New
· Brand books -- Make Believe
(1) Make Believe
(2) Dark Art
(3) The Story Of Story
· Christmas card -- Applied Works
· Identity & stationery -- Aspect
· Enough storybook -- Make Believe
· Identity & stationery -- Something Else
Magazines
· The Designer -- C S D
Issue #14
Issue #15
Issue #16
Issue #17
Issue #18
Issue #19
Issue #20
Issue #21
Issue #22
Issue #23
Issue #24
Issue #25
Issue #26
Exhibition Design
· On The Threshold -- V&A + RIBA Architecture Partnership
Books
· Monographics Series -- Laurence King
(1) Kyle Cooper
(2) Chip Kidd
(3) H.N. Werkman
(4) Chris Ware
· American Modernism, Graphic Design 1920-1960 -- Laurence King
· The Carer's Cookbook (with Moving Brands) -- Draycott Nursing
· Aboriginal Art (with Phil Baines) -- Phaidon Press
Print
· The Plot -- Helen Ellery
· 10 Unity Street (with Zoë Bather) -- Carrot
· L'École (With Zoë Bather) -- Carrot
· Annual Review 2004 -- C S D
· Annual Review 2005 -- C S D
· On The Threshold invite -- V&A + RIBA Architecture Partnership
· S&AC (with Moving Brands)
· Buyerlogical Identity -- Sasha Bruce
· Fashion Awards -- C S D
· Student Awards -- C S D
· Periodic Table of the Elements (with Applied Works) -- AstraZeneca
· See You Next Tuesday -- Helen Ellery
· How I Write: The Secret Lives of Authors -- Rizzoli/Dan Crowe
· Business Card -- Eamonn McCabe
· Design Typography A5 mailer 2005
· Design Typography A5 mailer 2007
· Outside Inside -- Helen Ellery
· Granite 2006 Calendar -- Granite Colour
· Twelve Short Walks -- Paragon Press
· Turntable -- The Roundhouse
The Cat's Pyjamas
· Stuart Davis Catalogue by unknown designer, 1971
· Fernand Léger Catalogue by unknown designer, 1956
· Record Sleeve by Reid Miles, 1954
· Annual by Robert M Smith, 1962
Books
• American Modernism -- Laurence King
By R. Roger Remington
280 x 215mm/192 pages
American Modernism is the third book we designed for Laurence King Publishing. As with the Monographics series, designing a book on design -- for an audience of designers -- is never easy, as a design retrospective for a modern audience requires recognition of the era in question, the 1920s, and acknowledgement of modern design practice.
I decided on two key early 20th Century typefaces, a German Futura and an American New Caledonia, to reflect the book's content -- the arrival and impact of European Modernism into USA in the 1920s.
A 6-column grid harnessed the variety of different design styles contained within; solid blocks of colour overlaid with black and white typography and key illustrations provided strong chapter openers.
The book is co-published by Yale University Press in the USA.