Phyllida Barlow: Quarry Book




This is Phyllida Barlow: quarry, a book that I have been designing in collaboartion with the artist and the team at Jupiter Artland. Commissioned by Nicky and Robert Wilson for the tenth anniversary of Jupiter Artland, quarry brings together three monumental sculptural objects made from concrete and steel, each with Barlow’s signature textural surfaces, and located within the grounds of Jupiter Artland, just outside Edinburgh. The book documents the gestation of quarry and includes texts by the artist and Jupiter Artland director, Nicky Wilson, a contextualising essay by Jo Applin, and photographs by Allan Pollok-Morris, Anna Kunst, and Thierry Bal. The book also features Phyllida Barlow’s original working drawings for quarry.

The book has 80 pages and is printed on Munken Lynx Smooth 150gsm; the cover is quarter bound with a foil-blocked spine of blue Brillianta cloth with black head and tail bands with endpapers of Colorplan Real Grey. The book was printed by Gomer Press in Llandysul, Wales.

quarry is the first publication in Jupiter Arland’s Artist Commission series, along with Self-Fulfilling-Ego by Marco Giordano. The book can be purchased from the Jupiter Artland website.



Phyllida Barlow: Quarry Book Cover



Here is another taster for Phyllida Barlow: quarry, a book that I have been designing with the artist and the team at Jupiter Artland. Commissioned by Nicky and Robert Wilson for the tenth anniversary of Jupiter Artland, quarry brings together three sculptural objects made from concrete and steel, each with Barlow’s signature textural surfaces. The text pages of the book are printed on Munken Lynx Smooth 150gsm, and the cover is quarter bound with a foil-blocked spine of blue Brillianta cloth with black head and tail bands and endpapers of Colorplan Real Grey. Here is a detail of the cover proof with a sample of Brillianta Blue 4014. The book has arrived from the printers and will be launched tonight when quarry will also be revealed to the public for the first time.

Find out more about quarry and Jupiter Artland here.

Phyllida Barlow: Quarry Running Sheets




Here is a sneak preview of Phyllida Barlow: quarry, a book that I have been designing with the artist and the team at Jupiter Artland. Nestled in the woods of Jupiter Artland, quarry brings together three sculptural objects made from concrete and steel, each with Barlow’s signature textural surfaces. Quarry has been commissioned by Nicky and Robert Wilson for the tenth anniversary of Jupiter Artland, a sculpure park located in the 100 acre estate of Bonnington House, a Jacobean manor house, 25 minutes from Edinburgh city centre. It has been a pleasure to work on this publication which accompanies Phyllida Barlow’s first permanent outdoor commission; it includes an essay by Jo Applin and texts by Nicky Wilson and Phyllida Barlow, alongside a series of wonderful photographs that document the gestation of this remarkable work, by Allan Pollok-Morris, Anna Kunst, and Thierry Bal. The book is being printed by Gomer Press in Llandysul, west Wales: the book has been proofed and printed, and, ahead of binding, Gomer have sent me these running sheets of the text pages for a final check. The text pages are printed on Munken Lynx Smooth 150gsm, and the cover will be quarter bound with a foil-blocked spine of blue Brillianta cloth with black head and tail bands and endpapers of Colorplan Real Grey. I’m very much looking forward to seeing the finished book – and seeing Phyllida's work at Jupiter Artland!










Find out more about quarry and Jupiter Artland here.

Rhythm & Colour Book Cover Mock-up







It's been a busy week with a lot of waiting around for things to come back from the printers. Allander brought round a test copy of Rhythm & Colour to check that the binding is correct. The book is being bound by Charles Letts & Co. in Dalkeith, a company famous for their diaries but also a specialist binder and finisher. The text pages look fantastic: I am delighted with the paper, the print quality, and the flexibility of the binding – the book lays flat when opened. We made some adjustments to the cover, after which Letts made another test copy, which I signed off. I’m very happy with it.

