When you work with someone on a regular basis you tend to get to know them well. You tell each other stories, you share aspects of your life and you get to know their working nuances intimately. But just recently I’ve been spending time with my work colleague, friend and ex-tutor Russell Walker a lot more than I would normally outside of typical ‘office’ working hours. This is because Russell Walker, designer, illustrator and educator of some 30+ years has just published a book of his creative and educational life called Scribble, and I’ve been immersing myself in it.
I’ve written here and elsewhere before about how graphic design is overlooked in favour of other arts disciplines. I’ve come to expect this, so when Will Gompertz—the BBC’s Arts Correspondent—recorded a piece for the Six O’Clock News this week about the Design of the Year Awards at The Design Museum, I wasn’t surprised that the graphic design nominations weren’t mentioned at all.
You could argue the need for yet another publication about punk. The ‘1976 and all that’ narrative has been told so often now that it reads like a dull pantomime with all original relevance of the story bled dry through over telling. There have been some publications in the last few years that have gone beyond this nostalgic rehash, such as 2012’s excellent Punk: An Aesthetic, but recently published The Truth of Revolution, Brother: An Exploration of Punk Philosophy (Situation Press) focusses, as the title says, on an area of the punk phenomenon that has largely been ignored.
There has been a surge of typography publications dropping through my letterbox recently. They are all very different in their own ways, but one thing unites them all over and above the excellent content, and that is the very high production values. Unfortunately my poor photographic skills won’t do any of them justice, but hopefully will give some indication that these are objects of desire.
When I was a design student there didn’t seem to be an abundance of books about graphic design. There were obviously some, such as recommended canons on the discipline like Meggs’ History of Graphic Design, but they were few and far between. And none, to my eyes, seemed particularly contemporary in their approach to relating to the subject.