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Date
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Elliott Moody
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Non-verbal Club provides the design for Yehuda E. Safran's book on Portuguese art and architecture


Non-verbal Club provides the design for Yehuda E. Safran's book on Portuguese art and architecture
Non-verbal Club provides the design for Yehuda E. Safran's book on Portuguese art and architecture
Non-verbal Club provides the design for Yehuda E. Safran's book on Portuguese art and architecture
Non-verbal Club provides the design for Yehuda E. Safran's book on Portuguese art and architecture
Non-verbal Club provides the design for Yehuda E. Safran's book on Portuguese art and architecture
Non-verbal Club provides the design for Yehuda E. Safran's book on Portuguese art and architecture
Non-verbal Club provides the design for Yehuda E. Safran's book on Portuguese art and architecture
Non-verbal Club provides the design for Yehuda E. Safran's book on Portuguese art and architecture
Non-verbal Club provides the design for Yehuda E. Safran's book on Portuguese art and architecture
Non-verbal Club provides the design for Yehuda E. Safran's book on Portuguese art and architecture
Non-verbal Club provides the design for Yehuda E. Safran's book on Portuguese art and architecture

Yehuda E. Safran is an internationally-respected philosopher and critic of art and architecture. He studied all three disciplines at a number of London colleges including Central Saint Martins and the Royal College of Art; and has taught them all over the world.

Since the 1980s, Safran has been writing essays on Portuguese art and architecture that capture his passion and unique perspective on both topics. Lars Müller Publishers has compiled the majority of the essays into a 276-page paperback book, titled I Have A Weakness For A Touch Of Red, with the aim of making them accessible to an international readership. As described by Safran in his foreword, the book contains a “more than thirty-year love affair with Portugal, her culture, language and building arts”.

Porto-based studio Non-verbal Club designed the book to be straightforward and comfortable to read by using a traditional storybook structure and generous type sizes. They added emotion to the design by typographically interpreting titles, quotes and lists, introducing playful compositions as a rhythmic tool to shake an otherwise pragmatic flow.

Graphic Design

Non-verbal Club

Size

140mm x 220mm

Pages

276

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