A coffee table–ready tribute to photography and design.

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Type and Face

A glossy photography collection featuring a broad variety of typography and design combinations.

This book brings together photographs taken by Bhatti (a photographer and designer who published under his artistic identity, Mannbutte) and interpretations of those photographs by the author and 14 of his fellow artists and designers. Many of those interpretations make use of typography, often in the form of tributes to a typeface the designer clearly admires: “The girl was tall. Her legs were slender. Kind of like Akzidenz Grotesk,” says text accompanying the silhouette of one leggy model. Sometimes the typefaces are anthropomorphized: “Meet Futura. Thin and bold. And sometimes when she’s had one too many, italic.” Besides serving as a tribute to the variety of typefaces available to designers, the book also celebrates the range of artistic imagination. Many of the photographs in the collection have been interpreted by more than one contributor, often with strikingly different results. Photographs are reprocessed, transformed by color and given new meaning through design overlays. Some of the photographs are displayed without any typographical design at all—a surprising choice given the book’s title. In fact, aside from the occasional clever wordplay, typefaces make up a far less substantial portion of the book than the title and introduction might lead readers to expect. The emphasis is clearly on the images as well as the fact that these designers want readers to know that the contributors see themselves as creators of profound, meaningful art. Whether the reader agrees will depend on his or her patience with the concept, particularly as it is represented by attractive females with come-hither expressions. There is no question, however, that the book as a whole is an attractive package, well-laid-out with high-quality, full-bleed printing. The collaboration effectively blends the styles of a variety of different artistic perspectives, both contrasting and complementary.

A coffee table–ready tribute to photography and design.

Pub Date: March 25, 2013

ISBN: 978-1483604787

Page Count: 236

Publisher: Xlibris

Review Posted Online: July 15, 2013

Kirkus Reviews Issue: Aug. 15, 2013

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Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

SEVERAL SHORT SENTENCES ABOUT WRITING

New York Times columnist and editorial board member delivers a slim book for aspiring writers, offering saws and sense, wisdom and waggery, biases and biting sarcasm.

Klinkenborg (Timothy; or, Notes of an Abject Reptile, 2006), who’s taught for decades, endeavors to keep things simple in his prose, and he urges other writers to do the same. (Note: He despises abuses of the word as, as he continually reminds readers.) In the early sections, the author ignores traditional paragraphing so that the text resembles a long free-verse poem. He urges readers to use short, clear sentences and to make sure each one is healthy before moving on; notes that it’s acceptable to start sentences with and and but; sees benefits in diagramming sentences; stresses that all writing is revision; periodically blasts the formulaic writing that many (most?) students learn in school; argues that knowing where you’re headed before you begin might be good for a vacation, but not for a piece of writing; and believes that writers must trust readers more, and trust themselves. Most of Klinkenborg’s advice is neither radical nor especially profound (“Turn to the poets. / Learn from them”), and the text suffers from a corrosive fallacy: that if his strategies work for him they will work for all. The final fifth of the text includes some passages from writers he admires (McPhee, Oates, Cheever) and some of his students’ awkward sentences, which he treats analytically but sometimes with a surprising sarcasm that veers near meanness. He includes examples of students’ dangling modifiers, malapropisms, errors of pronoun agreement, wordiness and other mistakes.

Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

Pub Date: Aug. 7, 2012

ISBN: 978-0-307-26634-7

Page Count: 224

Publisher: Knopf

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: June 15, 2012

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MOMOFUKU MILK BAR

With this detailed, versatile cookbook, readers can finally make Momofuku Milk Bar’s inventive, decadent desserts at home, or see what they’ve been missing.

In this successor to the Momofuku cookbook, Momofuku Milk Bar’s pastry chef hands over the keys to the restaurant group’s snack-food–based treats, which have had people lining up outside the door of the Manhattan bakery since it opened. The James Beard Award–nominated Tosi spares no detail, providing origin stories for her popular cookies, pies and ice-cream flavors. The recipes are meticulously outlined, with added tips on how to experiment with their format. After “understanding how we laid out this cookbook…you will be one of us,” writes the author. Still, it’s a bit more sophisticated than the typical Betty Crocker fare. In addition to a healthy stock of pretzels, cornflakes and, of course, milk powder, some recipes require readers to have feuilletine and citric acid handy, to perfect the art of quenelling. Acolytes should invest in a scale, thanks to Tosi’s preference of grams (“freedom measurements,” as the friendlier cups and spoons are called, are provided, but heavily frowned upon)—though it’s hard to be too pretentious when one of your main ingredients is Fruity Pebbles. A refreshing, youthful cookbook that will have readers happily indulging in a rising pastry-chef star’s widely appealing treats.    

 

Pub Date: Oct. 25, 2011

ISBN: 978-0-307-72049-8

Page Count: 256

Publisher: Clarkson Potter

Review Posted Online: Jan. 13, 2012

Kirkus Reviews Issue: Oct. 15, 2011

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