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Editorial, concept, idea ## Object ## Structure ## Navigation ## Typography ## Layout, grid ## Cover ## Visual language ## The next chapter ## Designer profiles.

grafische vormgeving --- grafisch ontwerp --- grafisch design --- editorial design --- boeken --- magazines --- tijdschriften --- kranten --- eenentwintigste eeuw --- 766.023 --- Graphics industry --- digitale ontwerptechnieken --- ontwerpers --- media-industrie

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Ruscha, Edward --- kunst --- twintigste eeuw --- Verenigde Staten --- Ruscha Ed --- schilderkunst --- grafiek --- fotografie --- boeken --- artists' books --- kunstenaarsboeken --- conceptuele kunst --- concept art --- pop art --- 766.023 --- 7.071 RUSCHa --- Exhibitions

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Bookbinding --- Bookbinding industry --- grafisch ontwerp --- grafisch design --- grafische vormgeving --- boeken --- boekomslagen --- boekontwerp --- 766.023 --- Bibliopegy --- Binding of books --- Print finishing processes --- Book industries and trade --- Technique --- Book covers

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Book history --- Graphics industry --- Baudin, Fernand --- Lettering. --- Penmanship. --- Type and type-founding. --- Fernand, Baudin --- Typografen --- 655.262 <493> --- 655.24 <493> --- 655.262 BAUDIN, FERNAND --- grafische vormgeving --- grafisch design --- grafisch ontwerp --- boeken --- boekontwerp --- Fernand Baudin prijs --- België --- eenentwintigste eeuw --- 766.023 --- Boekdesign--algemeen--België --- Lettertypes. Lettersoorten--algemeen - niet verwarren met schrift; z.o. {003} en {681.615}--België --- Boekdesign--BAUDIN, FERNAND --- Typograaf

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When first introduced, mass-market paperbacks sparked a publishing revolution. Critics despised them as lowbrow diversions, which did not impact their popularity. But the business model barely worked. Prices were so low, the books needed to sell in incredible numbers to make a profit. An industry norm emerged to pump up sales, whereby most of the novels were wrapped with images of women in provocative settings and states of undress. Many readers were duly provoked to purchase, but this recurring allure eventually lost its sway. Simultaneously, an opposing theme of essentialism was asserting itself in grocery stores. The No Frills brand presented goods in unadorned packaging. It was as if the very intention to sell had been excised from the label's straightforward design and terse declaration of contents--SALAD DRESSING, FRUIT PRESERVES, LAUNDRY DETERGENT. No Frills stripped the cloying appeal of traditional marketing and replaced it with a candid offering of canned beets and corned beef, pure and plain. Inspired by this direct approach, Terry Bisson and art director Frank Kozelek developed the No-Frills book series in the early 1980s. Signature Strengths, conceived and edited by Boy Vereecken, reproduces in full the four books published in the series--Western, Mystery, Science Fiction, and Romance--as well as critical evaluations of the fascinating experimental endeavor in genre writing and mass-market publishing.

Art --- publishing --- mass media --- onderzoek in de kunsten --- Paperbacks --- Publishers and publishing --- grafisch ontwerp --- paperbacks --- pocketboeken --- pockets --- boekontwerp --- boekdesign --- boeken --- grafische vormgeving --- Vereecken Boy --- 766.071 VEREECKEN --- 766.023 --- grafisch design --- Book publishing --- Books --- Book industries and trade --- Booksellers and bookselling --- Bibliography --- Paper backs --- Paper-books --- Paper-bounds --- Paper-covers --- Paperback books --- Paperbooks --- Paperbounds --- Soft-covers --- Softbound books --- Softcovers --- Publishing --- Paperback editions