BASELINE 10
THE CASSANDRE ISSUE

Mike Daines [Editor], Newell and Sorrell [Art Direction]

10.5 x 14.25 saddle-stitched magazine with 50 elaborately-designed pages. First issue published in the new, oversized format. From the current Publishers: "During 21 years of publication, 'Baseline' has become the leading international magazine about type and typography. It began life in 1979, published by the graphics arts products manufacturer, Letraset. It was originally intended as mainly a vehicle to promote new typeface designs, made available under licence to typesetting system manufacturers. Published "when available material allowed," 'Baseline' nevertheless gained an immediate reputation despite only appearing on average once a year for its first 10 years of existence. Its editorial content, despite the obligatory typeface promotion, struck a chord with the typographic community, because of its objective, and informed approach.

Contents:

• New Work
• Revolution by Evolution: Profile of Jeremy Leslie
• Type Directors Club New York ­ TDC 34 Awards
• Cassandre: From his epoch-defining travel posters to his advertisements for Dubonnet, A. M. Cassandre acknowledged no boundaries to his poster art. Combining surrealism and cubism through the rigors of commercial art, he single-handedly defined an era.
• Legibility of Type by Linda Reynolds
• Post Brody: Neville Brody was arguable the most influential graphic designer of the eighties. If you weren't around in the early eighties to groove on Brody's groundbreaking designs for The Face, Fetish and Rough Trade Records, New Socialist, Arena, etc., Here's your chance to catch up.
• Morisawa Awards
• Times Roman: An Evaluation by Peggy Lang
• Desert Island Type ­ Paul Smith
• Book page: Reviews
• Back page

A. M. Cassandre (1901 - 1968) born Adolphe Jean Edouard Mouron and studied at the Ecoles des Beaux Arts in Paris. He produced his first poster Au Bucheron at 22. Cassandre's work was seen as a bridge between the modern fine arts and the commercial arts. Despite his affinity to the fine arts he always believed there should be a separateness between disciplines. The success of his posters probably lies in his philosophy that his posters were meant to be seen by people who do not try to see them. In 1936 he traveled to America to work on several projects. While there he designed several surrealistic covers for Alexey Brodovitch at Harper's Bazaar. In addition, he created for NW Ayers, the classic eye of the Ford billboard and several pieces for the Container Corporation of America. His career as a poster designer ended in 1939 when he changed disciplines and became a stage, set and theatrical designer.

Spreads from this volume can be viewed here.

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