Nineteen Eighty-Four, Twenty Thirteen style
Posted: 09/01/2013 Filed under: Books, Censorship, Design | Tags: David Pearson, George Orwell, Great Orwell, Nineteen Eighty-Four, Penguin Books 1 Comment
A little over a year ago, I wrote about the Art Of Penguin Science Fiction website and posted some of my favourite Penguin sci-fi book covers, including the 1962 edition of George Orwell’s Nineteen Eighty-Four (see here). I’ve always been a fan of the traditional Penguin three-stripes design, so I love the look of the spanking new edition of Nineteen Eighty-Four, for which graphics guru David Pearson has taken the original 1949 cover of the book, embossed the title and Orwell’s name, and then censored them with black blocks of ink. It’s very, well, Orwellian. It’s very striking too.
This latest edition of Nineteen Eighty-Four is part of Penguin’s “Great Orwell” series. You can read more about David Pearson’s designs for this and the other books in the series – Animal Farm, Homage To Catalonia, Down And Out In Paris And London, and Politics And The English Language – at the Creative Review blog.
The day the web went black
Posted: 18/01/2012 Filed under: Censorship | Tags: Boing Boing, PIPA, SOPA, Wikipedia 3 Comments
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Morrissey and the NME (part one)
Posted: 27/10/2011 Filed under: Censorship, Magazines, Music | Tags: Gala Ballroom, John Peel, Morrissey, NME, Norwich, The Smiths Leave a comment
Left: The Smiths on the cover of NME in February 1984 after being crowned Best New Artist in the paper’s annual Readers’ Poll. I went to see The Smiths at the Gala Ballroom in Norwich during the summer of 1983 after reading about them in the NME. I thought they were wet and limp, like a sweaty vicar’s handshake, and the singer was a right chump. Still, I met John Peel that night, so it wasn’t a complete waste of time. I gave John a copy of my fanzine and he insisted on paying me for it. I believe he bought me a drink as well.
Right: Morrissey on the cover of NME in November 2007. This is a great cover and I could bang on about it for ages, but I’ll do my best to keep this short. The most striking thing is that nice bit of underlining. You can’t beat a nice bit of underlining. The way the main photo is torn along the left side is good too. So is the red blob up in the top right corner. You can’t beat a nice red blob up in the top right corner. Not sure about how those words under Morrisey’s name have been tippexed out, though. That seems weird.
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