The dust jacket has not worked out as I expected: in order to have the UV spot gloss varnish that I originally planned, the dust jacket – which is printed on 150gsm Olin Regular Cream, an uncoated paper – needs to be sealed: the anti-scuff seal did not work and took away from the tactile quality of the paper. Luckily, last week, Allander had sent me some running sheets of the dust jacket to check the colour balance. I trimmed one of these sheets to size and wrapped it around the test copy of the book. I was much happier with the cover without a sealant or coating and although that means we cannot have a spot varnish as I planned, I think we gain more from keeping the natural quality of the paper that maintains the connection to the text pages which are printed on the same stock. Allander are currently reprinting the dust jacket; once we have this, Letts will run some tests as they are concerned that the dust jacket may crack when folded. I've run some ʻtests’ here with the running sheets and, so far, no cracks, so fingers crossed that we are able to do this.

Meanwhile, Rees & Co., the cultural communications agency that are promoting the book, have been pushing ahead with the press campaign, including a small article in the June issue of Harper’s Bazaar. I am also delighted to hear that the book will be distributed by Cornerhouse Publications in Manchester.




Rhythm & Colour Dust Jacket Proof








Here is the proof of the dust jacket for Rhythm & Colour. The book is being printed by Allander in Edinburgh and the dust jacket will be printed on 150gsm Olin Regular Cream with the title, author’s name, Golden Hare logo, and the images highlighted in a spot UV gloss varnish. The dust jacket will be wrapped around a cover of Keaycolor Sombre Grey 120gsm with the title, author’s name, and the Golden Hare logo printed in black. The endpapers will be printed to match the background colour of the dust jacket and finished with black head and tail bands.

Very much looking forward to seeing the finished book!





Rhythm & Colour Cover




This is the cover of Rhythm & Colour, a book that I have been working on for almost a year and which finally went to print a few weeks ago. It’s a big book, 624 pages, written by art historian Richard Emerson and is the inaugral title to be published by Golden Hare, a new publisher based in Edinburgh, established by Mark Jones, formerly Director of the V&A Museum. The book is the first examination of the lives of three extraordinary women – Hélène Vanel, Loïs Hutton and Margaret Morris. With the use of recently rediscovered letters, journals and memoirs, as well as a number of previously unpublished photographs, Richard Emerson has uncovered the story of these three dancers of the avant-garde, spanning nine decades and following their journeys from the intellectual circles of London to Wales, Paris and the French Riviera. It has been a pleasure working on the book, learning about these fantastic women, and a delight to work with such a rich archive of wonderful images.

Glasgow International Books




Last week saw the opening days of Glasgow International 2018 during which, the monograph about Carol Rhodes, published by Skira and designed by myself, was launched at the Glasgow School of Art accompanied by a talk about Carol’s work. The book was given a great reception with plenty of copies sold, and I received lots of positive feedback about the design and production. After the launch, I went to an exhibition of works by Serge Charchoune at Andrew Mummery’s space at Oxford House, where I was pleased to see another stack of Carol’s books alongside the Serge Charchoune book that I designed in 2013 for the Talbot Rice Gallery/Smart Art Gallery, written by Merlin James. This new Serge Charchoune exhibition is curated by Andrew Mummery in collaboration with Merlin James and 42 Carlton Place, and focusses on works from the 1930s and the 1960s by the Franco-Russian artist. A new print by Carol Rhodes, based on the painting that appears on the cover of the Skira monograph, can also be viewed at the space. More information about the exhibition here.

Rhythm & Colour Dummy






This is the dummy for Rhythm & Colour, a book that I have been working on for almost a year and which is finally going to print next week. As you can see, it’s a big book, 624 pages, written by art historian Richard Emerson and is the inaugral title to be published by Golden Hare, a new publisher based in Edinburgh, established by Mark Jones, formerly Director of the V&A Museum. The book will be published in June 2018, and is the first examination of the lives of three extraordinary women – Hélène Vanel, Loïs Hutton and Margaret Morris. With the use of recently rediscovered letters, journals and memoirs, as well as a number of previously unpublished photographs, Richard Emerson has uncovered the story of these three dancers of the avant-garde, spanning nine decades and following their journeys from the intellectual circles of London to Wales, Paris and the French Riviera. It has been a pleasure working on the book, learning about these fantastic women, and a delight to work with such a rich archive of wonderful images.

The book will be printed full colour throughout on 100gsm Olin Regular Cream with a cover of Keaycolor Sombre Grey printed in black only; there will also be a full colour dustjacket printed on Olin Regular Cream 150gsm with a UV spot varnish. I am passing on press with the publisher at Allander on Tuesday – looking forward to seeing the book come alive!


