 169

Banfi, Belgiojoso, Peressutti &

Campbell, Ali 224 Camus, Albert The Plague 227, 229 The Rebel 116,116

Bann, David 52n.

Caplan, David 87, 89

Bantock, Nick 210

Capote, Truman; Breakfast at

Barclay-Smth, Phylis: British

Hollis, Richard 99,112,113,

Graham, Eleanor 16,16,34,49

Ford, Jason 219

Banksy 228

Manutius, Aldus 13

Forbes, Colin 90,110,169

Daulby, George 105

Banks, Colin 122

Kleinman, Danny 169

fonts see typefaces

Davidson, Lionel: The Night of

Rogers 97

Mallowan, Max 49

Hollingsworth, Robert 115,178

Crowther, Geoffrey 3 8

Buday, George 55

206

Magill, Cherriwyn 164,165

Klein, Lou 100

Crosby, Theo 97,169

Brownfield, Mick 240

Bailey Ron: The Homeless and

Macmllan (pubishers) 53

Kinneir, Jock 108

Curtis, John 53,53, 54,90,97,

Brooks, Bob 137

Bailey, Dennis 88,89

Farmng 74

King, Sidney 105

Goodfellow, Peter 166 Gorham John 168,169

Army Bureau of Current Affairs

Ayer,A.J. 49

Chess 74, 75-

Goodchild, Claude H: Rabbt

202, 203

Holland, James 34

Fokker, Anthony: Fly ng Dutchman 19, 20

Anisdahl, Leif 106

Orange 6,168,227,252

and Lane 100, 140

Goden Cockerel Press 24

Box, Roland 169

Burgess, Anthony; A Clockwork

on the Games experiment 97

Goethe, Johann Wofgang von;

Flanagan, Stuart 115

Amsden, Deirdre 206

Avon Books 163

132, 142, 246

Faust, Part I 64

Bott, Alan 53

Arno, Peter 83

Glover, Alan 49

Night 126

Amsden, Candy 169

16

Perpetua see typefaces

Glaser, Milton 99,106

Hogarth, Paul 106,174,175,

Tiffanys 82, 84

Birds on Lake, River and

Carrington, Noel 16, 16, 34, 4 S

Stream26

Carroll, Ken 164, 210, 212

Our Man in Havana 174, lyj

66, 67, 76

56, 60, 79

Friedlander, Elizabeth 65, 66, 67

Frost, Eunice 15, ij, 17, 42, 49,

53

Hall, Alistair 245

My Heart 20

i58> IS9

Le Gros Clark, F, and R. M.

Harper's Bazaar 101

Kaye, M. M.: The Far Pavilions 163,166,167, 239

see also Pentagram

Fry, Dexter 206

Harris, Derrick 82

Keates, Mike 208

McCreeth, Patrick 188,189

Esmonde, John, and BobL arbey:

Fryer, Wilfred 38

Haslett, A.W. 49

Keeling, Cecil 65

Mace, C. A. 49 Maclnnes, Colin: Absolute

More of the Good Life 208, 209 EVT scheme 16

Hawkey, Raymond 133

Keenan,Jame 223,230

Games, Abram53 -4, 86-9, 97

Henrion, F. H. K. 99

Kent, Steve 165,215

Gardner, Erie Stanley: The Case

Hermes, Gertrude 20

Keogh, Brian 84

McLuhan, Eric 144

Hilyer, C. Isabel: Hydroponics

Keyes, Marian; an; Angels 240,

McLuhan, Marshall; The Medium

of the Drowning Duck 89, joj, 136

Faban, Erwin 55,82

Gardner, James: On the Farm 34

22, 23

Hodder & Stoughton 53

Mllion 22,23

Nobbs, David: The Fall and Rise

McConnell, John 183

Enoch, Kurt 41

Evans, Barry in

238, 239 Nichol, Hugh: Microbes by the

Noerbel, Ursula 106

Hall, Dennis 66 Hamlton,John 222-3,222,236

Napoleoni, Loretta: Terror Inc.

240

King, David 206

Beginners 208, 209

is the Massage (wth Quentin

Fiore) 144-5,176

O'Brien, Edna; Girls in Their Married Bliss 134,142

Omnific 162,168,173,180,181, 212 see also B rdsall, Derek

Orwell, George 230 Nineteen Eighty-Four 106, 229

Overton, John 14,46,64

Penguin by Design

252,

Index

 

