Fingerprint: The Art of Using Hand-Made Elements in Graphic Design Review

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Fingerprint: The Art of Using Hand-Made Elements in Graphic Design ReviewSimply put, this book is an inspirational visual feast. If you're longing to incorporate the handmade in your work or are simply looking for something to kickstart your creative juices, FINGERPRINT is the perfect addition to your design library. Forget the slick and the mass-produced and dive headfirst into pages full of beautiful photography, innovative design, and an accessible layout.
Put together by Chen Design Associates, an award-winning San Francisco firm, and published under the HOW Books label, FINGERPRINT makes a good first impression with a simple but tactile cover that invites you to pick the book up and turn it over in your hands before cracking it open. The book has a good weight, as do the pages, though the paper finish seems to be prone to marking against hard edges. Inside, the text is divided into an Introduction, Foreword, seven chapters (Lettering, Illustration, Mixed Messages, Grand Finale, Objet D'Art, Indelible Impressions, and (a very brief) Gallery), and a Directory of Contributors which includes the contact information for the designers and firms featured within. Scattered throughout the text are five essays from a variety of designers including Jim Sherraden of Hatch Show Print and Martin Venezky. Some of these are more interesting than others (Ross MacDonald's "Hollywood Handmade" provides insight into the business of creating authentic design-related props for television and film), but all are worth reading.
The design of the book itself is excellent and conveys FINGERPRINT's concept without going overboard. The type is restrained and there is a clear hierarchy within the descriptions on each page, but don't think for a moment that it's boring. On the contrary, due to interesting typefaces and structure, the descriptions in FINGERPRINT are some of the most readable of any design book save for one failing: on some pages where the displayed works are vertical, the descriptions rotate 90 degrees counter-clockwise, necessitating a rotation of the book as well if you want to read the text. However, this is a small qualm when weighed against the book's many well-executed details.
The work itself - the real meat of FINGERPRINT - is generally outstanding. One might think that a majority of "handmade" design would feel the same, but the pieces showcased in the book display a range of aesthetics and execution, and there's something to be learned from almost every one. Almost all of the descriptions include the materials used for the designs, so it's possible to get an idea of the effort that goes into each piece and perhaps even provides a jumping-off point for those interested in exploring a similar style. (And in some cases the design transcends the media so much so that you'll be left scratching your head, saying "They did that with WHAT?")
There's a good representation of formats within FINGERPRINT. Featured designs range from stationery suites to posters to promotional mailers to packaging and beyond, so there's something for everyone. And the nature of the work is such that you'll find yourself thumbing through the pages again and again just to notice a plethora of new details to digest.
FINGERPRINT is more than just eye candy, though - it's motivation. Inspiration. If you don't like getting your hands dirty, then maybe this book isn't for you. But if you love the hands-on approach, your fingers will be itching to pick up a pen or a pencil and just draw (or paint, or collage, or...) after you've skimmed through the book. See, absorb, and incorporate. Go create some fresh design.
Prior to picking FINGERPRINT up at the store, I'd neither heard nor seen anything about it and figured it was simply an overlooked design gem. But it won't be a secret much longer because the newest issue of HOW (naturally, given the book's publisher) has a feature on it and includes some of the pieces from the book. Handmade is back, and it's beautiful. Do yourself and your brain a favor and pick this book up!Fingerprint: The Art of Using Hand-Made Elements in Graphic Design OverviewA new approach to design is gaining momentum as more and more designers seek to combine the power of the computer with the personal qualities of handmade elements. "Fingerprint" offers insight into this fusion of the digital and the hand-wrought, with dozens of examples of some of the best work in the industry, including design that includes hand-lettering elements and design that incorporates collage. Featuring essays from some of the design community's leading thinkers, this book is an indispensable look at the future of design.

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J.C. Leyendecker Review

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J.C. Leyendecker ReviewLike many other reviewers, I have been waiting for a book like this for years. And, like them, I am both thrilled and disappointed. While this is one of the most comprehensive collections of Leyendecker illustrations ever to see print, and worth the price of the book alone, the text is severely wanting. The book is full of errors, both minor and major, and has an antagonistic tone to boot.
An example of the former is the claim that the actor Neil Hamilton, "appeared AS `Tarzan the Ape Man' (1934)." This, of course, should read that he appeared IN "Tarzan the Ape Man" (1932). ("Tarzan and His Mate," in which Hamilton also appeared, again not as Tarzan, was released in `34).
Examples of the later would be any mention of other illustrators, about whom they usually have some snarky comment to make. A particular amount of vitriol is spewed on to Norman Rockwell, whom they portray as the most contemptible of human beings.
This is frankly a disturbing trend in a lot of books. (witness the James Bama book "American Realist" and "Excess- the art of Michael Golden" for other examples) It seems that it is no longer enough to present an artist works and plead his case, but one must also denigrate and dismiss that artist contemporaries and rivals. If one wishes to bash artist such as Cole Phillips and Rockwell, and Leyendecker's brother and sister too boot, there are plenty of other places to do so. Is it really necessary to do such in a Leyendecker biography?
Also be aware that the authors lay much of the 20th centuries iconography at Leyendecker's feet. They exaggeratingly claim that J.C. is responsible for everything from giving flowers to mom on mother day, playing football on Thanksgiving, inspiring the novel "the Great Gatsby," and much more. It's one thing to laud your heroes accomplishments, quite another to exaggerate them.
By all means, buy the book. But do so for the pretty pictures, not the text.J.C. Leyendecker OverviewOne of the most prolific and successful artists of the Golden Age of American Illustration, J. C. Leyendecker captivated audiences throughout the first half of the 20th century. Leyendecker is best known for his creation of the archetype of the fashionable American male with his advertisements for Arrow Collar. These images sold to an eager public the idea of a glamorous lifestyle, the bedrock upon which modern advertising was built. He also was the creator instantly recognizable icons, such as the New Year's baby and Santa Claus, that are to this day an integral part of the lexicon of Americana and was commissioned to paint more Saturday Evening Post covers than any other artist. Leyendecker lived for most of his adult life with Charles Beach, the Arrow Collar Man, on whom the stylish men in his artwork were modeled. The first book about the artist in more than 30 years, J. C. Leyendecker features his masterworks, rare paintings, studies, and other artwork, including the 322 covers he did for the Post. With a revealing text that delves into both his artistic evolution and personal life, J. C. Leyendecker restores this iconic image maker's rightful position in the pantheon of great American artists.


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