Escolar Documentos
Profissional Documentos
Cultura Documentos
Phil Barnes
Wherever you go-take a
Penguin Book
PENGUIN
BY
DESIGN
Periguins, taken on the train
a Cover Story 1935-2005
Elevate and entertain
Pelicans, as you'd expect
Suit the adult intellect
Puffins, on the other hand
For the growing mind are planned
ALLEN LANE
an imprint of
Poster designed by William Grimmond (20 x 30 inches). PENGUIN BOOKS
Contents
For Jackie, another Penguin book
ALLEN LANE
A CIP catalogue record for this book is available from the British Library
isbn: 0-713-99839-3
Introduction increasing use of commissioned designers, photographers and illustrators,
and an embracing of new printing and typesetting techniques.
With a tiny number of notable exceptions - Anthony Burgess's A Clockwork The developments and changes seen in Penguin covers also reflect the in
Orange, for example, or John Berger's Ways of Seeing - very few paperback creasingly sophisticated attitudes of publishers and readers towards design
book covers have the same relationship with their contents as pop record questions. The dilemma from any publisher's point of view is whether to use
sleeves have with theirs. This is mainly because the first mass-market paper a cover to promote themselves or the individual title. Part of the fascination
backs were reprints of existing titles licensed from hardback publishers, and of studying book covers is in seeing these tensions played out in practice. For
any visual association with those books' previous existence was unwanted. Penguin, at first glance it would seem that in the 1930s the publisher's identity
As paperbacks evolved, so did ideas of how they should appear and how they was the most important aspect of the design; today it would be easy to sug
should reach their intended market. gest that on many titles the publisher is invisible. While there are elements
Penguin books, first published in 1935, were the first mass-market paper of truth in this - and reasons why it should be so - it fails to appreciate how
backs in Britain. The vision of Allen, John and Richard Lane, Penguin began many different titles and series there were in the early years (and how diverse
life as an imprint of The Bodley Head, republishing existing works of fiction they could be) and ignores the strong promotion of key series through con
and non-fiction. Within a year it was a separate company, and within another sistent styling today.
few years it was commissioning new writing, launching new series and re This book - inevitably part history, definitely part celebration, and by
defining the boundaries of publishing. The appearance of the classic Penguin design part critique - explores, through over 500 illustrations, the develop
cover design has so ingrained itself in the nation's consciousness that today, ments outlined above. Despite the number of covers presented, the most from
seventy years later, everybody thinks they know what a Penguin looks like. a single publisher ever reproduced in one volume, it is not a catalogue: the
This book will show that the story of Penguin cover design is far more inter Penguin list is just too long. It aims instead to outline the development of
esting and complicated than first impressions might suggest. the brand and the introduction of new series and imprints, to show the main
The story of the company's cover designs parallels the emergence of changes in design, and to suggest that Penguin covers are about far more than
graphic design as a profession. This discipline, combining strategic thinking, three coloured stripes and a dancing bird.
a strong visual sense, organizational ability and the craft skills to implement
them all, only developed slowly. Art schools had existed in Britain since 1858,
A note on book sizes
and members of the Arts and Crafts Movement of the mid to late nineteenth
century, such as William Morris and W. R. Lethaby, instigated a serious re
There are two standard book sizes within the paperback industry:
appraisal of the role of the artist in society generally. But in the 1920s and
1930s, art for industry usually meant 'illustration' for books or 'commercial A format: the original Penguin size, 7 Vg x 4 3/8 inches (181x111 mm).
art' - poster design - for companies such as the Underground Group or Shell B format: 71/2 x 5 inches (198 x 129 mm), first used by Penguin in 1945 for
Petroleum, who recognized the value of artists in creating memorable pub Russian Review and widely used over the last twenty years.
licity material. Aspects of typographic design and arrangement were studied
For certain series other sizes were introduced. For example, the first volumes
only as part of an apprenticeship, the length and content of which was con
of the Modern Painters series and Puffin Picture Books were approximately
trolled by the printing industry.
double Penguin (that is, two A-format books placed side by side).
Early Penguin cover design was rooted in the traditions of the print trade.
Occasionally, standard metric sizes such as A5 (210 x 148 mm) have been
But as the rebuilding of the economy after the Second World War brought
used, for example in the Pelican History of Art series.
about new working practices there was a merging of disciplines and changing
expectations, and Penguin designs changed to reflect these developments.
There started to be a separation of page design from cover design, an
8 Penguin by Design
I. Establishing Paperback Publishing, 1935-46
isPliiii
warehouse. This was the arrangement until a three-acre site was developed dividing line between Pelican and Penguin subject areas. The design of
in 1937 for both offices and warehouse on the Bath Road, Harmondsworth, Pelicans followed the horizontal stripes of the Penguins but with a pale
opposite what is now Heathrow Airport. For the next sixty years, Harmonds blue colour and a pelican logo drawn, like the penguin, by Edward Young.
worth was one of the most famous addresses in publishing; as early as 1945, The development of Penguin in the few years before the outbreak of war
the little pamphlet published to mark the company's tenth anniversary could was very much dependent on the personalities of the Lane brothers and those
say: they grew to trust. Of the Pelican advisors, Williams soon became the key
figure, and a secretary newly appointed in 1937, Eunice Frost, was before
It has become one of the prominent place names in bookish topography, just
Penguin Books Head Office, Bath long recognized as a superb editor and became the lynchpin of everything
as the Penguin book factory has become a landmark on the Bath Road. Plain
Road, Harmondsworth, Middlesex, that happened at Harmondsworth until her retirement in i960.
1940. men in motor-cars, passing it, say to each other, 'That's where the Penguin-
In November 1937 the publishing programme was further broadened William Emrys Williams
Books come from,' and know that they have thereby established their stake
with the launch of Penguin's first periodical (pp. 36-7), Penguin Parade, and
ne so insensible in the cultural life of their time.
the publication of the first Penguin Special, Edgar Mowrer's Germany Puts
ff suddenly, for In that initial period, and for some years subsequently, the basic design of the Clock Back (pp. 28-31). Penguin Parade was followed by several more
ing was wrong. the covers altered only in details. Edward Young was made the Production periodicals,6 but it was the Specials that made Penguin's expansion and its
Old Style No. 2. Manager and, as such, was responsible for typographic design. Penguin's print domination of the paperback market possible. These were topical publica
runs were becoming increasingly large, and several printers were used. This - tions that, in the eighteen months between their initiation and the outbreak of
r three weeks anc and the over-long hours everyone at the firm was working - explains some war, dealt mainly with the rapidly developing political issues of the time. The
sual in conseque of the subtle variations which occur on the cover designs. Inside, the text was urgency of the subject matter was reflected in the speed of production (four
5 in the bundle a originally set in Old Style No. z, but in 1937 - during the preparation of ini weeks from typescript to bookshop) and in their cover designs. The Specials
Times New Roman tial designs for the Penguin Shakespeare series - a change was made to Times featured headlines on the covers, many stripes, and different variants of the
Eunice Frost
New Roman, which had been introduced into The Times (and hence proven Gill Sans typeface used with almost Victorian abandon. The political Specials
for large runs on poor-quality paper) in 1932 and was made available to the sold 100,000 copies in a matter of weeks, compared to typical fiction sales of 6. Penguin Hansard, August 1940;
New Writing, November 1940;
trade in 1933. Young continued in the role of Production Manager until he around 40,000 in three or four months. Thus the series contributed hugely
Transatlantic, September 1943;
joined the Royal Naval Volunteer Reserve (RNVR) in 1940, when he was to the company's cashflow, and the sales figures in the pre-war years would New Biology, July 1945; Russian
succeeded by Bob Maynard and later John Overton. dictate what Penguin could achieve during the war itself. Review, October 1945; Science
News, June 1946; Film Review,
The list itself changed rapidly in the first eighteen months. In addition to Further new series appeared before the war: the short-lived Illustrated
August 1946; and Music Magazine,
the reprints, Lane introduced new series to broaden the appeal of Penguin. Classics were launched in May 1938 (pre-dating Penguin Classics proper February 1947.
Six Shakespeare plays appeared in April 1937, but more significant was the by eight years; pp. 24-5), the county-by-county Penguin Guides in March
appearance of the first non-fiction titles under the Pelican imprint a month 1939, and the hardbacked and illustrated King Penguins in November 1939
later (pp. 22-3). In 1936 Lane had asked George Bernard Shaw to let him (pp. 26-7 and 76-7). The Kings were initially edited by Elizabeth Senior,
Lieutenant Commander E. P. Young,
publish The Intelligent Woman's Guide to Socialism, Capitalism and but her role was taken over by Nikolaus Pevsner - author of Pioneers of
DSO, DSC, of HMS Storm. He was
the first RNVR officer to command Sovietism. Shaw responded positively and offered to write a new section ex Modern Design (1936) - after her death in an air raid in 1941. It marked the
an operational submarine in the plaining Bolshevism and Fascism. This was the first original writing published beginning of a long and fruitful relationship between Penguin and Pevsner,
Second World War.
by the company, and Lane found other 'intellectual' titles to sit alongside it and was one of several prominent associations between the company and
5. Ten Years of Penguins: lyjj- and create a non-fiction series. He appointed V. K. Krishna Menon as Fditor, respected academics.
I94S, P-12,-
with Peter Chalmers-Mitchell, H. L. Beales and W. E. Williams as advisors. War was eventually declared on 3 September 1939, and Penguin, while
As it developed, the list embraced writing on politics, economics, social sci also benefiting from happy accidents - such as the discovery that a battledress
Nikolaus Pevsner
ences, literature and the visual arts, and from the start there was no rigorous pocket could accommodate a Penguin as if made for it - was better placed
7. John Lane was killed in action than most other publishers to deal with wartime conditions. When paper and thirty-two pages of plates, sixteen in colour. While the series editor was
when his ship, HMS Avenger, was Sir Kenneth Clark, Director of the National Gallery, credit for much of the
rationing was introduced in 1940, allocations were calculated as a percentage
sunk on 15 November 1941.
of paper consumption in the twelve months before hostilities began. Penguin, organization and realization of the series lay with Eunice Frost. Somehow,
although handicapped by the restrictions, had a far greater allocation than good paper was obtained, paintings were tracked down for photography,
most other publishers. The typographic standards that were introduced at the and high standards of colour reproduction were achieved under incredibly
same time, specifying among other things the ratio of text area to page size, difficult circumstances.
could be easily met. And the key to everything was the personality of Allen In 1945, between VE Day and the dropping of the first atomic bomb.
Lane - who remained at Harmondsworth to run the firm after John and Penguin celebrated its tenth birthday with, among other events, the publica
Richard joined the RNVR and were called up - ready to seize every oppor tion of Ten Years of Penguins: 1935-1945 as a tribute to what had been
tunity to use Penguin Books as a positive force in the war effort while not achieved during that time. It was simply a piece of publicity, up-beat, confi Emile Victor Rieu
forgetting the good of the company. In this, it was a great advantage that dent, self-congratulatory - and rightly so. It was not its role to analyse the
Noel Carrington one of his most influential editors, W. E. Williams, had a leading role in the future of paperback publishing and how competition would affect Penguin.
Army Bureau of Current Affairs (ABCA), which backed many initiatives that Alongside celebrating its tenth anniversary, Penguin, with its leftish political
enabled Penguins to be distributed in large quantities to British and Allied leanings, was seen by some to have had a role in the Labour Party's euphoric
soldiers across the globe. Thousands of Penguins formed a large proportion post-war election victory, and, in another indication of their apparently in
of the books sent via the Services Central Book Club (SCBC) from 1940; exorable growth, in January 1946 a further new series appeared, the Penguin
in 1942 a Forces Book Club was set up to print editions of books to be dis Classics, the first title being E. V. Rieu's translation of Homer's Odyssey. As a
tributed through the army's own channels; and an EVT (educational and new generation of people grew up with Penguin as a central part of the coun
vocational training) and 'release' scheme was established in 1941, a Prisoner try's cultural life, its future seemed assured.
of War book scheme in 1943, and Services Editions in 1945.
As if that wasn't enough, new series were also being launched for the popu
lation at large, who were now without many other sources of entertainment.
Eleanor Graham
Penguin Poets first appeared in June 1941, Planning, Design and Art books
in April 1942, Handbooks in December and Reference in April 1943.
As thousands of city children faced wartime evacuation. Lane launched
Puffin Picture Books in December 1940 (following up a pre-war suggestion
by Noel Carrington, who then edited the series until the early 1960s; pp.
34-5), and a year later Puffin Story Books appeared, under the guidance of
Eleanor Graham. The picture books were noteworthy for their use of colour
printing from auto-lithography (in which the artist draws directly on to the
printing plate) and their larger format - approximately twice as wide but
the same height as a normal Penguin - while the standard-sized story books
featured illustrations from the outset.
A desire to give the public access to art at a time when the principal
London galleries had evacuated their collections to safer places resulted in
the Modern Painters series (pp. 42-3). The first four titles, Henry Moore,
Graham Sutherland, Duncan Grant and Paul Nash, appeared in April 1944.
Similar in size to Puffin Picture Books, they contained twelve pages of text
COMPLETE
~ {}
18 Penguin by Design /. Establishing Paperback Publishing, 1935-46 19
Lawrence of Arabia/Zionism
The horizontal grid: variations and Palestine, 1940.
Gertrude Hermes.]
times in the first twelve years. Versions COMPLEAT
included the lifelike but awkward ori ANGLER
ginal (pp. 18-19), a dancing penguin
BY IZAAK WALTON
(A Room of One's Own), and the 1939
version [The Gun), which is very close
to that used today.
A ROOM OF
The number of titles and the size of ONE'S OWN MURDER BY
their print runs meant that several print BURIAL
ers were needed to produce the books. VIRGINIA WOOLF
Even before wartime economies and STANLEY CASSON
labour shortages, staff were overworked SERVICES EDITION
and quality control of some of the typo
graphic details was lacking. Several titles
- including Lawrence of Arabia - use
other variations of the Gill Sans type
family; Siamese White uses the alterna
tive capital 'W in its title.
PENGUIN BOOKS
u a UNABRIDQID
The Intelligent Woman's Guide The first Pelican Books appeared in Metals in the Service of Man,
which surprised even Allen Lane, who J. N. RICHARDS A PELICAN SPECIAL An Introduction to Modern
H
PENGUIN ILLUSTRATED CLASSICS
MELVILLE
by Robert Gibbings.] a large central white area to accommo
TYPEE
Wood-engravlngs by Roberc Gibbings
penguin books
OURSELVES A
of immediate and pressing concern and,
once identified, authoritative writers
GERMANY
were commissioned to write to almost
impossible deadlines. While there were
one or two anomalies in the list, the
titles commissioned before and during
the war tell the story of a country trying
to come to terms with world events and
with its role and responsibilities.
SHOULD BRITAIN REGARD In terms of design, the tripartite div
ision and use of orange gave way to a
GERMANY AS HER POTENTIAL more aggressively striped layout. Typo
graphic restraint was abandoned, with
ENEMY, OR SEEK HER FRIEND extensive 'blurb' appearing on some de
SHIP ? LORD LONDONDERRY A PENGUIN SPECIAL 1 signs and a layout which has much in One Man against Europe,
common with Victorian handbills. I939-
THINKS WE SHOULD ADOPT Konrad Heiden Some continuity with the rest of the
Penguin list was maintained by using
Ha
Our Struggle WAR UNENDING
6 D
China Struggles for Unity
(dustjacket), 1939.
A PENGUIN SPECIAI
TEXT BY MAM BT
1p HAROLD NICOLSON
V PENGUIN SPECIA Christianity and World Order,
1940.
Dr. F. Borkenau R. A. Saville-Sneath
The New German Empire
Pringle * Rajchman
CHRISTIANITY New Ways of War, 1940.