Pan Books 53 Pearson/Pearson Longman 101,

i6z, Z2.3-4 Pearson, David 241,243,244, 245

Pelham David 101, 101, 103,

162,164,173,175,179, 188,191, 236

andAldridge 101,156,168 on cover design 162 and New Penguin Shakespeare 202

and science fiction 15 6-7,

194-7 and fiction 168-9 Penguin Books

advertising in an d on books 32,-3

anniversaries 14,17, 96,101,

158,165,218-19 colour coding 13,15, 19, 22,

separates fromThe Bodey

Head 13 Ten Years of Penguins: 193 j-

194J 14 and n., 17 and World War Two 15-16, 34,36,38

design formats

the Games experiment 53-4,

86-9 horizontal tripartite grid 13, 18-21, 22, 29, 51, 52, 57, 242

the Marber grid 98-9,102-11, 118, 124, 126, 132,188 Pelhams 'non-grid' 168-9 vertical grid 52, 53, 78-84 periodicals

Pelicans 14-15,22-3,51,54,

Penrose Annual, The 42

62-3, 90, 92-3, 96, 97, 99,

Pentagram90, 223, 234

103,108-9,166,186,

Pevsner, Nikolaus 15, ij, 49

188-9, 239 Pelican History of Art 53,73,

96,97 Pelican Shakespeare (one-

volume edition) 96 Pelican Specials 22 Penguin Biography 90

Penguin Classics 17, 46-7, 51, 64-7, 99, 124-5, i62-, 165,

234

148-51, 205 Penguin Modern Classics 99, 126-7, i58! 162,164, 223,

Dorling Kindersley 223-4

Russian Review i5n., 36, 37

230-33

filmand TV 'tie-ins' 57, 82, 163,166, 208-9

Science News 15n., 3 6, 3 7

100 Harmondsworth and other

Buildings of England 5 2-3, 72-3, 223

Pioneers of Modern Design 15

and letterspacing 52 Printing Review on 51-2

Penguin Modern Painters 16-17, 42-"~3

Penguin Originals 216-17, 226

Printing Review, on Schmol er

51-2 Prisoner of War book scheme

16 Private Eye, on Sine's Massacre

140

Puffin 16, 34-5 Pugh, Bert 67 Ragazzini, Enzo 169 Ramsbottom John: A Book of Roses 26

R at hbone ( publis her s ) 9 7

Penguins Progress, 1935-1960

96 and the post-war period 17,45 reorganization (Press/General)

222 Rough Guides 223-4

woodcuts, wood engraving 24,

Trade Gothic 230

Times, The 14

typewriter 183

Wright, Ed 97

Senior, Elizabeth 15

Trevillion, Michael 216

Univers 118,176,184

Wyndham John

Services Central Book Club16

Tschichold,Jan 50-51,3-1,52,

Walbaum70

and Ways of Seeing 176

Services Editions 16

56, 79,152

Sewell, Brian 98

ElementareTypographie 50

Sewell, John 104,105,116,

and the horizontal grid 51,57

126

and letterspacing 51,215

typography 13,14,20,52, 164-5 96-7,165,166, 223

summer Night's Dream Go,

neue Typographie, Die 50

Schmoller and 51-3,96-7

Yacht Associates 241

152,203

and Pelicans 62

Tschichold and 50-51

Yale University Press 53,223

and Penguin Classics 64

wartime specifications 16

Yeomans, Ian 150

and Penguin Shakespeare 60

see also typefaces

Yglesias, Jonathan 166

Shaw, George Bernard 122

The Intellige nt Woman's Guide

The Intellige nt Woman's Guide

Penguin Shakespeare/New

Renner, Pau 234

to Socialism Capitalism

Sovietism& Fascism22, 22 Three Plays for Puritans 122, 123

Penguin 60s 218-19

Reu, E.V 17,17,46,48

Simon, Oliver 50, 51

Penguin Specials 15,22,

Robertson, Bruce 92, 99,109,

York, Denise 122,123

5°

T ubbs , R alph: L iv ing in C it ies 44-S, 45 Turner, Steve 241 typefaces

United States of America 38, 40-41, 53-4,166, 239 Updike, John: Rabbt, Run 106, 171

Uvarov, E. B.: A Dictionary of Science 212

Sine: Massacre 100,140-41

Akzidenz Grotesk 103

Smth, Arthur 76

Albertus 24

240

149, 150,151

Smth, Zadie: White Teeth 224,

Bodoni Ultra Bold 19, 29, 57

Van Dooren, Dirk 216

Century Bold Condensed 210,

Vault 49 220,236

Hamsh Hamlton 165, 224 Illustrated Classics 15,24-5,

79 King Penguins (h/b non-fiction)

15, i6-?, 76-7

K ing P eng uins ( p/b f ic t ion) 164,210-11, 216 Libraryof Physical Science s

184-5 Michael Joseph 165,224 music scores 68-9

Penguin Twentieth-Century Classics 218,223,230 Peregrines 116-17 Planning, Design and Art 16 poetr t ry 16,51,68,70-71,

