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lisie is available at the following locations: NORTH AMERICA Bates Art and Drafting Supplies Art Drafting Digital Source 4901 Century Plaza Rd Indianapolis, IN 46254 Phone: 1 (317) 297-8000 or 1 (800) 745-1345 Fax: 1 (317) 290-7032 H.R. Meininger 499 Broadway Denver, CO 80203 Phone: 1-303-698-3838 or 1-800-950-2787 Fax: 1-303-871-8676 meininger@aol.com Parlor News Coffeehouse 135 E. Second Street Powell, WY 82435 Phone: 1 (307) 754-0717 coffee@wir.net www.parlornews.com Untitled 159 Prince Street New York, NY 10012 Phone: 1 (212) 982-2088 Fax: 1 (212) 925-5533 bevandavies@worl dnet.att. net www.fineartinpri rit.com I EUROPE Tegnece nter St Kongensgade, 21 DK-1264 Copenhagen K Denmark Phone: 45-33-14-90-33 Fax: 45-33-11-90-33 Central Books 99 Wallis Road London E9 5LN England Phone: 44 (0) 181-986-4854 Fax: 44 (0)181-533-5821 central@centblcs.demon.conk Shipley Specialist Art Booksellers 70 Charing Cross Road London WC2H OBB England Phone: 44-171- 836-4872 Fax: 44-171-379-4358 Zwemmer Media Arts 24 Litchfield Street London WC2H 9NJ England Phone: 44-171-240-4157 Fax: 44-171-836-7049 La Hune Li brairie 170 Boulevard St-Germain 75006 Paris France Phone: 33 (1) 45-48-35-85 Fax: 33 (1) 45-44-49-87 Papasotiriou S.A. International Technical Bookstore Stournara 35 Athens Greece Fax: 30-1-364-8254 Typophili a Publishing and the Typography Bookshop 6 Delliou Srt. 546 21 Thessaloniki Greece Phone and Fax: 30-31-239-823 SOUTH AMERICA Libreria Tecnica CP67 SA Florida 683 Local 18 1375 Buenos Aires Argentina Phone: 54-1-314-63-03 Fax: 54-1-314-71-35 Rio Books Rua Castro Tavares 146 Manguinhos Cep: 21041-170 Rio de Janiero-RJ-Brazil Phone and Fax: 55-021-590-8997 OTHER FontShop Australia 343 Sydney Road Brunswick, Vicro ri a 3056 Australia Phone: 61-3-9388-2700 Fax: 61-3-9388-2818 www: fontshop.com.au. Logos Impex Strada Curtaton a 5/F 41010 San Domaso-Modena Italy Phone: 39-59-28 02 64 Fax: 39-59-2816 87 or 39-59-28 05 07 Bruil fiz Van de Staaij Zuideinde 64 7941 GJ Meppel The Netherlands Phone: 31-522-261303 Fax: 31-522-257827 Dest Arte Armazem Parede Rua A Cava 2775 Parede Portugal Phone: 351-(0)1-3470214 Fax: 35140)1-3475811 Paragraph International 32 Drasilcova Street, 19th Floor Moscow, 117418 Russia Fax: 7-095-129 09 11 Berlin Libros c/Cordoba, 17 28770 Colmenar Viejo Madrid Spain Phone: 34-1-8462971 Fax: 34-1-8455922 berlin.libros@redestkes Paleda AB 19124 Sollentuna Stockholm Sweden Phone: 46-(0)8-35 01 00 Fax: 46-(0)8-35 00 14 STORES! DISTRIBUTORS! To carry Utcic, contact Rebecca Pappas at (212) 949-8072, ext 131. 40 Continued from page 35 painting—that's part of the point it is making about design, which is a controversial one, of course. All that struggle for rationalism, and along comes a generation of designers who keep emphasizing subjectivity. So what about the old heroes? Before his death last November, Paul Rand left us with a parting shot at the latest generation. FROM LASCAUX TO BROOKLYN (Yale University Press) trashes the philistinism of big business, while celebrating those clients who bought Rand's ideas. There are some familiar projects trotted out from his earlier books, but still put with panache. The tetchiness and egocentricity aside, Rand's writing , all about intuition—you had it or you didn't, and we knew on which side he fell—or pitching rigorous rationales for why his way of doing it was the right way. One great designer who doesn't seem to hang up on claiming his work works, is Alan Fletcher. In # BEWARE WET PAINT (Phaidon) he re-edits nearly 40 years of output to provide a vibrantly illustrated volume which does little to acknowledge the origins of the pieces—the brief, performance, problems, and so on—but celebrates everything in the manner of a painter's retrospective. There are essays writ- ten by a range of writers that tend towards the hagiographic. For the most part, they are best ignored. This book stands by whether or not you love Fletcher's distinctive style, which could be crudely sum- marized as using splashy paint and little jokes at any opportunity (well, he did suggest that with the