AM)
(dustjacket), 1939.
COLONIESf RAW MATERIALS? TRADE
WHY AIRCRAFT
WITH 24 MAPS ROUTES? OUTLETS FOR POPULATION?
OR WORLD DOMINATION? would mm\ RECOGNITION Aircraft Recognition, 1941.
Why Britain is at War (dust-
jacket), 1939. BRITAIN This book, while It facet the gravity
CHINA IS AT
of the world crltlt, hat a spirit of hope,
based on the conviction that the teach
ing of Christ, believed and applied,
together with the fellowship of the
Universal Church, alone provides the
STRUGGLES FOR
WAR
dynamic and simple faith which can
yet save Western Civilisation.
UNITY THE
IIISIIOI* 01 ClliniliSTIilt
u 0 a
Our Food Problem, 1939. SPECIA ' A PENGUIN SPECIA Warfare by Words, 194Z.
e. r. stettinius, jr.
COMPILED AND DRAWN B What are we fighting for?
The Penguin Political Atlas, 1940. s. c. johnson a pfcnguin special Our Settlement with Germany,
LEND-LEASE
1944.
The Rights of Man, 1940. Companion volume to
THE PENGUIN H.G.WELLS
POLITICAL DICTIONARY Lend-Lease, 1944.
I WARFARE OUR SETTLEMENT
BY WITH GERMANY
WORDS
and its relation to
our national defences H.N. BRAILSFORD
F. Le Gros Clark & R. M. Titmuss if mm
! a
30 Penguin by Design I. Establishing Paperback Publishing, 1935-46
Subsidising production:
Full House, 1941.
selling advertising space, 1938
Flowers for the Judge, 1944.
AV I N C
This Is the cigarette for the fellow with a full-size
man s Job to do. When you're feeling all 'hit up,'
It steadies the nerves.
econointc ^ ^ STICK
hold /
2 2 RIM FIRE
h
TARGET
GAME AND
VERMIN
SHOOTING
SMOHELESS
NON RUSTING
PROTECTIVE
Periodicals
B
EDITED BY STATIONERY OFFICE
JOHN LEHMANN
opposite: Penguin Parade, 6'
)b
Volume 1,1937.
-
a:
The Penguin Film Review,
Volume 1, 1946.
V r
36 Penguin by Design
r
Transatlantic
January 1944
One Shilling
kmh mm
Robert Jonas.]
MATH'SUN
The Velvet Well, 1947. [Cover Robert Jonas. These distinctive covers,
illustration by Robert Jonas.]
[ which owe much to the kinds of com
Penguin logo used is slightly different
completi
C0nipi0)e PENGUIN BOOKS unabridgedI
one shilling
logo, and the book covers themselves. without any spacing adjustments,
and awkward letter combinations
When Beatrice Warde, one of Britain's leading typographic evangelists, said, During his time at the company (1947-9) he re-educated all its printers such as AW in the middle of a
1. In Lamb, p. 40.
about standards and consistency in typesetting. These were famously brought word would leave a visual 'hole'.
'The typographic planning of the early Penguins was an exercise in discipline,
good manners and economic realism which would have reflected credit on together as the Penguin Composition Rules, originally a four-page leaflet con
the most mature designer,' she was being a little generous. Before the war, taining concise and precise instructions on typographic style. Among his most
the inside of a Penguin book - although improved after the introduction of influential instructions was 'Capitals must be letterspaced'. The Penguin logo
Times New Roman in 1937 - was pleasant only in an ordinary way. There had undergone several changes in twelve years of use, and Tschichold redrew
was a straightforwardness to the pages, which Lane liked, but nothing to lift Edward Young's 1939 version to create a definitive model. It lasted until Z003.
them above that. In addition, the handling of headings, titles and other display The standard and distinctive tripartite cover was given a facelift. Three
matter was not of a uniform standard, being very much at the whim of indi small changes - a more consistent use of the Gill Sans typeface with slight
vidual printers. letterspacing, a thin rule between title and author, and a consistent use of space
After the war, those same problems remained but were compounded by on - made for a far more distinguished cover. Not all of these changes appeared
Jan Tschichold going shortages of both staff and materials at many printers. Lane recognized immediately, and Tschichold had to spend much time setting out clear written
Hans Schmoller
that he needed to raise the standard of his books, not only because it had instructions for these and all other aspects of his reforms.
z. Bristol Archive, DMii94 16/1.
fallen so low, but also as a way of responding to the inevitable emergence of Other series' cover designs were also improved: the attempted classicism
new paperback publishers. Lane had wanted Oliver Simon of Curwen Press of the Classics design of 1946 was properly realized from no. 8 onwards, and
author of Introduction to Typography (Faber & Faber, 1945) and a leading similar bordered designs were introduced for the Shakespeare and poetry titles
exponent of the 'reformed traditional' style - to work for him, but Simon was as well as the Pelican series. These covers and the many title pages Tschichold
unavailable. He recommended instead the most famous typographer of the designed are where his absolute mastery of spatial arrangement shows through
day, Jan Tschichold. A visit by Lane and Simon to Switzerland confirmed the most clearly. But Tschichold's time at Penguin was cut short by a worsening
wisdom of the idea, and in March 1947 Tschichold took over in charge of exchange rate, and he returned to Switzerland in 1949, having recommended
typography and production at Flarmondsworth for a salary higher than that Hans Schmoller, an employee of Curwen Press, as his successor.
of any other employee. Like Tschichold, Hans Schmoller was born and grew up in Germany and
Jan Tschichold was born in 1902. and became apprenticed to a printer. Fie was apprenticed to a printer. As a Jew in the 1930s he faced increasing restric
gained early fame through his writing, first Elementare Typographic in 192,5 tions under the Nazi's anti-Semitic regime, but he was able to visit Britain in
and then Die neue Typographic in 1928. These works played a crucial role 1937 and then secured a job in South Africa in 1938, where he remained for
in the popularization of the 'new typography': asymmetric, sans serif and the duration of the war. At the Morija Printing Works (in today's Lesotho) he
modern. In 1933 he was dismissed from his teaching post in Munich by the worked in the same 'reformed traditionalism' as Oliver Simon and began a
National Socialists and emigrated to Switzerland, where in 193 5 he published correspondence with him. Schmoller became a British citizen in 1946 and the
Typ o graph is che Gestaltung [Asymmetric Typography, 1967). Fie moved away following year came to Britain to work, joining the Curwen Press for a short
from the new typography, which he began to associate with fascism, shortly time before moving to Penguin after receiving Tschichold's endorsement.
before the war and began to work in a reformed classical manner using serif It was chiefly as a text designer that Schmoller made his mark. On Penguin's
typefaces and centred arrangements. It was this later work which Oliver twenty-first birthday. Printing Review summed up Schmoller's achievement:
Simon admired and which Allen Lane wanted to apply to Penguins.
[He] substantially took over the main features of Tschichold's style and then
Described later by Lane as 'a mild man with an inflexible character',
brought it to a close perfection by additional subtleties and refinements.
Tschichold had asked for examples of books in advance of his taking up the
The dryness and severity of the present Penguin manner is widely admired,
post, and sent annotated criticisms ahead of his arrival. He looked at every
the required images (pp. 86-9). Titles appeared from April 1957 onwards,
and the experiment lasted about a year until it was halted by Lane. The
designs were described soon after as
the first fully pictorial paperback covers in England with any kind of artistic
integrity and a sense of adventure. The experiment was brought to an abrupt
stop when the result on sales had proved inconclusive and the evidence of
'confusing the image' had become strong.
The experiment had been only half-heartedly carried out: no supporting pub
licity was produced to back up or explain the designs, and only twenty-nine
designs actually appeared. Given the quality of most of the covers it seems an
extraordinary waste - but they had broken the mould. During the following
two years, John Curtis continued working as Art Director for covers. His lay
outs became less dependent on existing formulas and he started to employ
younger freelance designers such as Derek Birdsall, Alan Fletcher and Herbert
Spencer, who in turn used photography and more dynamic typography. The
covers produced during this short period did not have the unity of the Games
experiment, but they did point the way forward. A full-time cover art editor
and a fresh approach to cover design were urgently needed.
opposite; During the 15)508 Penguin became less formal. Images - whether
faced increased competition from other photographic or illustrative - were given
paperback publishers. Penguin tried to a greater role in attracting the public, A Penguin Special by
steer a course which ensured that their and while traditional observational
books remained popular without looking illustration was used on many fiction WAYLAND YOUNG
cheap. As the decade progressed, depend titles, for the more serious Pelicans and
ence on the Gill Sans typeface diminished Specials collage was increasingly used to 2f6
and the overall composition of the covers express ideas.
54 Penguin by Design
II. Consistency and Competition, 1947-59
55
Jan Tschichold's design reforms: Without My Cloak, 1949.
Experimental layout by
Jan Tschichold, 1948 (assisted the horizontal grid, 1948
by Erik Ellegaard Frederiksen).
O n
title
covers on the following spread shows
how much difference this makes. Initial
;V*
P H versions of the redesign featured a fine
line as a border to the orange panels,
o C
THE AUTHORS
but this was dropped after a few titles.
Tschichold also redrew Edward Young's Sailing, 1949.
ij_
\ <-r - z 1939 version of the logo.
As with the pre-war covers, the hori
E zontal grid was also adapted to allow
for the inclusion of illustrations. The
Quatermass Experiment (p. 59) is an
early example of a 'TV tie-in'.
After the vertical grid appeared in
1951, the horizontal was only used oc SAiLlHG
casionally for titles in the general list.
One notable example was the suitably
amended design for Penguin no. 1000,
One of Our Submarines (p. 59), written PETER HEATON
by the firm's first production manager.
Crime continued to use the horizontal
grid until the early 1960s. The only alter
ation was in the typography, which was
changed to a ranged-left arrangement
and included a small amount of 'blurb'. 1/6
THE
THE ROMANTIC
THE ANATOMY o EXILES THE DAY OF QUATERMASS
OF PEACE THE TRIFFIDS EXPERIMENT
E. H. CARR
9 3 NIGEL KNEALE
EMERY REVES I A portrait-gallery of some 19th century
refugees from Tsarist oppression
JOHN WYNDHAM
r
UNABRIDGED
shilling
0
COMPLETE n w UNABRIDGED
2/-
5 UNABRIDGED
2'6 2'6
6 UNABRIDGED
ft UNABRIDGED
2/6
COMPLETE & UNABRIDGED
A Midsummer Night's Dream, The first Shakespeare titles appeared in A MIDSUMMER NIGHT'S
1940. 1938 and were typographically undistin DREAM
guished. When the series was resumed it
offered Jan Tschichold the opportunity
to make far-reaching changes both to
the cover and to the text setting inside.
His assistant Erik Ellegaard Frederiksen
wrote later:
\
62. Penguin by Design II. Consistency and Competition, 1947-5-9 63
Classics restyled, 1947 Buddhist Scriptures, i960.
[Roundel artwork by
Elizabeth Friedlander.]
The Classics series was one of the first to
standakd penguin classics colours benefit from Jan Tschichold's attention, Galateo, 1958.
[Roundel artwork by Elizabeth
and, as with the standard horizontal
Friedlander.]
iluiabers always refer to Lorilleux grid, his changes were about refinement.
5: Bolton colour guides except
The Brothers Karamazov,
where otherwise stated. While all the key elements of John
Volume 1, 1958. [Roundel
Overton's original design (p. 47) were artwork by Cecil Keeling.]
ARABIC yellow
retained, Tschichold made four small
DANISH blue-grey 11.11.60207
changes and in doing so presented the
CHIHSSE aung green v/.c.c. OO658 cover as a simpler, more balanced com
BYE.V.HirU
THE PENGUIN 8
CLASSICS
15. The Jewish War, 1959. 33. The "Voyage of Argo, 1959.
[Berthold Wolpe.]
34. The Lusiads, 1952.
16. Gargantua and Pantagmel, [Elizabeth Friedlander.]
1955. [Roy Morgan.]
35. War and Peace, Volume 1,1957.
17. The Idiot, 1955. [Elizabeth Friedlander.]
[John Diebel.]
36. The Theban Plays, 1947.
18. Don Quixote, 1950. [Bert Pugh.]
[William Grimmond.]
Music scores, 1949
popular price was novel, but the potential [Cover design by Hans Schmoller.
Pattern re-used in different colours
market relatively small, and the sales out
for poetry series: 03o, 33,36,45,
lets appropriate for them were not the 47, 50 and 57.]
same as those for Penguin's other books.
Nevertheless, over seven years thirty titles
were published, but when the series
ceased to earn money it was dropped. MOZART
The list was edited by the composer
Overtures: The cJfrCagic Flute
Gordon Jacob and covered the most
popular titles heard in concert halls and and cT)on Cfiovanni
available on record. They had the advan penguin scores 15 j/-
t)
C-Vay 1m
iLewis a
W
y?)
II
&
t
ll
1 A SELECTION BY
II
t ii k author
p
y
0 1
fr>
i
0/// shilling and sixpence
m
ii . ui mi 111111 mi n 11111111111111 mi 11 liiiiiiin 11111^ 11 mi mi 11 ii 111111 linn mi 1 lt Nikolaus Pevsner had suggested the idea
of a series of architectural guides to other
publishers before the war, but it was
not taken up. Having been drawn into
THE Penguin during the war, he suggested the
idea to Allen Lane and was encouraged
1957. Cover design by Heather with titles associated with the war effort
\\ NORMAN <5
Standring.
such as Soft Fruit Growing and Rabbit
Farming. Initially numbered as Specials,
they became a separate named series
JAMES NORBURY
m f M
Tk [A \\ COLQUHOUN
Paint
/
from 1943 onwards.
Penguin v Your Own
By the mid 1950s Hans Schmoller
had given them a distinctive cover design
cBook 1 Pictures
Q
the typography followed a set pattern
and was in the regular and italic variants
of Gill Sans. Occasionally [The Game A
-v...." s.*' *
of Chess) the logo itself could be drawn
into the design.
|
For certain subjects, more distinctive
illustrations were commissioned. In
these, every element of the standard
design, except the idea of a border sur
rounding the central 'type' area, was
Soft Fruit Growing, 1951. open to manipulation. The Art of Marriage, 1957.
PENGUIN PENG U I N
Plats du Jour, 1958.
HANDBOOKS HANDBOOKS Cover illustration by
David Gentleman.
Soft MARY
MACAULAY
Fruit
Growir
The Art
of
Marriage
Full directions for the
planting, growing and
tending of blackberries,
currants, gooseberries,
strawberries, tomatoes,
mushrooms, figs, grapes
and other soft fruits
Medieval Carvings in
Exeter Cathedral
opposite: Ackerman's
Cambridge, 1951. Cover design
by William Grimmond.
ERNEST
Over HEMINGWAY
My Dead Men Without
Body Women
fin
LvJ
REX
STOUT
fdl SHORT STORIES
2/6 2/6
Kp fy
u
j 'j
iHl
Contenders). Inevitably, full-cover
images eventually appeared for a small
number of titles [The Cruel Sea). d
EVELYN WAUGH
1 JOHN WYNDHAM^ FRED HOYLE
2/6
1 COMPLETE 2'6 u,oCEo
PAUL BRICKHILL Facing growing competition, Penguin The Big Show, 1958. Cover
carried out an experiment to see what illustration by David Caplan.
PIERRE CLOSTERMANN
________
PENGUIN BOOKS
I
Biography series, Curtis encouraged a
departure from the dominant designs of
stripes and borders and allowed a much
'-^J
freer use of elements on the cover. For
The Diaghileu Ballet, 1909- a series of illustrated books aimed at a
1929, i960. The illustration younger audience (which were at one
on the cover is taken from a
point going to be called Picture Pelicans)
drawing by Jean Cocteau.
he commissioned more radical covers
with a strong use of white, and bold k
typography to match the quality of the
illustration.