118-21,128-31,146-7, 198-201

Puffin 16, 34-5 science fiction 99,132, 138-9,

162,194-7

Rolfe, Dennis 137,178

162, 218, 223, 234

212

Viking Inc. 162

Smthers, Bob 100

roundels

Snark International Picture

Clarendon 230

Syrens 218

Library 97, 124

Corvinus 52, 80

Vyner, Tim219

64, 66-7

on B uilding s of E ng land 7 3 Rowand, Kenneth 92 Royal College of Art 52 Russ, Stephen 81,130, 131,146, 246

Spain, Alan 120 Spencer, Herbert 54, 93,108, 116 Sporer, Eugen O. 96

Standring, Heather 74 Steadman, Ralph 115 Stoddart, Jim 223,223,238,

Stye and Civilization 97 Penguin Books (USA) 41, 53-4,

22J

Rose, Jim162 on Penguin Classics 46,46,

St Martin's School of Art 101, 186

Xenia (illustrator) 39

letterspacing 51,52,57

Unger, Hans 88

Peace 57,58

227,232 The Seeds of Time 82, S3

and music scores 68

Typographische Gestaltung

60-61,152-5, 202-3

The Dayof the Triff ids 59,

effect of new technoogies

Ulve, Kirsten 240

Reinganum Victor 63

One's Own 20, 21

Thompson, Philip 181,187

Senate, the 216

Sabon typeface 165,215

212-13, 223, 242-3

60,152-3 Woolf, Virgina: A Roomof

Trajan 218

112, 113, 114, 116, 148,

Great Ideas 223, 244-5

224

Wolpe, Berthold 24, 66

206-7, 2'12-

Frederick Warne 165

Penguin Press 222-3

Art 22, 23

War 29,31

Sabon 165,215

2-8-31, 54, 74,99,112.-15,

Penguin Composition Ru es

'Penguin orange' 164,222,

Rockwell Shadow 29

142,162,168-9, 2-36-7,

fic fictio tion 13,99,103,132,

origin of name 13

Penguin General 222-3

Winder, Simon 244 Wintringham Tom: New Ways of

Railroad Gothic 180

Communism 14

Reves, Emery: The Anatomy of

51,96

Tayor, Edwin 99

Pantin 53

Reiner, Imre 80

Shakespeare Library 14,51,

223-4

and Penguin Handbooks 74

Wales

Penguin Reference 16,164

Pengun Shakespeare/

250-51

76, 77

and poetry series 70

cookery 204-5

mergers/acquisitions 162,165,

At las of E ng land

Wilson, Angus 142

to Socialism Capitalismand

'chick lit' 240

104-5, i62.) 178-9

Tayor, E. G. R.: John Speeds

42, 48

Perpetua 46, 73

Rees, Dary 216

100,165, 224, 224

crime 13, 57, 98-9,103,

i3n.

Optima 101, 142

Penguin Plays 122-3

premses 13,14,14,96,96,

51, 116,162,194, 216, 224,

T aunit z E dit ions ( L eipzig )

and poetry series 68, 70, 130

Shakespeare, William A Md¬

Renny, Juliet 92

logos 13,15,20,22,24,41,

87, 96-7,162,163,165-6

and vertical grid 52,79

Penguin Handbooks 16,74-5,

bography 13,90

Williams, W. E . 14, 15,15,16,

Schmoller, Hans 51-3,62,69,

Price, Fred 163

Penguin Parade 15,36,37

hardbacks 15,26,53,73,76,

White, Gwen 26

Old Stye N o. 2 14,14

Spectrum158

New Bology 15^,36

96,100, 224

White, Ethelbert 24

Mrs Eaves 234

Times New Roman 14,14, 50

Penguin Hansard 15 n., 3 6,3 6

founding of 12-13

Joanna 126

Thoene, Peter: Modern German

Penguin Guides 15

Allen Lane The Penguin Press

Stuart, Neil 169 Studio International 101

Thirkell, Nick 164

132, 215

96

Weybright, Victor 41

and Ulysses 158

Penguin English Library 100,

Wearing, Paul 229

Intertype Standard 103

and Modern Classics 126

180-85, 212, 242

Wayne, Dorrit 66

Schleger, Hans 116,162

and King Penguins 76

Repubic 64

184,188,198

Scales, Stephen 181

and Pelican History of Art 5 3

Plutarch: The Fall of the Roman

Palestine 20, 21

Helvetica 103, 112,124, 126,

Prestel Verlag 96

Penguin Essentials 222, 226-9

series, imprints and subjects

Architecture 96,96

ArabalZionism and

Pocket Books 163

46, 64, 64, 87, 98,103, 112,

flotation on Stock Exchange

An Outline of European

Sampson, Joan 62

Storr, Ronald: Lawrence of

2I4-I5,223, 234-5

Music Magazine i5n.

