The design profession doesn't produce many larger-than-life figures. Robert BrownjohnBJ, to just about everyone who knew him, and everyone didwas one. His gifts were immense, as were his appetites. Enfant terrible and visionary, he was both. Mick and the Stones wanted to hang with him. Of course it couldn't last. Robert Brownjohn was simply too big for this world. He died in 1970 at the age of 45, a victim of his own excesses. Today, he is best remembered for his sexy James Bond credit sequences. But Brownjohn's legacy is far more significant, and his story has all the drama and pathos of a Hollywood blockbuster. Now, for the first time, this extraordinary life and career is remembered in print, with all its richness and complexity. Robert Brownjohn: Sex and Typography tracks the story of this legend from his early years as the prized student of Laszlo Moholy-Nagy to his days as a visionary star in the New York design world of the sixties and his later years as an icon in the film and advertising world of swinging London. Robert Brownjohn illustrates the dynamic work Brownjohn produced on his own and as a cofounder of the firms Brownjohn, Chermayeff, and Geismar in New York, and Cammell, Hudson, and Brownjohn in London, including campaigns for such giants as Pirelli, IBM, and Midland Bank. Robert Brownjohn is both an inspirational monograph of creative genius and a window into the life of a Falstaffian figure who just happened to be one of the formative designers of the twentieth century.

Based on a self-published typographic notebook first produced in 1959; this reproduction includes thoughts by influential designers such as George Lois and April Greiman on the lasting impact of this type primer.

John Robert Brown presents an enthusiastic and authoritative account of a century of jazz. Written in a clear and engaging style by a well-known British author and jazz educator, this book offers an affectionate introduction to the people and places that are of worldwide importance in the history of this wonderful music.

In The Moderns, we meet the men and women who invented and shaped Midcentury Modern graphic design in America. The book is made up of generously illustrated profiles, many based on interviews, of more than 60 designers whose magazine, book, and record covers; advertisements and package designs; posters; and other projects created the visual aesthetics of postwar modernity. Some were émigrés from Europe; others were homegrown—all were intoxicated by elemental typography, primary colors, photography, and geometric or biomorphic forms. Some are well-known, others are honored in this volume for the first time, and together they comprised a movement that changed our design world.

From Caslon and Carson, from Gutenberg to Greiman, from Lascaux to letterpress, and from Postmodernism to pixel (among other entries), this title will provide all the necessary information and visual cues that designers need to know in order to become empowered, work efficiently and knowingly, and survive in a design conversation with peers.

Robert Blincoe (c. 1792-1860) became famous during the 1830s for his popular "autobiography" detailing the horrific account of his childhood spent as a labourer in English cotton mills. This work, however, is not technically an autobiography as his story was told to journalist John Brown, who wrote the manuscript but died before publishing it. The manuscript was given to a friend who published the resulting book, A Memoir of Robert Blincoe, in five episodes in the magazine The Lion in 1832. Historian John Waller has asserted that Charles Dickens based his character Oliver Twist on Blincoe, but no firm documentary or anecdotal evidence exists that this is true. Still, the publication of Blincoe's "memoir" had an impact on bringing the horrors of child labour to a wider audience, which in turn led to legislation to limit working hours and improve working conditions for child labourers.

Available for the first time in many years, Commonsense and Nuclear Warfare presents Russell's keen insights into the threat of nuclear conflict, and his argument that the only way to end this threat is to end war itself. Written at the height of the Cold War, this volume is crucial for understanding Russell's involvement in the Campaign for Nuclear Disarmament and his passionate campaigning for peace. It remains an extremely important book in today's uncertain nuclear world, and is essential reading for all those interested in Russell and postwar history. Includes a new introduction by Ken Coates, Chairman of The Bertrand Russell Peace Foundation.