Retrofonts will do more than inspire you – the enclosed CD that contains 222 copyright-free fonts will allow you to use these fonts in any way you choose, making this book an invaluable tool for anyone interested in graphic design and typography.

Taken individually, Fénéon’s trenchant, and often bizarre, reports are enigmatic and fragmentary, but taken as a whole they compose a detailed portrait of life in France at the turn of the last century. Fénéon’s news items are populated with opium addicts, prostitutes, drunks, those flattened by trains and carriages, inept and angry thieves, protestors, and simpletons. Neborsky’s artwork brings them and their exploits to life in colorfully deranged glory.

Revelations & the Stupid Creatures is the first in what will be an ongoing series of artists, working in all mediums, responding to the Book of Revelation, the next of which will be Revelations and Dog by Michael Caines.

About John Murphy and Liana Finck

John Murphy is a plush toy artist from Asheville, North Carolina. For 7 years he made plush toys for customers all over the world. To date he’s written and co written 5 books about plush toys, including the bestselling Stupid Sock Creatures and stuffed toy how-to book Closet Monsters, which be released in October of 2010. He was recently interviewed in the plush art trade magazine Stuffed and is a featured designer in Green Design (Mark Batty Publisher) and Dot Dot Dash (Gestalten Books, 2006), and Art Doll Adventures (Li Hertzi, 2007). He currently works for a wilderness therapy camp for at risk teens, and will be taking a residency at the John Michael Kohler Arts Center in Wisconsin this September. Find out more about John and his work at www.stupidcreatures.com.

Liana Finck is a graphic novelist and designer based in New York. She graduated from Cooper Union College and is a recipient of a Fulbright Fellowship. Her first graphic novel, Phèdre: A Comic Tragedy, can be downloaded for free from Lulu.com.

With luscious full-color reproductions of prints from the Middle Ages through today, author and printing history expert Roderick Cave tracks the developments of this process over time, while also focusing on the historical details of the more than 200 illustrations, where they first appeared and the people responsible for them.

With over 50 contributors, including Dawud Anyabwile, Eric Battle, Kenjji Marshall, Afua Richardson, Larry Stroman, Rob Stull, Lance Tooks, and many more, the cross section of comics genres represented includes manga, superheroes, humor, history, science fiction and fantasy.

As Keith Knight writes in his foreword, “Cartoonists are like jazz musicians. Everyone has their own style, their own influences, their own instruments and techniques they work with. There are many on display in this book. Appreciate and embrace the diversity.”

Dubbed by the New York Times as an “anti-consumerist Zorro with a razor blade, a sense of humor and a talent for collage,” Poster Boy deftly rearranges the text and images of subway posters, reclaiming walls from the ad industry one slice of vinyl at a time. This artful and clever repurposing of advertising has been hailed by the Guardian UK as “witty, web-savvy and economical… the only materials it requires are chutzpah, imagination and a 50-cent blade,” and, though the work exists only in New York City, Poster Boy has garnered a worldwide following.

Poster Boy: The War of Art is the first book to feature Poster Boy’s renegade mashups—corporate copy slashed and re-pasted as sharp, playful puns and turns of phrase rich with innuendo and political punch. Under the edge of Poster Boy’s blade, beautiful models turn ghastly and iconic spokespeople become mouthpieces for guerrilla slogans.

Poster Boy proves no ad is safe from art’s incisive interventions.

Abbink and Anderson have compiled this book as a reaction to the fact that so much of today’s typography is conceived via screens. Like Gutenberg and generations of typeface designers who worked with physically shaped lead type the featured artists in 3D Typography return the literal heft to letters.

Contributors include Amandine Alessandra, Thorbjørn Ankerstjerne, asa~ama, Autobahn, Huda Abdul Aziz, Andrew Byrom, Rhett Dashwood, Keetra Dean Dixon, Oded Ezer, Hikaru Furuhashi, Anna Garforth, Keith Hancox, HandMadeFont, Fons Hickmann, Karrie Jacobs, Gyöngy Laky, Amitis Pahlevan, Mike Perry, Clotilde Olyff, Miguel Ramirez, Camilo Rojas, Stefan Sagmeister, Dan Tobin Smith, Typeworkshop, Thijs Verbeek, Thomas Voorn and many, many more. For the full list of contributors and to learn more about the book visit the official website.

These interviews and photographs document how artists famed and anonymous take advantage of the accessibility and practicality of nametag stickers. Cooper’s camera has captured the artistry and audacity of these artists and their distinctive tags.

Brothers Edward and John Harrison present these quirky and cute figures in all of their colorful plastic glory, divided into thematic chapters: Hero, Legend, Spokesperson, TV Star, Entertainer, Chef, Doctor, Meeter and Greeter. The photographs are accompanied by the stories that have resulted in these creations, ranging from Japanese myths to corporate identities and sporting fan fanaticism. Keep up with the authors at their official companion website: http://idleidol.net/

Pre-order the book on Amazon.com here!

This city-sanctioned urban art has inspired manhole cover enthusiasts to travel across Japan in search of these unique designs. With numerous colorful photographs organized by region, is the first book to document this distinctive aspect of contemporary Japanese visual culture.