In the Spotlight

Television, magazines, movies and mass-marketed advertising have always contributed to—and reflected—the style of an era. In the 1950s, children's books, for instance, often boasted whimsical line drawings designed to mimic toys of the time. This season's texts are not immune to widespread pop cultural influence. In an age when Internet use has dominated the communications scene, highly competitive, attention-getting production methods are currently shaping the book design industry. In many cases, art and literature are no longer relegated to one-dimensional surfaces, but rather, die-cuts, inserts and special folding processes create multi-dimensional books, allowing readers to interact more with the end product.

The following selections have been chosen because of their novel approaches to overall design and how they best reflect the new design era. Chronicle, a company known for its creativity, is represented with several three-dimensional pieces, as well as renowned art book publishers Harry Abrams and Phaidon, in addition to independent publishers and high-end comic book producers. The selections demonstrate the importance of how production choices influence design. They are also among some of the most hotly anticipated and award-winning projects of the season.

Art: 21

Robert Storr, Thelma Golden, Katy Siegel and Lynn M. Herbert

Harry Abrams Books

www.abramsbooks.com

As a companion to a new public television series on the contemporary visual arts, Art: 21 introduces some of the most interesting artists working in America today. Using lush print and paper stock, the book focuses on how creativity is affected by changing notions of place. The design mirrors a new model of layout, featuring open-aired textual spaces and strong linear tones. Kim Kanstani, director of education at the Solomon R. Guggenheim Museum, describes the book as, "A refreshingly innovative and engaging approach to capturing the process, personal insights and motivations that inspire a diverse and dynamic group of contemporary artists." No small feat, according to Abrams, a company that also considered how images in print would be used in celluloid.