As Internet advertising revenues begin to eclipse their print equivalents, major newspapers are cutting down size, reducing their format and focusing their efforts on web-content. The mood and setting of print media is becoming somewhat gloomy.
Recently, Doug had a discussion with accomplished illustrator and book cover artist Vladimir Zimakov, who has designed for Penguin and Random House. While many who publish their work electronically eagerly await the death of print media, Zimakov’s vision illuminates a certain humane depth that can only be achieved through the marriage of ink and paper.
How did you first become interested in book art?
When I was getting my BA degree from the Kansas City Art Institute, this letterpress-printing place opened up in town. It was called Hammerpress. I went to check it out and looked at what they were doing. That was the first time that little voice in my head started to tell me “this is what I want to do”. After that, I started researching small press publishers and book illustration. I became fascinated with the challenge of creating images that reflected the text, composing type, creating the binding and then putting it all together.
Are there any books that have had a continual influence on your inspiration and style?
Dostoyevsky, Gogol, Wilde, Garcia Marquez, Kafka and Mayrink are among the authors whose mystic and philosophical writings have inspired my images. It’s hard to narrow it down to just a few. As far as style inspiration, the British book of illustration from the 19th century and the medieval illuminated manuscripts are probably two of my main sources of inspiration. Unfortunately, the art of the illustrated book has since then drastically declined (excluding the art of book jacket design). Once in a while, I will come upon something quite amazing in the contemporary world, but those discoveries are few and far between. Most of those books are done by small press publishers and because of the limited edition are quite hard to get a hold of. Among them are those published by the Yalla Bolly press, which is unfortunately not around anymore. From the twentieth century such illustrators as Leonard Baskin, Edward Gory, Ralph Steadman, Dave McKean and Paula Rego continue to have a huge influence on me.
I’m currently reading Dostoevsky’s “Demons”. I find it amusing how his characters always seem to be under-employed intellectuals with nothing better to do than get into trouble.
Oh yeah. One of the typical traits of Russian character. The intellectuals have their own theories and make it their life goal to prove them to the world no matter what the consequences are. Sometimes it’s pure genius; sometimes it’s completely absurd. Or both. Most of the time trouble is inevitable, taking into consideration another very Russian trait: the extreme. All or nothing. You can trace almost all Russia’s great moments and great downfalls in history to that combination. “The Demons” show that really well. Definitely one of Dostoevsky’s finest writings!
I really like your experimental format books, how many of these have you worked on, and what formats would you like to experiment with in the future?
Exploration of the book format is always on my mind. It’s quite important for me to consider all possible outcomes when creating the visual interpretation of the text. When I read a book, I am trying to imagine what form it could take as a whole or if it could free itself from its traditional restrictions. What if the readability and the codex format were not the issues anymore? In my design for Gogol’s “the Diary of a Madman”, as the story progresses and the main character gradually becomes insane, the type and the images take on the characteristics of his mental state. However, I still had to make the story readable. “The Death of Text” is designed in such a way that it can’t be read. So it’s more about embracing the concept as a whole without worrying about anything else. Sealing the text and bidding it farewell for the time being. I find this quite liberating and have done a few book-objects like this. Most of them still exist as ideas and sketches. I would really like to work on a room size installation where a person can physically walk through a story. It would be interesting to interpret some of Garcia Marquez’ writing in such a way.
The thought of transforming a book into physical space is a really interesting idea with endless applications: art installations, libraries, cafes, bars, maybe even prisons and mental institutes. One could model whole institutions on the work of Kafka - cover the walls in text from “The Trial” so when the workers get bored all they have to do is wander around their office and read.
There are lots of possibilities. The big question that comes up all the time is: when does a book stop being a book, and therefore should be called something else? Many people have very strict definitions and would like to keep things in their respective categories. I share the opinion that it is never about the form. It has to be about content, narrative and rhythm. We all perceive information in different ways and everything is open to interpretation. I like to draw the parallel between book and theater: pages are the stage, letter forms are actors, page tone provides the lighting, etc.
What do you think will happen to the printed book format in the next 20 years?
I think it will be as important as ever. Magazines and newspapers might start to disappear, but as far as the printed book, I think that there will still be a huge demand for it. As the technology advances and absorbs us from all directions, there becomes a great need for an antidote. Now texts are widely available online, but after working on computers all day, does one truly relax by looking at yet more pixels? It’s not always about content. Touch and feel is what often makes the book extremely personal. I am very eager to embrace the technological advances, but can’t help but feel that a lot of it is in a state of flux. That’s one of the reasons why there is a growing market for small press publishers and a demand for limited edition letterpress books. I think it’s our human nature to want to hold on to something, which we know is not going to disappear with a click of a mouse.
In terms of book design, what is your favorite era and publisher?
I will have to go with the Russian Avant-Garde era of the 1920’s and 30’s. The Samizdat aesthetic really stretched the boundaries of what a book can be. Their philosophy had to do with cheap production, accessibility and not being tied down to the traditional codex. The designers influenced the authors and the authors did the same for the designer. It seemed like the time of pure literary design celebration.
Which author in your opinion has the best cover designs?
That’s a tough one. Since the authors work with different designers and publishers, cover quality varies from one book to the next. Ray Bradbury had some great covers. Especially the ones done by Joseph Mugnaini, with whom he worked with quite a lot. I really admired the covers of Charles Bukowski’s books when he was published by the Black Sparrow Press. They were simple and very fitting to his work. Sometimes I’d run into a great cover for Dostoyevsky’s work, but most of the time they would just use some 19th century Russian painting that has nothing to do with the book. So it’s not really about the author, but rather the publisher. As far as the designers working in the industry today, I always follow what Chip Kidd is doing. The volume one compilation of his work is an amazing eye opener on the whole industry of book publishing and design.
Ideally, what would you like to accomplish with your work?
I want to continue creating books where the text and the images work together. The possibilities are endless and I want to continue my journey towards finding the best solutions of bringing the two together. Obtaining a letterpress of my own and finding a place to set up a small press print shop is on the top of the “to do” list at the moment.
To go to Vladimir Zimakov’s website click here.
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