Curtis's art direction was most notable
;
nli
K(i
fi ..
on the Pelican series. The imprint and
logo were reduced to a strip at the foot
of the cover and the remainder could be
designed afresh for each title. The illus
trative element of these covers shows a
fascination with printing processes, over
printing, reversing-out, and even the
01
power of the white cover board itself.
And for the first time on a Penguin book,
the typography was allowed to be ex
opposite: Artificial Satellites,
i960. Cover design by pressive and suggestive rather than A Penguin Book 5s
John Griffiths. simply readable and/or beautiful.
90 Penguin by Design
Applied Geography, 1961.
Cover design by Juliet Renny. THE Ethics, 1961.
Cover design by Robin Fior.
Archaeology from the Earth, GREAT The Great Crash 1929, 1971.
1961. Cover design by Bruce
Robertson.
ru Cover design by Derek Birdsall.
P. H. Nowell-Smith
Archaeology from
3'6 the Earth
Sir Mortimer Wheeler
a Pelican Book
W;M.
Qstfo&o
1
."'.'-'''.v.
.v;$\;vv- -
qEnSp
Wilmi-
'bjpii ;.
Ml. Art Direction and Graphic Design, 1960-70 The use of phototypesetting and offset-litho printing brought costs down
dramatically, and, because it was easier to print both text and images on
1. Richard Lane transferred his Penguin's Silver Jubilee publication, Penguins Progress, 1935-1960, captured one paper stock, their integration became far easier and more cost-effective.
holdings in the company to his
the company at a turning point. Partly descriptive of the company's activities Designers such as Jerry Cinamon, initially commissioned to design covers for
brother in March; Allen was the
majority shareholder. and partly another pat on the back, it is fundamentally reflective and shows Pelicans, worked under Schmoller on internal book design. Cinamon joined
little concern for what was to come. While the period from 1947 to 1959 can the staff in 1965 and in 1966 was given the task of redesigning the Pelican
be seen as one centred on improving standards and ensuring consistency, the History of Art as A5-sized integrated paperbacks. This was followed by the
following decade was almost all about change. There were changes of opinion Style and Civilization series and Pelican architectural titles, among others.
within the company about how it should meet the challenge of an increasingly If Schmoller and the text designers represented continuity through the
competitive market and there were fundamental changes which affected the Tony Godwin
1960s, then Tony Godwin represented change. Appointed initially as an edi
status of the company itself. torial advisor by Allen Lane in May i960, Tony Godwin was the mercurial 2. Quoted in Aynsley and Lloyd
Penguin became a public company when it was floated on the London manager of Better Books, Bumpus and the City Bookshop. Within a short Jones, p. 121.
The Arup and Dowson building Stock Exchange on zo April 1961. Allen Lane continued as Chairman and period of time he became Fiction Editor, then Chief Editor. Godwin was a
Managing Director, but his hands-on involvement would be intermittent rigorous editor with far-ranging interests, but he also brought to the company
during this, the last decade of his life. He did take a great interest in the an intimate knowledge of what happened at the point of sale. Editorially, he
expansion of the warehouse space, for which the company commissioned believed that Penguin, in common with other paperback publishers, was rely
leading architects Ove Arup and Philip Dowson. Building began in 1964, ing too heavily on the work of the previous sixty years and that more-radical
the first of several on-site expansions during this time. The site was closed in editorial policies should be pursued in order to nurture new and emerging
2004 (see Chapter V) and is currently being cleared for redevelopment. talent. In terms of selling books, he recognized that if the company was going
The one constant throughout the decade was the quality of Penguin's text to keep up with developments in graphic design generally it would need a dif
design, still guided by Hans Schmoller, who was made a Director in i960. ferent kind of designer from either Hans Schmoller or John Curtis, and new
Working in a traditional (in all the best senses of the word) manner, he had designs would need to be introduced, not piecemeal, but as part of a compre
long come out of Tschichold's shadow and was universally respected for the Germano Facetti
An Outline of European hensive policy of revamping the company's image.
Architecture, 1961. quality and sensitivity of his designs. He revised the Penguin Composition When the Abram Games full-colour cover experiment had appeared in
Jacket design by Eugen O. Sporer,
Rules, thereby influencing all the printers who worked for the company 1957, Godwin, not then on the Penguin staff, had criticized the covers for
Munich (Z55 x 120 mm).
(and thus, no doubt, typographical standards across the industry). For many being 'dressed far above their station in life'. Now at Penguin, Godwin
people, the design which best exemplified his mastery of controlling compli wanted covers which addressed the marketplace far more directly, and for a
cated textual variations was the one-volume Pelican Shakespeare, a co-edition full-time Cover Art Director he turned to a designer of a younger generation,
between Allen Lane The Penguin Press (p. 100) and Pelican in 1969. Germano Facetti, whose approach was cerebral rather than literal.
During the 1960s the development of new typesetting methods allowed Facetti, who began working at Penguin in January 1961, was born in 1926
radical changes to take place. Hot-metal typesetting and letterpress printing and, having worked in Milan for Banfi, Belgiojoso, Peressutti & Rogers, first
(with its distinctive depth of ink and physical impression) eventually gave way came to Britain in 1950. During this period he attended Ed Wright's evening
to various forms of phototypesetting and offset-litho printing. With letter classes in typography at the Central School of Arts &; Crafts, worked with
press, illustrated books were generally printed on two kinds of paper, and Theo Crosby and Ed Wright on the entrance area of the 'This is Tomorrow'
text and images appear in discrete sections. The earlier volumes of the Pelican exhibition at the Whitechapel Art Gallery (1956) and designed 'integrated
History of Art typify this approach (while Penguin's lavish Jubilee Edition of books' for the publisher Rathbone. He then moved to Paris, where he worked
Nikolaus Pevsner's An Outline of European Architecture, designed in-house as an interior designer for the marketing arm of the Snip advertising agency
at Prestel Verlag and printed in Germany in i960, is a notable exception). and also helped set up the Snark International Picture Library.
the current constant typographic covers in present-day paperback publishing it was then known), space exploration, transport and social issues (pp. 112-
have no means to excite or attract attention. With the addition each year of 15). Although the covers tended to have very direct and expressive graphic
new titles to the Penguin Crime list it becomes difficult just by looking at the imagery, a consistent use of sans serif typefaces, a colour palette of red and
current typographic cover to discern between books already bought and those black on white, and intelligent use of space showed the series to be clearly
98 Penguin by Design III. Art Direction and Graphic Design, 1960-70 9.9
English Library. His office was not at Harmondsworth but with the editorial decision was taken to insert the words A PENGUIN BOOK in 36-point
offices in John Street in the Holborn area of London. Optima at the top of all front covers regardless of the design below - a panic
Aldridge was first and foremost an illustrator. He had attended the measure to re-establish Penguin's identity. If stability and direction were to
Graphics Workshop on Conduit Street run by Bob Gill and Lou Klein, and be regained, new blood was urgently required.
had been given occasional freelance work by Facetti as well as working in the Penguin found it in May 1968. At the suggestion of the editor Oliver
Sunday Times magazine studio. He had a view of cover design quite different Caldecott, David Pelham was appointed Fiction Art Director. Before his
from Facetti's, believing that a cover should attract attention by whatever appointment, Pelham had been commissioned as a freelance to design some
means. His own work showed a mix of comic, art nouveau and pop art influ covers. Lane had been impressed by Pelham's exposition of these and for the
ences, and he frequently employed photography. He also wrote The Fenguin first six months of Pelham's tenure took a renewed interest in cover design,
Alan Aldridge Book of Comics (1967, with George Perry) and The Butterfly Ball and discussing each with him personally. David Pelham
Grasshopper's Feast (1973, with William Plomer). David Pelham had studied at St Martin's School of Art in London, leaving
Briefed by Godwin and the other editors, Aldridge offered the complete in 1958 and then working for Ambassador, Studio International and Harper's
cover area to the designers he commissioned. Photography, hand-lettering, Bazaar before joining Penguin. The experience of working with and commis
decorative typefaces and montage were all used, the only firm constant being sioning a wide range of illustrators, designers and photographers made him
a large Penguin logo in the corner. They represented a significant shift from a far more accomplished Art Director than Aldridge. Pelham decided that
the old style of narrative illustration favoured in the 1950s, and were quite to retain the company's identity he need only introduce a minimal grid with
frnw different from the knowing references favoured by Facetti. The title had
become more important than the publisher. Ultimately, success was often
a consistent spine and back cover treatment, and a virtually blank canvas
for the front with a logo appearing in a set size in one corner. Where Facetti
4<rI|
down to the sensitivity of the individual designer: at their best, the covers had used people of a similar outlook to himself to design covers, Pelham
caught your eye and made you think; at their worst you learnt more about was prepared to take a far more catholic approach, and he commissioned
the designer than the book or its author. designs which ranged from the directly illustrative to ones which allowed for
The Penguin Book of Comics,
Alan Aldridge's cover designs won fans and created enemies in equal meas an author identity independent of content. Stylistically these might embrace
1967. Cover illustration by
Bob Smithers. ure, with many booksellers and authors among the latter. Their criticisms photographic collages, drawings and American-style 'retro' images.
helped fuel in Allen Lane a growing resentment towards Tony Godwin. The By 1969 Allen Lane had been in publishing for fifty years, a fact celebrated
4. The name deliberately mirrored
'Uncle John's' company, John
disagreement led to silences rather than open warfare, with Lane fearing a by the publication of James Joyce's Ulysses as Penguin no. 3000 (pp. 158-9).
Lane The Bodley Head, and by a coup d'etat and Godwin perhaps feeling that he had over-reached himself Further public recognition of his contribution to the industry came when he
happy coincidence Lane was able
within the company. Another cause of friction between them was the lack was made a Companion of Honour in the Queen's Birthday Honours list. By
to acquire the same Vigo Street
address where he began his own lustre launch of Penguin's new hardback imprint - Allen Lane The Penguin this point, however. Lane was increasingly concerned about his health and
career with The Bodley Head. Press. Preparations were far hastier than Godwin had wanted, and while about the succession of the company. Despite having a larger list of published
the books' designs were exemplary, it took some time for editorial policy titles covering a wider range of subjects than any of its rivals. Penguin still
to stabilize. had insufficient working capital, leaving it a potential target for a takeover
Matters with Godwin came to a head after he commissioned the cartoonist bid. In order to avert this possibility, and shortly before being diagnosed
Sine's Massacre and some booksellers refused to stock the title because of its with cancer, Allen Lane opened negotiations for the sale of the company to
violent and sexual content (pp. 140-41). Boardroom unrest continued until Longman, a British company with which Penguin had been working closely
Lane reasserted his authority one last time and Godwin left, 'by mutual con for some years. Longman was taken over by Pearson during negotiations, and
sent', in May 1967. it was to Pearson Longman that Penguin Books Ltd was eventually sold for
Alan Aldridge also left in the wake of Godwin's departure, and thus the fic 15 million on 21 August 1970, shortly after Lane's death on 7 July.
tion list was temporarily without an Art Director. In the ensuing uncertainty a
100 Penguin by Design III. Art Direction aud Graphic Design, 1960-70 101
The Marber grid, 1962
Penguin Crime 2'6 In 1962 Germano Facetti, the Penguin for illustration, Germano Facetti also opposite: The Marber grid, 1962.
abc defghijklmnop around seventy titles in the series, with For Pelican titles (pp. 108-11) Facetti
the remainder by other freelance design commissioned designers rather than con
/
abcdefghi klmnopqr / \ // ers commissioned by Facetti. ventional illustrators. Several of them
/ Marber retained the use of green to had received their first Penguin commis
denote crime but lightened the shade sions during John Curtis's time in charge
/ considerably. A series of horizontal rules
\ separated the publisher's name and
of covers, when photography and other
approaches first began to feature regu
symbol from the title and author's name. larly on covers. The graphic quality of
J
//
The typeface was Intertype Standard (a these illustrations was every bit as good
/ version of Berthold's Akzidenz Grotesk), as those of the crime series and further
/ which was closely associated with Swiss validated the strength of Marber's
graphic design. Marber had been using original design.
/ it for a number of years and preferred Later in the 1960s strict observance of
// its curves and differing weights to those the grid was no longer thought necessary,
/
/
of Helvetica, which was just starting to but because covers were commissioned
/ be used in Britain at that time. Titles in with care and were of a high standard
/ the crime series featured a more relaxed with a consistent typographic feel, the
//
use of capitalization in the titles than series look was maintained (pp. 110-11).
other series, or indeed than standard This policy would be continued through
/
make a virtue of the two-colour print
ing generally used. On a small number
of titles a third colour - usually red -
was used.
102 Penguin by Design III. Art Direction and Graphic Design, 1960-70 103
Dreadful Summit, 1964. Crime 2,6 a Penguin Perry Mason 3'6 Penguin Crime The Case of the Dangerous
Cqver design by Germano Facetti. Crime
Dowager, 1962. Cover design by
Boiled alive The case of the The new Romek Marber.
The Case of the Half-Wakened dangerous dowager Sonia Wayward
Wife, 1963. Cover design by Erie Stanley Gardner No Love Lost, 1961.
Romek Marber. Margery Ailingham
Cover design by John Sewell.
Boiled Alive, 1961.
The New Sonia Wayward, 1964.
Cover design by Romek Marber
Cover drawing by Sydney King.
The D.A. Breaks a Seal, 1964. Penguin Crime Penguin Crime 3r6 Penguin Crime S'G
Penguin Crime The Daughter of Time, 1961.
Cover design by Alan Aldridge.
Cover design by Romek Marber.
The D.A. breaks
Sweet Danger, 1963. a seal The Night of j
Sweet danger The daughter of time Wenceslas " Lost Moorings, 1962.
Cover design by Romek Marber. Margery Ailingham Lionel Davidsoi Cover design by Romek Marber.
Busman's Honeymoon, 1963.
The Night ofWenceslas, 1964.
Cover design by Romek Marber.
Cover photographs by
Jean-Luc Blanc.
The Judas Window, 1962. Cover Penguin Crime 3'6 a Penguin Maigret 3'6
a Penguin Perry Mason 2/6 Penguin Crime 3' The Second Curtain, 1962.
photograph by John Sewell.
Maigret travels Cover design by Romek Marber.
The case of the Your money
Maigret Travels South, 1963. south drowning duck and your life The Case of the Drowning Duck,
Cover design by Geoffrey Martin.
1963. Cover design by
The Case of the Caretaker's Cat, George Daulby.
1962. Cover design by
Your Money and Your Life, 1962.
Romek Marber.
Cover design by George Mayhew.
I H t J
IO4 Penguin by Design III. Art Direction and Graphic Design, 1960-70
The Widower, 1965. a Penguin Book 3'Q
Chosen Words, 1961.
Cover design by Leif Anisdahl.
Cover design by Derek Birdsall.
The End of
The End of the Affair, 1962. The Widower the Affair
Cover drawing by Paul Hogarth. Georges Simenon a Penguin Book S'-
The Bridge of San Luis Rey, 1963.
Cover design by Ursula Noerbel.
Chosen
rr \ n
Words
Rabbit, Run, 1964. {t\] a Penguin Book 3'6 a Penguin Book 2'6
Cover drawing by Milton Glaser.
A Gun for Sale, 1963. a Penguin Book 3'6 a Penguin Book 3'6 C) a Penguin Book 4'6
Cover drawing by Paul Hogarth.
Nineteen
Nineteen Eighty-Four, 19 6z.
Cover design by Germano Facetti.
eighty-four Lord Jim
Joseph Conrad
Lord Jim, 1965.
[The cover shows Peter O'Toole in
Richard Brooks' film Lord Jim.]