Carol Rhodes Monograph Cover




I am delighted to have designed a major new monograph on the work of Carol Rhodes published by Skira Editore. I was working on the book throughout 2017 and the book went to print in early 2018. This is the cover of the book, with a detail of Rhodes’s 2009 painting, Open Ground and Mudflats.

I first saw Carol Rhodes’ paintings in an exhibition titled Construction Site at Glasgow International in 2016: I was intrigued by the scale of her paintings, which, despite taking in panoramic aerial views, are often much smaller and intimate than they might appear in reproduction; the exhibition also revealed the dialogue between her preparatory drawings and the finished paintings, a theme that has been drawn out in the book. It has been a pleasure working with images of Carol’s paintings and drawings, and, once again, a surprise to see the scale of the actual work when I made a visit to the house / gallery / studio she shares with the painter Merlin James, on the banks of the Clyde in Glasgow. It's been inspiring to learn about Carol's engagement with, and commitment to, the life and culture of the city.

This new monograph reproduces over forty of her paintings and, for the first time, a significant number of drawings. Specially commissioned texts by curator Lynda Morris and art critic Moira Jeffrey discuss Rhodes’s work in the context of her biography and cultural background, and examine its place and importance in contemporary art.

The monograph also includes an interview with Rhodes by consultant and former gallerist Andrew Mummery. Rhodes’s thoughts about her art have rarely appeared in print before and their inclusion here will be especially valuable. As well as the full-page plates, archival and documentary photographs accompany the texts, chronology, exhibition history and bibliography sections. The book provides the most comprehensive overview of Rhodes’s work yet available, and will be a standard reference work on the artist.

The book will be launched in London on 11 April with an exhibition of selected paintings and drawings at Charles Asprey, 130 Tyers Street, SE11 5HS. Click here to find out more.

During Glasgow International 2018, there will be a second launch, at The Glasgow School of Art, with a presentation on the work of Carol Rhodes by Kate Davis, Moira Jeffrey, Andrew Mummery and Richard Walker, introduced and chaired by Karen Roulstone, Head of Painting and Printmaking, the GSA. Click here to find out more.

Happy Easter!



Happy Easter! Here are some placecards that I made for our Easter Sunday lunch. The Easter Bunny is a very scary creature and you don't have to look very far on the internet to find some frightening examples of him (or, in the spirit of Stephen King, should that be 'it'?).

Voyage Poster




Garry Fabian Miller VOYAGE Poster

Designed by James Brook for Dovecot Gallery, 2018

Posters | Six designs | 290 x 205 mm & 850 x 620 mm

One of a set of six posters that I designed for Garry Fabian Miller VOYAGE, Dovecot Gallery’s latest exhibition, which showcases a new Garry Fabian Miller tapestry created in collaboration with Dovecot Tapestry Studio. The tapestry, Voyage into the deepest, darkest blue is not a direct copy of one of Fabian Miller’s prints – instead the wool blends were developed to make a new image based on the amalgamation of two photographs. The exhibition looks in detail at the processes, from the perception and selection of colour in tapestry to recent changes in digital photographic printing, that have had a major impact on Fabian Miller’s work. The other five posters that I have designed show – in a fascinating series of photographs taken by Kenneth Gray – the tapestry being woven at Dovecot with the team of weavers hard at work.

I have also designed an invitation card for the exhibition using the same type treatment with a full bleed image of the tapestry on the loom that has been printed by Allander, Edinburgh on 300gsm Vision Superior. The type treatment has also been used by Dovecot for vinyl graphics in the exhibition.

This is the second poster that I have designed for Garry Fabian Miller at Dovecot: in 2015, I designed a poster and invitation card for the exhibition, DWELLING. In the treatment of type, this latest poster carries echoes of the first poster (as suggested in the brief from Dovecot) to create a link between the two exhibitions – though type enthusiasts will spot that the DWELLING poster is set in Calibri while VOYAGE is set in Dovecot's ‘official’ typeface, Whitney. The DWELLING Poster can be seen here.

Garry Fabian Miller VOYAGE continues at Dovecot until 7 May 2018.

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