Transatlantic 15^,38,35-9

53,73

142,142

Penguin Education 162,

Film Review 15^,37

Penguin New Writing 15 n., 3 6

and Buildings of England 52,

Salinger, J. D.: Franny and Zooey

244 Stone, Reynods 60, 65

Dante 244 Franklin Gothic 230 Futura 234, 242 Garamond/Garamond Ita lic 68, 70, 202

Gill Sans 13,15,19,20,22, 2-9,51, 54, 57,62, 74,87, 234 Grotesque 215/216 112

Wain, John: The Contenders 82,

84 Walton, Izaak: The Compleat Angler 20, 20 Warde, Beatrice 50 Watt, Ian: The Rise of the Novel 116,117 Waugh, Evelyn 168

Young, Edward 13, 14,14,19, 22, 51, 57 One of O ur Submarines 5 3,

57,59,79

Penguin by Design

2-54

Index

 

Acknowledgements The initial idea for this book came fromPenguin Press design er David Pearson, to whomI owe the bggest t hanks. While t he words are mne, an d the design his, the developrtient of the book has been very much a collaborative effort which took place against a background of train and car journeys, late-night phone conversations and hundreds o unprintab e email discussions. Many people have helped with the book's progress during the past year. Friends: David Rose and Jonathan Pearson, Stuart Evans of Central Saint Martins. In my studio:

Woojung Chun, Mala Hassett, Jack Schulze and Geoff Williamson, and I thank my

Phil Baines was born in Kendal, Westmorland, in 1958. He gradu¬

ated from St Martin's School of Art

other clients for their patience. At Penguin: Commssioning Editor Helen Conford;

in 1985 and the Royal College of

Sue Osborne, Lindsey Cunningham and Tina Tyer in the a rchive at Rugby; Antonio

Art in 1987, and has been a Senior

Co ago, John Hamlt on, Tony Lacey, John Seaton and JimSt oddart at 80 Strand. Past

Lecturer at Central S aint Martin's

designers and editors of Penguin or its knpnnts: Derek Birdsall, Jerry Cinamon, Richard Hollis, Romek Marber, David Pelham and Dieter Pevsner, and Hans Schmoller's widow Tanya'. Tim Graham and the Penguin Collectors' Society. Martin West. Hannah Lowery

and Mcha el Richar dson of the Univers ity of Bristol Library Specia l Collections. My copy-editor Richard Duguid, Steve Hare of the Penguin Collectors' Society, and

College of Art & Design since 1991. He is the author and designer of

Type & Typography (with Andrew Haslam, zooz) and Signs: Lettering

fellow typography teacher Catherine Dixon helped greatly at various stages of the writ¬

in the Environment (with Catherine

ing process in clarifying and correcting the text. But any remaining errors, as they say,

Dixon, Z003) , both pub ished by

a e m n e 1

Laurence King.

My final thanks are to my famly, Jackie, Beth and Felicity, who have had to tolerate

both the inevitabe disruption that writing a book brings to daily life and a massive influx of second-hand books (not to mention the shelves to accommodate them).

He is also a freelance graphic designer whose clients have in¬

cluded the Crafts Council, GoetheInstitut London, Matt's Gallery and

Picture credits All books photographed are fromthe Penguin Archive in Rugby. The poster featured on p. 2 is courtesy of William Grimmond's famly and the Penguin Collectors' Society. Artwork samples, author portraits and marginal photographs are from the Penguin

Monotype Typography. His work often includes the use of his own typefaces, three of which have been released for general use: CanYou?

Archive at the University of Bristol, except p. 14 (Old Sty e No. z and Times New

(1991) and Ushaw (1994) by Fuse,

Roman samples), David Pearson; p. 53 (John Curtis), courtesy the Estate of John Curtis;

and Vere Dignumby Linotype

p. 96 (Arup and Dowson building), Phil Baines; p. 98 (Romek Marber), courtesy Romek

in Z003.

Marber; p. 101 (David Pelham), courtesy Peter Williams; p. 102. (the Marber grid),

courtesy Romek Marber; p. i6z (Derek Birdsall), courtesy Derek Birdsall; p. 222 (John Hamlton), courtesy John Ham lton; p. 223 (Jim Stoddart), courtesy Justine Stoddart; p. 224 (80 S trand), Phil Baines. The logos featured on pp. 250-51 have been scanned from book covers. Copystand photography by Carl Glover and David Pearson.

Butler & Tanner, Precision Pubishing Papers and StoraEnzo congratuate Penguin on its 70th

Birthday and are delighted to have contributed to this important anniversary pubication.

Designed by David Pearson

 

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FIFTY PENGUIN YEARS

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