106 Penguin by Design III. Art Direction and Graphic Design, 1960-70
The Stagnant Society, 1964. The Naked Society, 1964.
Cover design by Germano Facetti. a Pelican Book a Pelican Original 3'6 a Pelican Book 5'- a Pelican Book Cover design by Derek Birdsall.
[ t
m N> i
fTTrj 1 <* -
our,
our, angu^e
our. anguage o
108 Penguin by Design III. Art Direction and Graphic Design, 1960-70 109
The Death of Jesus, 1961.
Cover design by Derek Birdsall. a Pelican Book 5'- a Pelican Book Britain in the Century of Total
The
Violent
Gang
Lewis Yablonsky
in the USSR
-4
Has Man a Future?, 1961. The Specials enjoyed something of a The A6 Murder, 1963.
[Cover design by Richard Hollis.] renaissance in the 1960s, with titles re 2'6 a Penguin Special touis Biom-Cooper Cover design by Romek Marber.
112 Penguin by Design III. Art Direction and Graphic Design, 1960-70
Paying for Roads, 1967.
The Police, 1964.
Cover design by Bruce Robertson. Paying Cover design by Brian Mayers.
i)
The Economics of Traffic Congestion
Gabriel Roth Israel and the Arabs, 1968.
Cover design by Stuart Flanagan.
a Penguin Special
Sy a Penguin Special
The Police
What c.iusod tho slx-dny war In 19077
Wh.il doos history loll ub oboul Iho rights nnd
wrongs of tho continuing contllct?
Ben Whitaker What con now bo oxpoctod Irom tho Arab
and Israeli govornmonts?
Demonstrations and
Communication: A Case Study,
1970. The cover, designed by
Ralph Steadman, incorporates a
model of the American Embassy
by Shirt Sleeve Studios (Daily
Telegraph Colour Library).
lower case for the authors' names. The Dom Moraes Edward Lucie-Smith Penguin Modern Poets, Volume 6,
exact position of this information was Peter Porter ^ George MacBeth 1970. Cover based on a
photograph by Roger Mayne.
allowed to vary to accommodate the
image.
The first seven titles feature stark,
closely cropped black and white photo
graphs or photograms, but colour was
introduced with Volume 8, ushering in
a slightly different use of photography
(pp. izo-zi).
FltafflOW
us Penguin by Design III. Art Direction and Graphic Design, 1960-70 119
Penguin Modern Poets, Volume 7, Penguin Modern Poets, Volume 12,
1965. 1968. Cover design by Alan Spain.
Penguin Modern Poets, Volume 8, Penguin Modern Poets, Volume 13,
1968. Cover design by Alan Spain. 1969. Cover design by Alan Spain
using a mineral specimen from
Fisher, Overstone, Northampton.
-T/ 1 . \ 'V-'
120 Penguin by Design III. Art Direction and Graphic Design, 1960-70
Plays, 1964 ..... ; ... . ... . * # Three European Plays, 1965.
* *
A ,
Hi- jii\i
* * Cover design by Denise York.
Three Plays for Puritans, 1958. Penguin Plays were launched with the / * ,.
/**** ***
Pi AX/Q
: ""X:
Man and Superman, 1965.
[Cover design by John Miles.] publication of twelve of George Bernard Cover design by Denise York.
ally three - colours in addition to black, Parables for the Theatre, 1966.
but a careful use of overprinting created Cover design by Denise York.
Plays Pleasant (back and front Barnard Shaw was born in Dublin of Protestant slock, in 1856, and died ot
Avoi St Lawrcnce. Herts. In 1950. After a falso start in nfneteonth-century The Good Woman of Setzuan
cover), 1968. Cover design by fashion as a novollst, ho modo a reputation as a journalist crittc of books, The Caucasian Chalk Circle
pictures, music, and the drama. Moanwhlfo he hod plunged into the Socialist
Denise York. rov/va! of th oifjhloen-ciflhtlos ond come out 05 ono of the leaders who
made tho Fabian Society famous, figuring prominently not only 05 a
pamphleteer and platform orator, but as a serious economist and philo-
Ropher, and publishing major essays on Ibsen and Wagnor, Ho broke out In
a new direction in 1892 as a playwright, olthough it was not until soms
twelve yonrs later that tho opposition hu had always to face first was over
come sufficiently to establish him as an Irresistible force in tho theatre.
Covet design by Denise York
For copyright reasons this edition Js not for safe In the U.S.A.
122 Penguin by Design III. Art Direction and Graphic Design, 1960-70
Classics, 1963
Beowulf, 1963.
Penguin( 4 i Classics The cover shows a helmet from
The Civil War, 1967. Having introduced the Marber grid the Sutton Hoo treasure in the
The cover shows a Roman coin in for crime, fiction and Pelicans, Facetti
CAESAR British Museum.
the Bibliotheque Nationale, Paris
turned his attention to unifying the
(Snark International).
appearance of the whole Penguin list.
The Classics had used the same cover
design since 1947 (p. 65), which, al
though well detailed, was not in keeping
with the new look that was emerging.
Facetti later described his approach to
the redesign:
Penguin by Design III. Art Direction and Graphic Design, 1960-70 125
Tender is the Night, 1963. Modern Classics Invisible Man, 1968.
Cover illustration by John Sewell.
F. Scott Fitzgerald Penguin Modern Classics The cover shows a detail from
one of a series of drawings by
Modern Classics - a grouping of
Ralph Ellison G. V. Desani Ben Shahn commissioned for
Tender is the Night twentieth-century literature in new
Invisible Man All About H. Hatterr the film 'Ambassador Satchmo',
covers - was a series whose appearance reproduced by permission of
'I am honoured and delighted to introduce
took some time to settle down. When a wonderfully heartening book to a new the artist.
generation ol readers' Anthony Burgess
they first appeared it was to a design by All About H. Hatterr, 1972.
Hans Schmoller with input from John The cover, designed by Germano
Facetti, shows a detail from
Curtis and using Eric Gill's Joanna
'Two Saints in a Landscape' by
typeface. F. N. Souza, in the Tate Gallery
When Facetti started using the (photo John Webb).
Marber grid for crime, fiction and
Pelicans (pp. 104-9) he also tried it
out on some titles in Modern Classics
but with the continued use of Joanna,
at Schmoller's insistence.
Facetti described Joanna as 'scarcely
126 Penguin by Design HI. Art Direction and Graphic Design, 15)60-70 127
Experimental layout and final
Poetry restyled, 1963
cover for e. e. cummings, 1963.
[Cover pattern by Stephen Russ.]
Schmoller's popular 1954 poetry design
was reworked in 1963. A smaller panel e. e. cummings
for the title was used to allow a greater selected poems
192) -19 S8
area of the pattern to be appreciated.
And what patterns! Far livelier than
before, the juxtaposition of the two
elements - the formal typography and
the playful imagery - make this a much
more interesting set of covers. Many
of the designs were by Stephen Russ,
some of whose artwork survives in the
Penguin Archive at Bristol University.
Pushkin Pushkin
Penguin by Design III. Art Direction and Graphic Design, 1960-70 129
Elizabethan Verse
Japanese Verse
Goethe
e. e. cummings
Pushkin
Contemporary American Poetry
Religious Verse
Georgian Poetry
Robert Herrick
Swinburne
Holderlin
Thomas Hardy
Hilaire Belloc
William Blake
W. H. Auden
- x 1'
I I! 00 Robert Graves
More Comic & Curious Verse
Robert Frost
Covers as posters: Funeral in Berlin, 1966. Cover
Puckoon, 1965.
Down
136 Penguin by Design 111. Art Direction and Graphic Design, 1960-70
Destination: Void, 1967.
Cover design by Alan Aldridge. Tl li WjND
The Wind from Nowhere, 1967. FROM NOWHiBi
Cover design by Alan Aldridge. J.G.Ballard
SCIENCE
FICTION
later that year. It was nearly another year WILSON AUGUSTo 'Brien is an expert on girls
IS Aand their feelings... No writer In English
photographs by Wingate Paine,
words by Fran^oise Sagan and
before a replacement was appointed, Federico Fellini.
WICKEDis so good at putting the reader
and in the interim the line 'A PENGUIN MONTH Inside the skin 0^woman.'
BOOK', set in 36-point Optima, ap
peared across the top of every fiction
cover, rarely with any sensitivity.
Since the 19508 J. D. Salinger had
specific clauses in his contracts concern
ing the appearance of his books denying
Penguin the right to include imagery
or reviews on the covers. The carefully
designed minimal cover of Franny and
Zooey was fully appreciated only after
the subsequent removal of the 'panic top'.
Alan Aldridge was asked by Allen
Lane to commission Romek Marber to
illustrate the Angus Wilson titles (his last
for the company until 2005). Of his six
0
Franny and Zooey, 1982.. covers only the first was printed as he had
EDNA O'BRIEN This is a MIc A NoL^M.Uer.^,
designed it; the others all had the 'panic AI irM lOX m 1 Cover design by Romek JVlarber.
AUtaUo I novel; it arouses sympathy and
top' added without him being informed. ISA compassion like nobody's business. Miss O'Brien August is a Wicked Month, 1969.
As with Salinger, the offending words WICKED is an expert on girls and their feelings... [Credit as above.]
were later removed, allowing Marber's J. D. Salinger MONTH No writer in English is so good at putting
the reader inside the skin of a woman,'
original design to be seen as intended.
Edna O'Brien's books had featured
'blurb' prominently on their covers since
the appearance of Girls in Their Married
Bliss in 1967 (p. 134) with its distinctive
hand-lettering. This idea was carried on
with typography for her other books,
but during the year of the 'panic top' the
careful balance between the typography
and the image was lost.
142 Penguin by Design 111. Art Direction aiid Graphic Design, 1960-70 143
A PENGUIN BOOK
The
Medium
is the \
Massage
Marshall
McLuhan
Quentin
Flore
An Inventory
of Effects
Integrated text and Image: great, and right on target!" Now there are McLuhan and graphic designer Quentin take you swiftly on several pages to
The Medium is the Massage, 1967 four possible readings for the last word of Fiore, with Jerome Agel as coordinator. the next point. The pace within these
the title, all of them accurate: "Message" In designing the book they ignored the sequences is driven by the use of filmic
the title was a mistake. When the book and "Mess Age", "Massage" and "Mass traditional text/image relationship in order devices such as changes in scale and
came hack from the typesetter, it had on Age".' (Eric McLuhan) to convey McLuhan's aphorisms with an cropping.
the cover "Massage" as it still does. The urgency and drama lacking in the larger Forty years after it was first published
A popular reworking of McLuhan's writ
title should have read The Medium is the works from which they are extracted. this book is still popular with graphic
ing - especially The Gutenberg Galaxy
Message but the typesetter had made an Conventional text setting is used, but designers - both for its commentary on
(1962) and Understanding Media (1964)
error. When Marshall McLuhan saiu the rarely for a complete page before a frag media, technology and society, and for
- this was a collaborative project between
typo he exclaimed, "Leave it alone! It's mented sequence of words and images its design.
I44 Penguin by Design 111. Art Direction and Graphic Design, 1960-70 I45
Poetry, 1966 Heine, 1967. Cover design by
The Penguin Book of Henning Boehlke.
0 Spanish Verse
The Penguin Book of Spanish
Verse, 1966. [Pattern by
Hans Schmoller.]
By 1966 the exquisite typography of
the poetry series was beginning to look
anachronistic in a Penguin list where
i 6'- Introduced and edited by J. M. Cohen
1 1 1 1 1
Heine
II1IIII11IIIIIlI Selected Verse
every other series - except fiction - With an introduction
used contemporary sans serif typefaces. 1llI111l111111I and prose translation by
Facetti continued with the idea of Peter Branscombe
patterned backgrounds and simply up M ill 1 l 1 1 l 1 I l l l I The Penguin Poets
dated the typography.
MM I HI Ml I III
M I MM MM MM
I I I I Ml MM I Ml
I I I I I II III Mill I
MM II I I I I I J I I I
III I I 1 I I I II I I I l I I
146 Penguin by Design III. Art Direction and Graphic Design, 1960-70
Facetti Handbooks
Improve Your 0 Improve Your Improve Your Improve Your Golf, 1966.
Cover design by Bruce Robertson.
Improve Your Athletics, Volume Facetti updated the appearance of the Athletics: 1 Tennis Improve Your Tennis, 1966.
Cover design by Bruce Robertson.
i, 1964. Cover design by Bruce Penguin Handbook series by giving it 6'- Track Events
Robertson. Photograph by , r 1 1 1 1 a Penguin Handbook a Penguin Handbook 7'6
the same sans sent look as other lists.
Keystone Press. Bill Cox Tony Motlram
He was not as uniform in his treat
ment of the series as he was elsewhere,
however. Because Handbooks covered
such a wide range of subjects, some
titles naturally made sub-series and were
given their own particular design to in
crease bookshop impact. The 'Improve
Your ...' sport titles are a good example
of this.
For other interests (pp. 150-51) there
was less of a series look, and the choice
and style of imagery were intended
to appeal specifically to the projected
market for each title.
" '"1
Improve Your Rugby, 1967.
Improve Your Athletics, Volume
i, 1964. Cover design by Bruce 0 Improve Your 0 ImproveYour 0 Improve Your Cover design by Bruce Robertson.
Robertson. Photograph by
Toni Nett. Athletics: 2
! 6'- Field Events
Rugby Cricket
Improve Your Cricket, 1963.
Cover design by Bruce Robertson.
J.T. Greenwood
a Penguin Handbook 5'- a Penguin Handbook
7'6 a Penguin Handbook
John LeMasurier
Trevor Bailey
148 Penguin by Design III. Art Direction and Graphic Design, 1960-70
The New Vegetable Grower's
Handbook, 1962.. Cover design the new Scootering, 1962. Cover design
by Bruce Robertson.
K-;."v
i ^ .
15 Penguin by Design
III. Art Direction and Graphic Design, 1960-70 151
New Penguin Shakespeare, 1967
i New Penguin Shakespeare
j New Penguin Shakespeare
New Penguin Shakespeare
Henry IV, Part 1,1968. Cover
design by David Gentleman.
the series name and the title of the play. Richard II King John Macbeth by David Gentleman.
152 Penguin by Design III. Art Direction and Graphic Design, 1960-70 *53
Shakespeare's Comedies, 1967. Shakespeare and the Idea of the
Cover photo by Alan Spain and Play, 19S7. Cover photo by Alan
Nelson Christmas. Spain and Nelson Christmas.
SHAKESPEARE'S
Km iaa
COMEDIES
an Anthology of Modern Criticism
"[ ^np33< "HI
cunjcoo-xp*"^04!^''
EDITED BY LAURENCE LERNER
->-5jlf5 J A*V| |
, , . a
v Sal-IW watrhiwju-i p-n ||ah
. : --v ; r*!|!> ! ' "O
JU-: 1,. wpuoM n .IwpWVr
pim.il3>>ao 11}'f!Paa,tl 0
. ; ; \ ; "H'tipn
Suotiwirr *uu) J"o-i jiuir3c iurj. injx
j' -; ' ;n. -anhu-o^ l^wwa
, ;".u;fl' , ' "M 571 "l1 puv
.4
, uj.. (j"-' r - 'Saj*n
,, . n| t/IH 1
yuvutpufj
ruotHacLy"* 'ufAaJue^
, . ... , y/- - -' -v-v^/
snuiuti Mi.py
j s .inOC)F"] SOAC)' J
I1
ow, i>,i.,, . IW
Tift ACT-" *".
...1it|"
Om*O, o-f-fWrii.
' .,.
...... 1
11; "
^
-
j
1
1
' >^4, ;
,.V -
i
--"XV,
The Squares of the City, 1969. Following Alan Aldridge's departure and Davy, 1969.
