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Photo by Sam Moore<br />
John Hamilton<br />
Penguin Essentials Art Director<br />
20 Years of Penguin Essentials at Ditchling<br />
Museum of Art + Craft is a collection of 100<br />
book covers brought together by esteemed Art<br />
Director John Hamilton. The show runs until<br />
29th <strong>April</strong>, in partnership with their Elizabeth<br />
Friedlander exhibition that includes her ornate<br />
re-workings of the Penguin logo for the<br />
publisher’s 25th Anniversary.<br />
The Essentials were never intended as a formal<br />
body of work, says John, but reviewing them in<br />
curating the show has revealed something of a<br />
‘holding look’.<br />
The full collection of over 150 titles grew out of<br />
his idea to bring special editions of modern literary<br />
classics to a new generation of book buyers.<br />
They encapsulate the major overhaul John has led<br />
at Penguin since he joined twenty years ago - a<br />
period of change that offered the chance to throw<br />
away the design conventions of his predecessors.<br />
“When I started, they basically said: ‘you’ve got<br />
a free hand to do what you want,’” says John. “I<br />
looked at the backlist - Kerouac, Orwell - it was just<br />
mind-blowing. I thought, how do we sell this to a<br />
new young audience?”<br />
The answer was to pair famous titles with young,<br />
punky artists and designers whose work John found<br />
in magazines like ID, The Face and on album covers.<br />
A commission for design agency Intro off the<br />
back of their work for Primal Scream helped to<br />
consolidate the approach. “I thought, this is the way<br />
forward,” says John. “I sat down with my designers<br />
and said, ‘we’ve got to do this differently.’”<br />
The net was cast wider and wider, to include<br />
tattooists and street artists like Banksy and Cleon<br />
Peterson. “The internet,” says John, “for me, it was<br />
like a painter having four colours and then all of a<br />
sudden 200.”<br />
“I wanted to press buttons with a whole new<br />
audience, so we got Stanley Donwood when he was<br />
doing OK Computer, and Banksy…”<br />
The cover Banksy created for Nick Cave’s And<br />
the Ass Saw the Angel features a reworking of the<br />
Penguin logo exhaling flames that John just slipped<br />
through the eight-person approval process.<br />
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