title). Deceptively simple, Fletcher is a king of the visual pun—and we have plenty of evidence all around in commercial communication that it is remarkably difficult to come up with and execute good puns. The book is well produced, and is a more enjoyable book than the chunky Pentagram publications over the years to which Fletcher inevitably contributed. In Beware Wet Paint there is a sense of him casting off thr shackles of having to pretend his work is anything more or less than an artistic response. Such a monograph-like book contrasts markedly with the strange fruit that is PURE FUEL (Booth-Clib- born Editions). This is a polemical exercise from another London-based collective, three designers called Fuel (sorry to keep plugging the hometown boys, but my excuse is that this city is supposed to be hot at present). I particularly admire Fuel for their defiant quest to take graphic design beyond puns, beyond styles. Ironically, along the way they have started to produce a body of work (clients include Levi Strauss and MTV) that is distinctly hip and identifiably Fuel-like. In Pure Fuel they bring in numerous collaborators to create a collage of photography and texts exploring such concepts as "Spoilt," "Chaos" and "Leisure:' The typography is disarmingly understated, but is always sensi- tively handled...often ironic, always intimating other experiences. Another fascinating book, in a more traditionally informative mode, is Per Mollerup's MARKS OF EXCELLENCE: THE HISTORY AND TAXONOMY OF TRADEMARKS (Phaidon). This veteran Danish designer and writer has assembled an exhaustive collection of marks, and backed up the images with some highly informative text. This is an excellent book whatever your philosophical position in design. These marks and the accompanying brief notes are like haikus on visual culture. They don't explain a great deal, but they intimate much. Finally, I should be accountable for my tips by saying what I am reading at the moment. Well, a couple of my own books: SECOND SIGHT, which is a new book I am just finishing with David Carson, and REMIX, a savage reedit of my earlier 20TH CENTURY TYPE. In both of these I notice how little text you need to make a point (in Remix I find myself chopping down text not to dumb down, but to make more intelligible the story of typography). As with that copy of Finnegan'S Wake, words say a great deal without being read faithfully, in a line, from beginning to end (and, of course, there famously isn't an end in Finnegan's Wake). And yet having said that, for my own deviant pleasure I am reading the highly theoretical and highly personal and really rather long-winded THE CULTURE OF THE COPY by Hillel Schwartz (Zone Books). Designed by Bruce Mau's studio, this chunky number is an appealing object. But more to the point is that its curious quest to inquire into "striking likenesses, unreasonable facsimiles" provides much to reflect on in relation to typography and type design. Why do we go to so much trouble to explore and replicate the familiar? What are we looking for, when we don't seem to be looking for anything new? The book operates on many levels for many different needs in the reader, but I think any designer might learn something from it before tweaking another font. If only how painful it is to read for a longtime when the type size is a point too small for comfort. LEWIS BLACKWELL IS THE AUTHOR, WITH NEVILLE BRODY, OF G1 SUBJ: CONTEMIP, DESIGN, GRAPHIC (LAURENCE KING/RIZZOLI). HE IS ALSO THE AUTHOR OF THE END OF PRINT AND THE FORTHCOMING SECOND SIGHT WITH DAVID CARSON (LAURENCE KING/MONACELLI) AND REMIX: 20TH CENTURY TYPE (LAURENCE KING). HE IS EDITOR/PUBLISHER OF CREATIVE REVIEW MAGAZINE. Corrections In the Spring issue on page 6, we inadvertently misidentified Frank Martinez. He is with the U.S. Patent and Trademark Office. Simon Schama is the author who wrote so eloquently on The Netherlands. In the article on Sub Pop, Jesse Reyes' name was misspelled. was always clear and provocative. Curiously his pronouncements fluctuated between claiming design was
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