Cover design by Franco Grignam. a year without a Fiction Art Director, Cover design by Franco Grignani.
imm.
" if
& vSf-V1
v\ V.v.
156 Penguin by Design III. Art Direction and Graphic Design, 1960-70 157
Penguin no. 3000,1969
end of an era for Penguin, for the publishing business generally the dawn of petition and higher licence fees for paperback titles. Moreover, in the early
the 1970s was a time of changing priorities, with the emphasis shifting away 1970s several hardback publishers reclaimed the rights to a number of au
from the intrinsic value of books themselves towards the potential profit to thors' works, including those of Hemingway, Huxley, Joyce and Murdoch.
be made out of marketing them successfully. The financial uncertainties of Changes in the Penguin design departments began with the departure of
the early xyyos only made this more inevitable, and the various mergers and Germano Facetti. He left in 1972, though his contribution had been reduced
acquisitions that have occurred since - beginning with Pearson's merger of to twenty-two hours a week for some time before that. He returned to Italy
Penguin and the American hardback imprint Viking in 1975 - have reinforced a year later, having brought to Penguin a stylish unity across the many dis
the profit-oriented nature of modern publishing. parate parts of the list and having fostered an intellectual approach to design
Peter Mayer
At Penguin these changes did not affect the appearance of books for some and the use of photography. Writing of his work in 1969 he said:
time, because the senior designers, Facetti, Schmoller and Pelham, all retained
Not all the covers shown here are thrilling from the point of view of design.
their respective roles and many of the same freelance designers continued to
It is much more important that Penguin has established a high standard
provide covers.
throughout, rather than swinging from good to bad, cover to cover, as
The design of fiction, science fiction and crime books continued to be
almost all other publishers do.
driven essentially by the needs of the individual titles, with appropriately
coloured spines and the Penguin logo being the sole brand identifiers. Pelham In 1976, after twenty-seven years at Penguin, Hans Schmoller retired.
later described what he wanted a cover to do: Schmoller's talents lay principally inside the books, and since the late 1950s
he had concentrated on that aspect of design and on the detailing of typo
There must be two triggers - an initial trigger which will attract the buyer to
graphy. He ensured that everyone adhered to his own very high standards.
wards the book from the other side of the shop; and then, when he gets to the Since the founding of Penguin Books, Allen Lane had stressed the importance
book, a second trigger which is in some visual and!or literal way intriguing.
of good design and had always been prepared to pay for it. In Schmoller
Then, he actually reaches out and picks the book up.
he was paid back for that investment many times over. Schmoller's role at
But away from fiction, continuity of the Penguin brand was assured by the Penguin was continued by Fred Price until 1979, and then by Jerry Cinamon
look of established series such as the Classics and Modem Classics, which until his retirement in 1986.
retained their fixed styles and provided some visual calm at the centre of In 1978 a new Managing Director was appointed. Peter Mayer, who had
the list. Penguin Education was given a new, more varied look when David previously been publisher at Avon Books and Pocket Books in the USA, was
Pelham commissioned Derek Birdsall's company Omnific to oversee the re given the task of revitalizing the company. He recognized that Penguin had
design of the complete series in 1971-2, but it retained its very strong brand become a sleeping giant and set about changing the company's attitude to
identity, keeping its own descriptive logo drawn by Hans Schleger in 1967. wards marketing. Fiction titles began to appear in different formats, and
The first three senior executives of Penguin following the takeover - heavy publicity was used to promote certain of them. Perhaps the biggest
Christopher Dolley, Peter Calvocoressi and Jim Rose - had the unenviable success of the period was M. M. Kaye's The Far Pavilions, with the TV adap
task of steering the company through a time of great economic difficulty. In tation exploited to generate maximum sales. While these activities undoubt
1974 Calvocoressi cut the planned publication programme from 800 titles edly helped the company's fortunes, their effect on the cover designs might
to 450 and closed the Education list. University-level titles remained in print, best be described as 'varied'. By the early 1980s many Penguin books, with
but with different covers accommodated in other series, while those aimed their insensitive combinations of type and image, looked like the cheapest in
at levels below were dropped entirely. the bookshop.
fortunately offset by the consistent design styles applied to other series. That ment and unsure how to apply the inherited skills of metal type to that new
these smaller series carried and upheld the Penguin brand, while the fiction technology.
list concentrated on individual titles and market share, was of crucial im Another Mayer marketing strategy was an increased use of the larger B
portance after the difficult 1970s. format, and much of the Design Department's time was spent converting ex
While many will argue that, from a design point of view, Mayer's era isting artwork to the new size. Although the type itself was slightly enlarged,
marks the all-time low in quality at Penguin, that opinion obscures the fact books adjusted in this way were easy to tell because of the unusually generous
that, while the company made a loss of 242,000 in 1979, it made a 5-64 margins around the text area. There was considerable criticism at the time
million profit only three years later. Mayer's view was that 10-15 Per cent: that this was nothing more than a cynical marketing ploy - the increase in
of the books would have to change radically in order to secure their market retail price was greater than the increased production cost - and that Penguin
share and thus safeguard the remainder of Penguin's output, and the com was betraying its origins, which lay in providing good reading at the cheapest
pany's survival was more important than design ideals or standards. possible price.
David Pelham resigned as Art Director in 1979, having been frustrated At the same time, Mayer decided that the previous Penguin practice of re-
for some time by the changes around him. Speaking a few years later about typesetting every title bought from other publishers and styling it to conform
that time he said: with the Composition Rules could no longer be justified if that practice made
publishing a title uneconomic. New titles could now simply be photographic
The art department... became the whipping boys, because if a book didn't
ally reproduced ('offset'), with Penguin only needing to generate new prelim
sell, if the editor had made a mistake, if the marketing people hadn't pulled
inary pages (the title page, imprint page, and so on). While this undoubtedly
their finger out, if they had pulled it out in the wrong direction, they could
made the publication of certain titles viable, it was at the expense of a con
always say 'Sorry, it was the cover, it was never the book, it was never any
sistent appearance and was a dilution of the high standards built up by the
thing else' So you got a lot of flak in spite of the fact that they had all in a
company since Tschichold's reforms in 1947.
democratic way sat around a table and said 'Yes, we'll go with that.'
There were changes in location also. In 1979 the Art Department and
Pelham was succeeded by Cherriwyn Magill, previously at Penguin and editors - at John Street, Holborn, since the 1960s - moved to larger premises
then Macmillan. The Modern Classics were restyled by her, and she com on the New Kings Road, Chelsea, and in 1985 the addition of Michael Joseph
missioned Ken Carroll and Mike Dempsey (later to form the design group and Hamish Hamilton to the Pearson portfolio - Frederick Warne having been
Carroll, Dempsey and Thirkell with Nick Thirkell) to redesign Reference. acquired two years previously - meant that further relocation was necessary.
The King Penguin name was resurrected in 1981, this time for a paperback The editorial and design teams now moved to Wrights Lane in Kensington.
list showcasing contemporary fiction, with a series style by Carroll and In 1984 Magill left and Steve Kent took over. Among his first jobs was the
Dempsey designed to accommodate commissioned illustrations. redesign of the Classics series. For this, only its third significant design, he
There is a certain politeness in much of the typography of the early 1980s reverted to a serifed typeface - Sabon - and a 'panel' design similar to that
covers, characterized by the use of serifed, often condensed, 'Modern' type favoured in the 1950s. The redesign was launched in August 1985, the com
faces (pp. 212-13), perhaps as a reaction to the perceived visual poverty of pany's fiftieth year.
modernism. There are references to various historical periods in the form of Penguin celebrated that anniversary with an exhibition at the Royal
typographic details such as patterned borders or rules, but on the whole it Festival Hall in London, but for many older employees of the firm another
is done with little depth of knowledge and none of the craft skills associated link with the past disappeared with the death, soon afterwards, of Hans
with classical setting. In part these covers represent visual trends of the time. Schmoller. Schmoller's work was celebrated by Jerry Cinamon and others
Penguin by Design
David Pelham's fiction non-grid Danger UXB, 1981. Cover design
I loathe my 0 by Neil Stuart. Cover illustration
Michael
Words, 1983. David Pelham's approach to the fiction childhood Innes
by Chermayeff & Geismar.
IHOTICHI
(g) PATRICK W/1TSON The Train Was On Time, 1979.
Cover design by David Pelham. Perhaps the best examples of this were
the covers for the Evelyn Waugh titles A CLOCKWORK AJtR Cover illustration by
Candy Amsden.
EGO
Pnin, 1971.
designed by Bentley/Farrell/Burnett
Cover design by John Gorham.
(p. 172).
L
Alter Ego, 1979. Cover
The practice of giving certain authors astrHdngtynewblend o( psychotoakal Ihtlllef
1
illustration by Danny Kleinman.
their own distinctive treatment, which
was begun in the 1950s (p. 81), was
continued under Pelham, and four very
different expressions of that idea are
shown on the following two spreads.
FRANCOISE SAGAN
Someone
Like You
The End
Paul Hogarth.
Greene covers is that his approval had
GRAHAM
Our Man in Havana
in Havana Our Man
Shown here are the three sequential
cover designs for two of the titles.
in Havana
Agent 59200:5 Wormold invented the stories he sent the British
Secret Service... and the results surprised him
most of all...
AGENG
Education's editor, Omnific handled 1974. Cover design: Omnific/
Stephen Scales.
the production and artwork for over
zoo titles and commissioned thirty other
designers to work on many of them.
9 I i3
Penguin by Design IV. Life after Lane, 1970-9 s 81
Erving Goffman Ray L.Birdwhistell
Encounters Kinesics and Context
Essays on Body-Motion University titles, 1972
Communication
%m
design the university range of titles pro
duced by Penguin Education. To differ
entiate them from the general Education
titles designed by Derek Birdsall, the uni
versity titles featured black covers with
HH
an understated typography - typewriter
(curiously, a Birdsall favourite: see the
John Updike titles, p. 171) - and simple
line drawings that directly illustrated
each title.
opposite: Fundamental
Questions of Philosophy, 1973.
Designed by John McConnell.
Nuclear Reactions, 1971. Cover Penguin library of The Penguin library of physical Penguin library of
design by Lock/Pettersen Ltd. physical sciences: Physics sciences: Physics/Chemistry physical sciences: Chemistry
' "
Business
a Pelican Book
The Juggernauts
Cover design by Mel Caiman.
,/
| |44|
MMIIOIII)
'fMatniul
' Mum mi
'"HUM
\ , > . j a.
w-'
Violent Wen, 1972. a Pelican Book The Young @ Income Distribution ft The Young Offender, 1974.
Cover design by Patrick McCreeth .Ian Ppn
Violent Men Offender Cover design by Jones Thompson
(photograph John Hybert, An Inquiry into the Psychology of Vioience Ireland.
HansToch
Stroboscopic equipment by Dawe
Vo Yoga, 1974. Cover photograph
siSiiii
Instruments Ltd).
by Barry Lategan.
mmm
Income Distribution, 1974.
Cover design by Brian Delaney.
fit '
Communications, 1982.
Cover design by Carole Ingham.
Education, 1976.
Cover design by Alan Fletcher.
Communications
Raymond Williams
R. D. Laing R. D. Laing
The Four-Dimensional
Nightmare, 1977- Cover
BRADBURY Chesterman.
197
/V. Life after Lane, 1970-95
Penguin by Design
196
| Penguin Modern European Poets
Modern European Poets, early 1970s Guillevic
Penguin Modern European Poets Penguin Modern European Poets Selected Poems
Three Czech Poets, 1971. Begun in 1965, this series featured por Three Czech Poets Abba Kovner
Vitezslau Nezval Antonin Bartusek
The cover, designed by Sylvia traits of the authors as a key element of Josef Hanzlik and Nelly Sachs
Clench, shows: large detail,
Vitezslau Nezval; above, Antonin
its cover designs. Over time a variety of Selected Poems
Bartusek; below, Josef Hanzlik treatments were used to keep these
(photographs by Dilia, Prague). covers looking interesting and to help
unify images which came from a variety
of sources and could be of variable qual
ity. Techniques included combining
halftone photographs; reducing photo
graphs to high-contrast versions and
printing each in a different colour; and
vc
opposite: Selected Poems (Abba
Kovner and Nelly Sachs), 1971.
The cover, designed by Sylvia
Clench, shows: large detail, Nelly
tracing photographs to create simple line
drawings. As with all Facetti covers, the
typography is set in Helvetica in a stan
dard pattern.
w
Sachs; small detail, Abba Kovner.
rA:
THE MERCHANT
OF VENICE
IN THEM
Peter Fluck.
way. Originally their success had been
built upon a combination of topical and
urgent subject matter, good writing,
speed of production and an absence of
THAR PILLS
Alan Klass
competition. The growth of newspaper
consumption and television finally led
to their demise.
While the published titles continued
to reflect the key issues of British and
world politics, the cover designs seem
opposite: The Concorde Fiasco, to suggest a lack of interest within the
I973. Cover design by Deirdre
Amsden: airport photograph by
company. They have neither the con
ldlhfsL tot IMFSfe
courtesy of The British Airports viction nor the consistency of previous
Brazil set to win approvaln resunie
Authority. covers (pp. Z8-31 and iiz-15). Of
Debt and Danger, 1985. Cover those shown here, only The Homeless
photograph courtesy of IMF. and the Empty Houses really combines l^rgentina moves to halt liquidity crisis J
text and image into a powerful com
position, but even that is marred by
the insensitive 'Special' corner tab. The
The Homeless and the Empty others feature obvious visual ideas pre
Houses, 1977. Cover design by sented by ordinary and uninteresting MICHAEL CRICK
SCARGILL
David King.
graphic means, a sad end for a series
that had so significantly contributed
to Penguin's initial success.
LISAAUHER Beginners.
Colin Maclnnes
zo8
Penguin by Desig IV. Life after Lane, 1970-95 Z09
IRINGPENGLUNI
IKING I'ENGUlNl
New King Penguins, 1981
ANGELA CARTER
Among collectors and lovers of Penguin
The Farewell Party, 1984. Cover
illustration by Andrzej
The Infernal Desire
history there was much disquiet about the
Klimowski. Machines of
resurrection of the King Penguin name
for a series of contemporary literature.
Doctor Hoffman
The basic design of these was by Ken
Carroll and Mike Dempsey and featured
an inset panel containing the series title
(in Century Bold Condensed) on both
cover and the white spine. Commissioned
illustrations played a prominent role
in the series, and Andrzej Klimowski's
covers for Milan Kundera's titles are jus
opposite: The Infernal Desire tifiably well known. They are, however,
Machines of Doctor Hoffman,
only one example of a variety of styles
198Z. Cover illustration by
James Marsh. which were used on covers in a series that
continued for nine years. Unfortunately -
The Slow Train to Milan, 1985.
Cover illustration by as with the science fiction covers shown
John Clementson. on p. 197 - the typography of author and
title is often intrusive.
ANGELA CARTER
The Bloody Chamber
HH
Reference THE PENGUIN
DICTIONARY OF
A Dictionary of Politics, 1974. Reference titles had been produced
Cover design by Martin Causer. under that series name by Penguin since
A Dictionary of
POLITICS
1944, the first being A Dictionary of
Science, by E. B. Uvarov, which had
originally appeared as a Special in 1942.
ECONOMICS
By the 1980s the list had grown to in
clude a range of titles related to the use
of language as well as dictionaries and
reference books on many other subjects.
From the early 1970s a series of
cover designs was provided by Omnific.
These followed the pattern they had al
ready used on the Education titles (pp.
180-81): strong typography with an em
phasis on a keyword from the title and a GRAHAM BANNOCK, R. E. BAXTER
visual or typographic play on the subject
AND EVAN DAVIS
matter as the supporting illustration.
The 1980s redesign was by Ken
Carroll and Mike Dempsey and featured
prominent typography of a more polite
kind. 'Modern' typefaces (i.e. seriffed
Share
Usage and Abusage, 1981. with an extreme contrast between thick
and thin stems) had become fashionable, penguin mm reference
and Century Bold Condensed is used in
a formal centred arrangement above an
illustration. The basic structure of this
design lasted until 1997, when the back USAGE AND
ground colour was changed to black
and a more prominent use of orange
branding was introduced. The typeface
used for the title on later books reverted
to a condensed sans serif, which gave
ABUSAGE ERIC PARTRIDGE
the spines, particularly, more impact.
bram Stoker
On 29 August 1985 a new design for Dracula, 1993.
Dracula the Classics series was introduced with The cover photograph shows
Henry Irving as Mephistopheles
fifteen new titles, twenty-one reissues
of narrow strips at the top of the spine Reykjavik [GKS 3269a 4to].
serious non-fiction (including what would have been Pelicans), Classics and He commissioned Angus Hyland of Pentagram to tackle the redesign, but
Reference, while General publishes literary and mass-market fiction and the the process was anything but straightforward: any big decisions regarding
more populist non-fiction titles (there is a certain amount of overlap, in fact). the Classics list have to be taken in conjunction with the US arm of the
Initially this reorganization was not reflected in Hamilton's Art Depart company, as they represent a sizeable part of Penguin's worldwide Classics
ment, which had responsibility for both sides. When he arrived he found a market, and getting editors on both sides of the Atlantic to agree to a new
comfortable commissioning policy that was fostering predictable design, and basic template to be applied to over 1,000 titles took a great deal of effort
he was determined that that should change. He believed, like Aldridge and and patience.
Pelham before him, that titles should be treated individually, and he was keen Other important and more-easily realized projects from Press under the
to use that freedom to attract a younger audience. To enable greater promi art direction of Stoddart have included a relaunch of the Reference series
nence to be placed on the individuality of the designs, Hamilton suggested (2003) (pp. 242-3), which, when seen among other publishers' titles of that
dropping the orange spines from the majority of fiction titles and removing genre, appears as fresh as the original ten Penguins must have done in 193 5,
the ISBN from the spine. This simple loss of orange asserted the importance and the Classics off-shoot 'Great Ideas' (2004) (pp. 244-5), whose covers
of design but angered many Penguin fans and collectors, who tend to revere offer a carefully crafted interpretation of over 2,000 years of lettering and
such links with the company's origins. But while the colour branding had, typographic history.
in the past, been seen by book-buyers as a guarantee of quality, more recent Following the acceptance of the Macintosh as its main design and pro
experience suggested that it was having the reverse effect. With the books duction platform. Penguin have made changes in the way the texts of their
stripped of this once-reassuring colouring, the significance of editorial books are produced. The dedicated Text Design departments were closed in
choices and the cover designs inspired by them became greater than ever. 2003 and most manuscripts are now set to follow one of a small number of
Hamilton first started to create a stir with a small fiction series marketed standard designs that each division has determined upon ('standard grids').
loosely as 'Essentials', comprised of modern classics. Such unity as there was Where text-design input is required, that is now under the control of the
lay in the commissioning policy and choice of titles rather than any consist Production Department, a situation akin to the pre-war set-up.
ency of external appearance (pp. 226-9). The covers, which first appeared Apart from the structural reorganization of the company during this
in 1998, elicited much press comment, both good and bad, but more import most recent period there have been changes to Penguin imprints - such as
antly initiated the rebirth of a vibrant Penguin design culture. the handing over of the 'national treasure' that is the Buildings of England
Soon afterwards, the Art Department was split to reflect the editorial series to Yale University Press in 2002 after 50 years of development - while
structure. John Hamilton moved to General and Pascal Hutton joined as Art the wider Pearson group has seen expansion through further acquisitions:
Director of Press. While the contemporary fiction list continued to promote Rough Guides in 1996 and Dorling Kindersley (DK) in 2000. These remain,
the individuality of each title, series such as the Classics and Twentieth- editorially at least, separate companies whose design traditions have yet to
8o Strand
and art, but also sales, marketing, publicity and so on) moved to the newly
refurbished former Shell Mex House, now known as 80 Strand. The ware
houses and offices at Harmondsworth were closed in 2004, with the
I-
warehousing functions moving to the main Pearson distribution centre on
the outskirts of Rugby.
But while reorganization, relocation and the unpredictable nature of the 'HUT, HEVEI... Ml IIIUICIIK Bill Mil' mfSfl,
publishing business constantly test a company's ability to present a coherent
image to the outside world, the issue of identity, which had been such a
dilemma ten years ago, is no longer problematic. While the use of the orange
spine is not felt to be a liability any more, neither is it much used. The Penguin
logo itself, however, is a prized asset, being recognized as a publisher's mark
all over the world. To reinforce its status Pentagram were given the job of
analysing the constituent parts of the company and rationalizing their identi
ties. Penguin and Puffin continue as separate brands for adult and children's
publishing, and their logos have been redrawn (very subtly in the case of the
penguin). The older imprints such as Allen Lane, Michael Joseph and Hamish
Hamilton are now sub-brands of Penguin, with logos reflecting that status.
In seventy years of publishing history, design has been a central concern.
At the outset it was important in giving identity, later it became essential to
survival in a world of fierce competition - today it continues to play both of
these roles. The success or otherwise of cover design can be hard to quantify,
but Penguin has long prided itself on using the best designers, illustrators and
photographers available, to give them a strong image and make their covers
compulsive to buyers. The situation is no different in 2005; the current art
directors and designers are upholding a distinguished tradition.
Animal Farm, [>1998]. One of the first intentions of the new The Day of the Triffids, [>1998].
Illustration: Peter Fowler. Penguin General Art Director, John Photography by Lucinda Noble,
mo
selected as 'Essentials' and grouped as
an informal series. Believing that they
needed to appeal to new buyers whose
disposable income was otherwise being
spent on music and clothing, Hamilton
commissioned leading illustrators and THE DAY OF THE TRIFFIDS JOHN WYNDHAM
design groups to produce all-over de
signs of a kind first significantly seen on
the Originals in 1989 (pp. 216-17). For
Hamilton, the Penguin brand, as seen
in the logo and orange spine, was some
thing of a liability; the orange spine was
abandoned for these and all his subse
quent cover designs, while the logo
was played down at every opportunity.
There is no obvious unity to these
cover designs except the boldness of
Lark Rise, [>1998]. Cover: their execution, and the use of promi A Clockwork Orange, [>1998].
details from photographs by nent designers and illustrators helped Photograph: Dirk Van Dooren.
Tessa Traeger.
achieve that goal. It is a credit to the Cat's Cradle, [>1998]. Cover
designs that the majority are still con photography by Mike Venebles.
Cat's Cradle
Kurt Vonnegut
<
i
ALBtRT CAMUS 0 THPLAGUt
BllONUS TO THt HEART Of MODERN NJHOHT" MAII OH SUHDAt
* * 9 % 4
* m *
/A IA
VICTORIA /
above: Orwell and the After a brief period of being known as widely regarded authors - is slightly For other titles, the editors may decide above: Orwell's England,
Dispossessed, 2,001. Cover Twentieth-Century Classics, Modern different from that on new and contem 2001. Cover illustration by
that existing illustrations or photography
illustration by Marion Deuchars. Marion Deuchars.
Classics returned with a new cover tem porary titles seeking to make their may be a better approach, and in-house
Orwell and Politics, 2001. Cover plate by freelance designer Jamie Keenan. presence felt for the first time. A wide Orwell in Spain, zooi. Cover
picture researchers will then be given
illustration by Marion Deuchars. illustration by Marion Deuchars.
As in many other Penguin series designs range of imagery was, and still is, com the task of finding suitable material. The
combining type and image, the typo missioned for this series. The George range of Modern Classics shown on the
graphic element is restrained, being Orwell titles feature the work of Marion following pages demonstrates these
incorporated with the logo in a small Deuchars and were widely praised when varied strategies at work.
silver panel. From the outset the inten they first appeared:
tion was to use a variety of typefaces on
The covers contain fragments of hand
these covers. Out of the initial list, only
writing, bits of documentary photo
Trade Gothic, Franklin Gothic and
graphy and, in one case, a portion of the
Clarendon have been used to date, white
Union Jack ... These, and other graphic
for the author name and black for the
elements, suggest a sure-footed under
title. The real job of animating the title
standing of Orwell's work, and provide
and attracting the book-buying public
the bookshop browser with what
falls to the image.
Stephen Bay ley called a 'graphic haiku'.
The role of illustration on titles such
(Shaughnessy, p. 21)
as these - mostly established works by
Junky, 2002.
Cover photo by Will Amlot.
On Broadway, 2000.
Cover photography Weegee
ICP/Hulton Getty.
The Later Roman Empire The latest design for the long-running
(ad 354-378), 2004. Cover; Classics series reflects a similar thinking
Colossal Head of Emperor
to that behind the Modern Classics
Constantine I (4th Century ad),
Roman sculpture from the (pp. 230-33). These are image-led covers
Forum, now in the Museo with simple typography neatly contained
Capitolini, Rome (photo: Art within a panel in the lower part. The
Archive/Dagli Orti).
design was begun by Pentagram's Angus
Hyland, and original proposals featured
a ranged-left layout and the return of
Gill Sans to Penguin covers. But diffi
culties in satisfying the US company
(p. ZZ3) led to a reworked design being PENGUIN SSICS
completed in-house, featuring a centred
arrangement. The typefaces used are AM M I AN U S MARCELLINUS
Futura (Paul Renner, Germany, 1927)
The Later Roman Empire
for the author and Mrs Eaves (Zuzana
(ad 354-378)
Licko, USA, 1995) for the title.
The practice of using art contempor
ary with the literature in question was
begun by Germano Facetti in 1963
(pp. 124-5) and has been continued for
Frankenstein, Z003. Cover: large parts of the current Classics list.
Detail from The Wounded For these new titles images are key, with
Philoctetes (1975) by Nicolai
a quality of reproduction that Facetti
Abildgaard, by courtesy of
the Statens Museum fur could only have dreamed of when he ini
Kunst, Copenhagen (photo: tiated his redesign. But this approach is
SMK Foto). no longer regarded as the only way to
treat the covers of classic literature. In
any case, after enlargement in 1985
when the English Library and other titles
were incorporated, there is now a far
more catholic interpretation of what ac
tually constitutes a 'classic'. For certain
titles a departure from the norm has
taken place and existing contemporary
illustration has been used, such as BROTHERS GRIMM
Chaperon Rouge by Vincent Burgeon PENGUI
opposite: Selected Tales for the Brothers Grimm.
(Brothers Grimm), 2004. Cover Selected Tales
illustration: Chaperon Rouge
MARY SHELLEY
by Vincent Burgeon Rue de
Flandre Design, Paris. Frankenstein
*
Fiction today
Tough, Tough Toys for Tough, A plurality of style characterizes the con
Tough Boys, 1999. Jake and temporary design of fiction, reflecting
Dinos Chapman, 'Little Death
both the breadth of titles it represents,
Machine (Castrated)', 1993 the
and the fact that this sector is fiercely
artist; courtesy Jay Jopling/White
Cube, London. competitive. Failure to succeed here
tough,tough toys for
would seriously jeopardise the finances tough,tough boys
of the whole company. In many ways Edgy, ruthless, warped, brilliant' Esquire
covers today still utilize ideas first sig
nificantly introduced to Penguin by Alan
Aldridge in 1965, but, because of the
way the Penguin list is now organized,
these approaches to marketing affect Me,
a greater proportion of the list than in
II irlag Reveals a rare exuberance, an unfailing
I A Mil Ju, joy in words and possibilities'
his time. rnr ANNE TYLER
NICK
that is seen as unnecessary. In general,
if it is felt that a logo would disrupt the
opposite: Beautiful Losers, front cover design, it does not appear.
HORNBY
2001. Design: Intro, London.
V-
HOMER'S
Books for different markets:
USA and classic texts
ition behind
The way certain titles are marketed
O Brother, _
today differs considerably from fifteen Where Art Thou ?
years ago. A new century, closer links
between different parts of the company,
and developments in world politics
generally, are some of the reasons for
changes in the Penguin list. The United
They have a plan
States is now an important market as but not a clue
well as being popular as subject matter.
For two of the three covers shown
here on the left, the cliche of American
brashness is used to reflect the content
of the titles, while Terror Inc. is remin
iscent of the earlier 'graphic ideas'
approach which underpinned nearly
twenty years of Pelican cover design.
Other titles may appear with various
covers in order to attract different kinds
of readers. Homer's Odyssey, Penguin's
original Classic from 1946, continues -
above: Stupid White Men, 2004. in the Rieu translation - to be part of
[Cover design by Jim Stoddart.]
what the company refers to as 'black
Terror Inc, 2003. [Cover design Classics' (pp. 234-5), but a quite differ
by Coralie Bickford-Smith.]
ent packaging of the same text aimed at
right: Americans, 2003. a very different audience was produced
[Cover design by Jim Stoddart.]
as a film tie-in. There is also a newer
(verse) translation by Robert Fagles -
with stylish black and white photo
graphy on the cover - in a mini-series
entitled 'Wonders of the World' along
side titles by Goethe, Virgil and Dante,
among others.
EINSTEIN
'S
r:
r
opposite; The Penguin While the fiction and General lists play The typography reflects the fact that
Dictionary of Architecture & on the difference between individual many series need to have the support of Dictionary of Concise English Dictionary of the
Landscape Architecture, Z003.
Cover photograph Bridgeman
Art Library.
titles, the smaller, specialized series have
always stressed brand identity.
their American counterparts. Futura had
been introduced for the Classics redesign
dictionary theatre
The new cover designs for the Refer in 2003 (pp. 234-5), and continuity into
The Penguin Concise English
ence titles were a repackaging exercise the reference list was thought desirable.
Dictionary, 2003.
replacing a look that had been intro
The Penguin Dictionary of
the Theatre, Z003. Cover
duced only four years before but which
photograph Bridgeman Art had dated horribly. The new look, by
Library. in-house designer David Pearson, com
The Penguin Rhyming bines allusions to Penguin's own history
Dictionary, 2003. with a tactile element - rounded corners
The Penguin Dictionary - giving them added bookshop appeal
of Building, 2003. Cover and greater durability. 'Everyone who lovos words should own The essential guide for
photograph Getty Images. a copy' Andrew Motion all parents
The historical quotations come in the
The Penguin Dictionary of form of the horizontal tripartite division
First Names, 2003.
of the front cover, which gently recalls
The Penguin Dictionary of the 1935 covers, and the prominent Penguin Dictionary of
Dictionary of
Business, 2003. Cover
photograph Leon St Amour.
use of spine typography, which recalls RHYMING
building first
The Penguin Concise
Thesaurus, 2003.
Derek Birdsall's work for the Penguin
Education series in 1971 (pp. 180-81).
DICTIONARY names
Although the Penguin brand is strongly
The Penguin Dictionary of
imposed on these titles, it is softened
Physical Geography, 2003.
Cover photograph Photonica.
by the use of an illustrative element - or
a colour for 'difficult' subjects - in the
upper portion of the cover.
it
ARCHITECTURE
r:
J
0
z
5
5
z
>
0
DICTIONARY
1
facts
0
z
>
0 1
FIRST NAMES GEOGRAPHY
0
z
>
0
INTERNATIONALRELATIONS
)!<jli
MATHEMATICS
0 -
PHYSICALGEOGRAPHY
2
Q
0
z
0
PHILOSOPHY
1physics
5
5
z
>
0
PSYCHOLOGY
j
PUNCTUATION
z
0
c
z
RHYMINGDICTIONARY SOCIOLOGY
11
theatre
The ultimate paperback
A-Z wordlinder
Dictionary of
Dictionary of Concise
PHYSICAL
business thesaurus GEOGRAPHY
1 z z z
1
m I z z
b1 z Z z z
(D
z
!
z Z z
PENGUIN REFERENCE
Great Ideas, 2004 On Art and Life, 2004.
Cover artwork: David Pearson
Editorial Director Simon Winder came at Penguin.
A Tale of a Tub, 2004. JONATHAN S WITT
Cover artwork: David Pearson up with Great Ideas as a way of intro A T ILE Ol'A SIGMUND FREUD Civilization and Its Discontents,
at Penguin. 2004. Cover artwork: v
ducing a different readership to key CIVILIZATION AND David Pearson at Penguin.
texts that have helped shape civiliza
ITS DISCONTENTS
tion. Art Director Jim Stoddart handed
It Is a fatal WISCAEEI AGE.
responsibility for the design to David
Pearson, who decided to let the flavour
SO III TO ORDER AFFAIRS,
as #0 ji.'iss for a
of each individual text influence the
look of its cover.
Returning to the original A format
I1V ONE COMPAIVT,
and typographically led, each front
when lu anothnr you might be treated as a
cover gives the author and the title and
includes a quote from the work in add
ition to the publisher and series name.
PHILOSOPHER PENGUIN BOOKS
GREAT IDEAS
Penguin Booto Oreal Ideas Civilization overcome} the dangerovs oggressivity of
Each is set in a manner suggestive of the the individual, by weakening him, disarming him and
setting up an internal authority to watch over him, lilt*
lettering or typography of the time of a gorrijon in a conquered town
the work's first publication. This gives PENGUIN BOOKS
GREAT IDEAS
the appearance in many cases of an old-
fashioned title page, as though the book
has no cover at all. Despite this great
disparity of styles, the series is unified
Meditations, Z004.
Cover artwork: Phil Baines.
by being printed in the traditional
printers' colours of black and red. The
back cover and spine typography - in
mars us au
reLiusjved
jiaugujiine _ PENGUIN BOOKS
Confessions of a Sinner, Z004.
Cover artwork: Catherine
Dixon.
[101
YSELf'peng yu GEORGE
uIn books
great Ideas PENGUIN BOOK! GREAT IDEA!
_ ORWELL
GREAT IDEAS
For the most comprehensive reading list on aspects of Penguin Books' history and
development see
Graham, T., Penguin in Print: A Bibliography, London: Penguin Collectors' Society,
2003.
Anthony Godwin Recorder (new series), 6, Salford: The Monotype Corporation, April 1987
Edwards, R. (ed.). The Penguin Classics, London: Penguin Collectors' Society
(Miscellany 9), 1994
, A Penguin Collector's Companion, London: Penguin Collectors' Society (revised
edition), 1997
Stephen Russ Esq , Pelican Books, a Sixtieth Anniversary Celebration, London: Penguin Collectors'
29 Shaw Hill Society (Miscellany 12), 1997
MeIksham
Wiltshire , & Hare, S. (eds.). Twenty-one Years, London: Penguin Collectors' Society
(Miscellany 10), 1995
Facetti, G., 'Paperbacks as a Mass Medium' (magazine unknown, probably US), pp.
24-9. The same text also appears as 'Penguin Books, London', Interpressgrafik, 1,
1969, pp. 26-41, with English translation on pp. 77-8
Frederiksen, E. Ellegaard, The Typography of Penguin Books (trans. K. B. Almlund),
London: Penguin Collectors' Society, 2004
Greene, E., Penguin Books: The Pictorial Cover 1960-1980, Manchester Polytechnic,
1981
Hare, S., Allen Lane and the Penguin Editors, Harmondsworth: Penguin, 1996
, "'Type-only Penguins Sell a Million" Shock', Eye, 54, winter 2004, pp. 76-7
Heller, S., 'When Paperbacks Went Highbrow: Modern Cover Design in the 1950s and
60s', Baseline, 43, 2003, pp. 5-12
Zeon,1993 The parent company's site, which contains information about the organization of the
Hollis, R., 'Germano Facetti: The Image as Evidence', Eye, 29, autumn 1998, pp. 62-9 entire group.
Lamb, L., 'Penguin Books: Style and Mass Production', Penrose Annual, Volume 46,
www.penguincollectorssociety.org
I952? PP- 39_42'
The Penguin Collectors' Society site, containing much useful information, not least
Lane, A., Fowler, D., et al.. Penguins Pi-ogress, 1935-1960, Harmondsworth: Penguin
about their own publications, but also links to other sites. The Penguin Collector and
(QM), i960 its predecessor the Newsletter have been published twice yearly since 1974 and are a
McLean, K.,]an Tschichold: Typographer, London: Lund Humphries, 1975
mine of information about all aspects of the company's history.
McLuhan, E., quoted in posting of 13 October 2003 at
www.brushstroke.tv/weeko3_35.html (weblog of Melanie Goux)
Moriarty, M. (ed.), Abram Games: Graphic Designer, London: Lund Humphries, 2003 Archives
Morpurgo, J. E., Allen Lane: King Penguin, London: Hutchinson, 1979
Peaker, C., The Penguin Modern Painters: A History, London: Penguin Collectors' The Penguin Archive, including the collections of the papers of Allen Lane and Eunice
Society, 2001 Frost, company correspondence and editorial 'job bags', is housed at University of
Pearson, J., Penguins March On: Books for the Forces During World War II, London: Bristol Information Services, Special Collections:
Penguin Collectors' Society (Miscellany 11), 1996
www.bris.ac.uk/is/services/specialcollections
Powers, A., Front Cover: Great Book Jacket and Cover Desigit, London: Mitchell
Beazley, 2001 The archive of Penguin Books itself is housed at the Pearson Group distribution centre
Poynor, R., 'You Can Judge a Book by Its Cover', Eye, 39, spring 2001, pp. 10-11 in Rugby. It contains copies of virtually every title published. Enquiries to The Archive,
, Typographica, London: Laurence King, 2001 Pearson Shared Services, Pearson Distribution Centre, Central Park, Rugby CV23 owe.
, Communicate: Independent British Graphic Design since the Sixties, London:
Laurence King, 2004
, 'Penguin Crime', Eye, 53, autumn 2004, pp. 52-7
Schleger, P., Zero: Hans Schleger, a Life of Design, London: Lund Humphries, 2001
Schmoller, T., 'Roundel Trouble', Matrix, 14, pp. 167-77
Shaughnessy, A., 'An Open and Shut Case', Design Week, 26 April 2001
Spencer, H., 'Penguins on the March', Typographica (new series) 5, London: Lund
Humphries, June 1962, pp. 12-33
, 'Penguin Covers: A Correction', Typographica (new series) 6, London: Lund
Humphries, December 1962, pp. 62-3
, Pioneers of Modern Typography, London: Lund Humphries (1969), 1982
Ten Years of Penguins: 1935-1945, Harmondsworth: Penguin, 1945
Watson, S. J. M., 'Hans Schmoller and the Design of the One-Volume Pelican
Shakespeare', Typography Papers, 3, University of Reading: Department of
Typography & Graphic Communication, 1998, pp. 115-37
Williams, W. E., The Penguin Story, Harmondsworth: Penguin (Q21), 1956
Websites
www.penguin.co.uk
The company's main website, with information about current titles, background
information, and links to the various company divisions and worldwide sites.
Penguin, 1935.
26. Pelican, 1937.
Puffin, 1968.
27. Ptarmigan, 1945.
Penguin, 1946.
28. Penguin, 1944
Puffin, 1941.
29. Penguin, 2003
Allen Lane, 1967.
30. Pelican, 1949
Penguin, 1946.
31. Penguin, 1938
Porpoise, 1948.
32. Penguin, 1945
Penguin, 1938.
33. Penguin, 1935
9- King Penguin, 1948.
34. King Penguin, 1948
Puffin, 1940.
35. Puffin, 1948
Pelican, 1948.
36. Penguin, 1948
Penguin, 1947.
37. Penguin, 1947
Penguin, 1949.
38. Puffin, 2003
Penguin, 1950.
39. Penguin Education, 1967
Puffin, 1941.
40. Penguin, 1945
Penguin, c. 1987.
41. Penguin, 1947
Pelican, 1948.
42. Peacock, c. 1963
Pelican, 1937.
43. Penguin, 1948
Kestrel, 1970.
44. Peregrine, 1962
20. Penguin, 1948.
45. King Penguin, 1939
21. Penguin Education, 1967.
46. Pelican, 1948
22. Puffin, c. 1959.
47. Kestrel, 1970
23. Allen Lane, 2003.
48. Penguin, 1937
24. Penguin, 1949.
2-5
Index Causer, Martin 181,212 Facetti, Germano 97-8, 97, 100, Gentleman, David 52, 67, 75,90, Hogarth, Paul 106,174,175, King, Sidney 105 Macmillan (publishers) 53
Central School of Arts & Crafts 101, 104, 106, 112,113, 152., 153 202, 203 Kinneir, Jock 108 Magill, Cherriwyn 164,165
M, 97 146,162,163,168,192,198 Gibbings, Robert 23, 24 Holland, James 34 Klein, Lou 100 Mallowan, Max 49
To avoid excessive length, books are indexed only if they
Chalmers-Mitchell, Peter 14 and the Marber grid 99, 103, Blue Angels and Wales 22,23 Hollingsworth, Robert 115,178 Kleinman, Danny 169 Manutius, Aldus 13
are referred to in the text or appear in more than one
Chesterman, Adrian 197 118 Gill, Bob 90,100,110,169 Hollis, Richard 99,112,113, Klimowski, Andrzej 210 Marber, Romek 98-9, 9S, 104,
cover design; titles are indexed under their authors. Italic Christie, Agatha 12 and Classics 124, 234 see also Pentagram 176 Kneale, Nigel: The Quatermass 106,109,113,142,143
figures refer to illustrations. Cinamon, Gerald (Jerry) 97, no, on Joanna typeface 126 Gill, Eric 13 Holmes, Dave 166 Experiment 57,59 the Marber grid 102-11,118,
163,165-6 and Modern Classics 126 Gill Sans see typefaces Holy Trinity Church, Marylebone Knights, L. C.: Some 124, 126,132
Clark, Kenneth 17, 42 and New Penguin Shakespeare Joanna see typefaces 13 Shakespearean Themes... Mardersteig, Hans 13
Abercrombie, Michael 49 Barrett, Peter 119 Clarke, Charles 180 152-5 Perpetua see typefaces Homer: The Odyssey 17, 40, 46, 116,117 Marsh, James 208
advertising in and on books Bassett, Martin 193 Clarke, Harry 219 and Penguin Handbooks 148 Glaser, Milton 99,106 46,47, 2.39,239 Krishna Menon, V. K. 14 Martin, Geoffrey 104
32-3 Beales, H. L. 14 Clementson, John 210 and Ulysses 158 Glover, Alan 49 Hoyle, Fred: The Black Cloud Kundera, Milan 210 Mason, Robert 216
Agel, Jerome 145 Bentley, Peter 168,169,172 Clench, Sylvia 198 Farrell, Michael 168,169,172 Glover, Trevor 166 82, 83 Mayer, Peter 163,163,164,165,
Albatross Books 13 and n. Berger, John: Ways of^ee/wg 6, Coles, Joan 13 Ferris, Karl 137 Godwin, Tony 97,97,99-100, Hubbard, C. E.: Grasses 62, 62 Laing, R. D. 188 166
Aldridge, Alan 99-100, 100,101, 176-7 Collins (publishers) 53 Fior, Robin 93 132, 142, 246 Huizinga, J.; The Waning of the Lane, Allen 12,13, i3n., 16, 36, Mayers, Brian 115
104, 106,108, 13Z, 134, Bickford-Smith, Coralie 236,238 Collis, Maurice: Siamese White Fiore, Quentin 145 on the Games experiment 97 Middle Ages 116,117 41, 42, 46,48, 50, 53, 54, Mayhew, George 105
i38-9,142,179,194, 236 Birdsall, Derek 54, 90, 92, 93, 20, 21 Fishenden, R. B. 26,42,48 and Lane 100, 140 Hume, Rosemary, and Muriel 82, 96 and n., 158, 162 Maynard, Bob 14
The Butterfly Ball and 98,99,107, 109,110,162, Conran, Shirley; Lace 208, 209 Fitzgerald, F. Scott: Tender is the Goethe, Johann Wolfgang von; Downes: Cordon Bleu and Games 87 Mayne, Roger 119
Grasshopper's Feast (with 162,171,174,175,181, Cooke, Alistair 3 8 Night 126 Faust, Part I 64 Desserts and Puddings 205, and Godwin 100 Miles, John 122
William Plomer) 100 183,189, 242 Coppola, Giannetto 94,134, Flanagan, Stuart 115 Golden Cockerel Press 24 205 andPelham 101 Milligan, Spike 133
andPelham 101,156,168 see also Omnific 136 Fletcher, Alan 54,90,110,169, Golombek, Harry; The Game of Hutton, Clarke 26, 67 founding Penguin 6, 12 and n. Monsarrat, Nicholas: The Cruel
The Penguin Book of Comics Bishop, Graham 116,186 Corbett, P. E.: The Sculpture of 190 Chess 74, 75- Hutton, Pascal 222-3 on Pelicans 22 Sea 82,85
(with George Perry) 100, Bissell, Richard; The Pa jama the Parthenon 76, 77 see also Pentagram Goodchild, Claude H: Rabbit Huxley, Aldous 52,80 and Puffin 34 Morija Printing Works (Lesotho)
100 Game 82, S3 Corgi Books 53 Fluck, Peter 206 Farming 74 Hyland, Angus 223,234 receives CH 101 5i
Alther, Lisa: iC/n/Z/c^s 209,209 Bloomfield, Diana 66 Cramer, Ross 135 Fokker, Anthony: Flying Goodfellow, Peter 166 and Schmoller 163 Morgan, Roy 66
Ambassador 101 Bodley Head, The 6, ix and n., Crosby, Theo 97,169 Dutchman 19, 20 Gorham, John 168,169 Ingham, Carol 190 and Tschichold 50 Morpurgo, J. E. 48
Amis, Martin: Mowey 209,209, 13,19, ioon., 158 Crowther, Geoffrey 3 8 fonts see typefaces Graham, Eleanor 16,16,34,49 Insel-Biicherei, Die (Leipzig) 26 Lane, John (snr) 12 and n. Morris, Michael 189,190
233 Boehlke, Henning 115,147 Curtis, John 53,53, 54,90,97, Forbes, Colin 90,110,169 gray3i8 229,236,238 International Standard Book Lane, John (Allen's brother) 6, Mowrer, Edgar; Germany Puts
Amsden, Candy 169 Bott, Alan 53 103,126 see also Pentagram Great Portland Street 13 Numbers (ISBNs) 158, 12,13, 16 and n., 41 the Clock Back 15
Amsden, Deirdre 206 Box, Roland 169 Curwen Press 50, 51, 70 Forbes Watson, Anthony 166 Green, Jane: Spellbound 240, 222 Lane, Richard (Allen's brother) 6, Moynihan, Rodrigo; After the
Anisdahl, Leif 106 Brooks, Bob 137 Forces Book Club 15 240 12,13, 16, 48, 96n. Conference: The Penguin
Army Bureau of Current Affairs Brownfield, Mick 240 Daulby, George 105 Ford, Jason 219 Greene, Graham 175 Jacob, Gordon 49, 68 Lawrence, D. H. 80 Editors 48-9
16 Buday, George 55 Davidson, Lionel: The Night of Foreman, Michael, 134,171 The End of the Affair 106, Janssens, A. 67 Lady Chatterley's Lover 46, Muggeridge, Malcolm 140
Arno, Peter 83 Burgess, Anthony; A Clockwork Wenceslas 105, iy8 Forester, C. S.; The Gun 20, 20 I74i ^75 Jefferies, Richard; The Story of 80, 81
Avon Books 163 Orange 6,168,227,252 Delaney, Brian 189 Fowler, Peter 226 Our Man in Havana 174, lyj My Heart 20 Le Gros Clark, F, and R. M. Napoleoni, Loretta: Terror Inc.
Ayer,A.J. 49 Burnett, Stephen 168,169,172 Dempsey, Mike 164,210,212 Fraser, Eric 39 Griffiths, John 83 Jeremy, Peggy 76 Titmuss; Our Food Problem 238, 239
Bush, Raymond: Soft Fruit Deuchars, Marion 230-31 Fraser, Helen 222 Grignani, Franco 15 6-7 Johnson, M. L. 49 29,30 Nichol, Hugh: Microbes by the
Bailey, Dennis 88,89 Growing 74, 74 Dew, Tracy 208 Fratini, Renato 106,134 Grimmond, William 3,26,46, Jonas, Robert 40,41,53 Lehmann, John 49 Million 22,23
Bailey, Ron: The Homeless and Busselie, Michael 137 Diagram 188 Frederiksen, Erik Ellegaard 52, 66, 67, 76 Jonathan Cape 12 Licko, Zuzana 234 Nobbs, David: The Fall and Rise
the Empty Houses 206, Diebel, John 66 56, 60, 79 Joyce, James; Ulysses 12, 101, Linklater, Eric: Poefs Pt/fc 12 of Reginald Perrin 208,
206 Caldecott, Oliver 101 Dixon, Catherine 245 Friedlander, Elizabeth 65, 66, Hall, Alistair 245 i58> IS9 Lock/Pettersen Ltd 184 209
Baines, Phil 244 Caiman, Mel 18 6-7 Dolley, Christopher 162 67 Hall, Dennis 66 Noerbel, Ursula 106
Ballantine, Ian 41 Calvocoressi, Peter 162 Dwoskin, Steve 169 Frost, Eunice 15, ij, 17, 42, 49, Hamilton,John 222-3,222,236 Kaye, M. M.: The Far Pavilions McConnell, John 183
Banfi, Belgiojoso, Peressutti & Campbell, Ali 224 53 Harper's Bazaar 101 163,166,167, 239 see also Pentagram O'Brien, Edna; Girls in Their
Rogers 97 Camus, Albert Enoch, Kurt 41 Fry, Dexter 206 Harris, Derrick 82 Keates, Mike 208 McCreeth, Patrick 188,189 Married Bliss 134,142
Banks, Colin 122 The Plague 227, 229 Esmonde, John, and Bob Larbey: Fryer, Wilfred 38 Haslett, A.W. 49 Keeling, Cecil 65 Mace, C. A. 49 Omnific 162,168,173,180,181,
Banksy 228 The Rebel 116,116 More of the Good Life 208, Hawkey, Raymond 133 Keenan,Jamie 223,230 Maclnnes, Colin: Absolute 212
Bann, David 52n. Caplan, David 87, 89 209 Games, Abram 53-4, 86-9, 97 Henrion, F. H. K. 99 Kent, Steve 165,215 Beginners 208, 209 see also Birdsall, Derek
Bantock, Nick 210 Capote, Truman; Breakfast at Evans, Barry in Gardner, Erie Stanley: The Case Hermes, Gertrude 20 Keogh, Brian 84 McLuhan, Eric 144 Orwell, George 230
Barclay-Smith, Phyllis: British Tiffany's 82, 84 EVT scheme 16 of the Drowning Duck 89, Hilyer, C. Isabel: Hydroponics Keyes, Marian; Angels 240, McLuhan, Marshall; The Medium Nineteen Eighty-Four 106,
Birds on Lake, River and Carrington, Noel 16, 16, 34, 4 S joj, 136 22, 23 240 is the Massage (with Quentin 229
Stream 26 Carroll, Ken 164, 210, 212 Fabian, Erwin 55,82 Gardner, James: On the Farm 34 Hodder & Stoughton 53 King, David 206 Fiore) 144-5,176 Overton, John 14,46,64
on cover design 162 horizontal tripartite grid 13, Penguin Biography 90 15 Printing Review on 51-2 Atlas of England & Wales Railroad Gothic 180 Wintringham, Tom: New Ways of
Penguin Classics 17, 46-7, 51, Plutarch: The Fall of the Roman and poetry series 68, 70, 130 76, 77 Rockwell Shadow 29 War 29,31
and New Penguin 18-21, 22, 29, 51, 52, 57,
64-7, 99, 124-5, i62-, 165, Republic 64 and Penguin Handbooks 74 Taylor, Edwin 99 Sabon 165,215 Wolpe, Berthold 24, 66
Shakespeare 202 242
and science fiction 15 6-7, the Marber grid 98-9,102-11, 2I4-I5,223, 234-5 Pocket Books 163 and Modern Classics 126 Thirkell, Nick 164 Spectrum 158 woodcuts, wood engraving 24,
118, 124, 126, 132,188 Penguin Education 162, Prestel Verlag 96 and Ulysses 158 Thoene, Peter: Modern German Times New Roman 14,14, 50 60,152-3
194-7
Pelham's 'non-grid' 168-9 180-85, 212, 242 Price, Fred 163 and vertical grid 52,79 Art 22, 23 Trade Gothic 230 Woolf, Virgina: A Room of
and fiction 168-9
Penguin English Library 100, Printing Review, on Schmoller and Ways of Seeing 176 Thompson, Philip 181,187 Trajan 218 One's Own 20, 21
Penguin Books vertical grid 52, 53, 78-84
advertising in and on books periodicals 234 51-2 Senate, the 216 Times, The 14 typewriter 183 Wright, Ed 97
Film Review 15^,37 Penguin Essentials 222, 226-9 Prisoner of War book scheme Senior, Elizabeth 15 Trevillion, Michael 216 Univers 118,176,184 Wyndham, John
32,-3
anniversaries 14,17, 96,101, Music Magazine i5n. Penguin Guides 15 16 Services Central Book Club 16 Tschichold,Jan 50-51,3-1,52, Walbaum 70 The Day of the Triffids 59,
New Biology 15^,36 Penguin Handbooks 16,74-5, Private Eye, on Sine's Massacre Services Editions 16 56, 79,152 typography 13,14,20,52, 227,232
158,165,218-19
Penguin New Writing 15 n., 3 6 148-51, 205 140 Sewell, Brian 98 ElementareTypographie 50 164-5 The Seeds of Time 82, S3
colour coding 13,15, 19, 22,
Penguin Hansard 15 n., 3 6,3 6 Penguin Modern Classics 99, Puffin 16, 34-5 Sewell, John 104,105,116, and the horizontal grid 51,57 effect of new technologies
46, 64, 64, 87, 98,103, 112,
Penguin Parade 15,36,37 126-7, i58! 162,164, 223, Pugh, Bert 67 126 and letterspacing 51,215 96-7,165,166, 223 Xenia (illustrator) 39
132, 215
Dorling Kindersley 223-4 Russian Review i5n., 36, 37 230-33 Shakespeare, William: A Mid and music scores 68 letterspacing 51,52,57
film and TV 'tie-ins' 57, 82, Science News 15n., 3 6, 3 7 Penguin Modern Painters Ragazzini, Enzo 169 summer Night's Dream Go, neue Typographie, Die 50 Schmoller and 51-3,96-7 Yacht Associates 241
Transatlantic 15^,38,35-9 16-17, 42-"~3 Ramsbottom, John: A Book of 152,203 and Pelicans 62 Tschichold and 50-51 Yale University Press 53,223
163,166, 208-9
series, imprints and subjects Penguin Originals 216-17, Roses 26 Shaw, George Bernard 122 and Penguin Classics 64 wartime specifications 16 Yeomans, Ian 150
flotation on Stock Exchange
Allen Lane The Penguin Press 226 Rathbone (publishers) 97 The Intelligent Woman's Guide and Penguin Shakespeare 60 see also typefaces Yglesias, Jonathan 166
96
96,100, 224 Penguin Plays 122-3 Rees, Daryl 216 to Socialism, Capitalism and and poetry series 70 York, Denise 122,123
founding of 12-13
biography 13,90 Penguin Reference 16,164 Reiner, Imre 80 Communism 14 Sabon typeface 165,215 Ulve, Kirsten 240 Young, Edward 13, 14,14,19,
hardbacks 15,26,53,73,76,
Buildings of England 5 2-3, 212-13, 223, 242-3 Reinganum, Victor 63 The Intelligent Woman's Guide Typographische Gestaltung Unger, Hans 88 22, 51, 57
100
Harmondsworth and other 72-3, 223 Penguin Shakespeare/New Renner, Paul 234 to Socialism, Capitalism, 5 United States of America 38, One of Our Submarines 5 3,
premises 13,14,14,96,96, 'chick lit' 240 Penguin Shakespeare/ Renny, Juliet 92 Sovietism & Fascism 22, 22 Tubbs, Ralph: Living in Cities 40-41, 53-4,166, 239 57,59,79
cookery 204-5 Shakespeare Library 14,51, Reves, Emery: The Anatomy of Three Plays for Puritans 122, 44-S, 45 Updike, John: Rabbit, Run 106,
100,165, 224, 224
crime 13, 57, 98-9,103, 60-61,152-5, 202-3 Peace 57,58 123 Turner, Steve 241 171
logos 13,15,20,22,24,41,
104-5, i62.) 178-9 Penguin 60s 218-19 Rieu, E.V 17,17,46,48 Simon, Oliver 50, 51 typefaces Uvarov, E. B.: A Dictionary of
51, 116,162,194, 216, 224,
fiction 13,99,103,132, Penguin Specials 15,22, Robertson, Bruce 92, 99,109, Sine: Massacre 100,140-41 Akzidenz Grotesk 103 Science 212
250-51
mergers/acquisitions 162,165, 142,162,168-9, 2-36-7, 2-8-31, 54, 74,99,112.-15, 112, 113, 114, 116, 148, Smith, Arthur 76 Albertus 24
240 206-7, 2'12- 149, 150,151 Smith, Zadie: White Teeth 224, Bodoni Ultra Bold 19, 29, 57 Van Dooren, Dirk 216
223-4
origin of name 13 Frederick Warne 165 Penguin Twentieth-Century Rolfe, Dennis 137,178 22J Century Bold Condensed 210, Vault 49 220,236
Penguin Composition Rules Great Ideas 223, 244-5 Classics 218,223,230 Rose, Jim 162 Smithers, Bob 100 212 Viking Inc. 162
Hamish Hamilton 165, 224 Peregrines 116-17 roundels Snark International Picture Clarendon 230 Syrens 218
51,96
Penguin General 222-3 Illustrated Classics 15,24-5, Planning, Design and Art 16 on Penguin Classics 46,46, Library 97, 124 Corvinus 52, 80 Vyner, Tim 219
poetry 16,51,68,70-71, 64, 66-7 Spain, Alan 120 Dante 244
'Penguin orange' 164,222, 79
King Penguins (h/b non-fiction) 118-21,128-31,146-7, on Buildings of England 73 Spencer, Herbert 54, 93,108, Franklin Gothic 230 Wain, John: The Contenders 82,
224
Penguin Press 222-3 15, i6-?, 76-7 198-201 Rowland, Kenneth 92 116 Futura 234, 242 84
Penguins Progress, 1935-1960 King Penguins (p/b fiction) Puffin 16, 34-5 Royal College of Art 52 Sporer, Eugen O. 96 Garamond/Garamond Italic Walton, Izaak: The Compleat
164,210-11, 216 science fiction 99,132, 138-9, Russ, Stephen 81,130, 131,146, Standring, Heather 74 68, 70, 202 Angler 20, 20
96
and the post-war period 17,45 Library of Physical Sciences 162,194-7 246 Steadman, Ralph 115 Gill Sans 13,15,19,20,22, Warde, Beatrice 50
reorganization (Press/General) 184-5 Style and Civilization 97 Stoddart, Jim 223,223,238, 2-9,51, 54, 57,62, 74,87, Watt, Ian: The Rise of the Novel
222 Michael Joseph 165,224 Penguin Books (USA) 41, 53-4, St Martin's School of Art 101, 244 234 116,117
Rough Guides 223-4 music scores 68-9 162, 218, 223, 234 186 Stone, Reynolds 60, 65 Grotesque 215/216 112 Waugh, Evelyn 168
The initial idea for this book came from Penguin Press designer David Pearson, to
whom I owe the biggest thanks. While the words are mine, and the design his, the devel-
oprtient of the book has been very much a collaborative effort which took place against
a background of train and car journeys, late-night phone conversations and hundreds o
Woojung Chun, Mala Hassett, Jack Schulze and Geoff Williamson, and I thank my ated from St Martin's School of Art
other clients for their patience. At Penguin: Commissioning Editor Helen Conford; in 1985 and the Royal College of
Sue Osborne, Lindsey Cunningham and Tina Tyler in the archive at Rugby; Antonio Art in 1987, and has been a Senior
Colago, John Hamilton, Tony Lacey, John Seaton and Jim Stoddart at 80 Strand. Past Lecturer at Central Saint Martin's
designers and editors of Penguin or its knpnnts: Derek Birdsall, Jerry Cinamon, Richard
College of Art & Design since 1991.
Hollis, Romek Marber, David Pelham and Dieter Pevsner, and Hans Schmoller's widow
He is the author and designer of
Tanya'. Tim Graham and the Penguin Collectors' Society. Martin West. Hannah Lowery
and Michael Richardson of the University of Bristol Library Special Collections.
Type & Typography (with Andrew
My copy-editor Richard Duguid, Steve Hare of the Penguin Collectors' Society, and Haslam, zooz) and Signs: Lettering
fellow typography teacher Catherine Dixon helped greatly at various stages of the writ in the Environment (with Catherine
ing process in clarifying and correcting the text. But any remaining errors, as they say, Dixon, Z003), both published by
are mine. , , j 1 Laurence King.
My final thanks are to my family, Jackie, Beth and Felicity, who have had to tolerate He is also a freelance graphic
both the inevitable disruption that writing a book brings to daily life and a massive
designer whose clients have in
influx of second-hand books (not to mention the shelves to accommodate them).
cluded the Crafts Council, Goethe-
Institut London, Matt's Gallery and
Picture credits Monotype Typography. His work
often includes the use of his own
All books photographed are from the Penguin Archive in Rugby. The poster featured
typefaces, three of which have been
on p. 2 is courtesy of William Grimmond's family and the Penguin Collectors' Society.
Artwork samples, author portraits and marginal photographs are from the Penguin released for general use: CanYou?
Archive at the University of Bristol, except p. 14 (Old Style No. z and Times New (1991) and Ushaw (1994) by Fuse,
Roman samples), David Pearson; p. 53 (John Curtis), courtesy the Estate of John Curtis; and Vere Dignum by Linotype
in Z003.
p. 96 (Arup and Dowson building), Phil Baines; p. 98 (Romek Marber), courtesy Romek
Marber; p. 101 (David Pelham), courtesy Peter Williams; p. 102. (the Marber grid),
courtesy Romek Marber; p. i6z (Derek Birdsall), courtesy Derek Birdsall; p. 222 (John
Hamilton), courtesy John Hamilton; p. 223 (Jim Stoddart), courtesy Justine Stoddart;
p. 224 (80 Strand), Phil Baines. The logos featured on pp. 250-51 have been scanned
from book covers. Copystand photography by Carl Glover and David Pearson.
Butler & Tanner, Precision Publishing Papers and StoraEnzo congratulate Penguin on its 70th
Birthday and are delighted to have contributed to this important anniversary publication.
/ PENGUIN
H. SQQKS jS
w v* LJ