Feral House presents an irreverent, educational and entertaining collection of essays by the Great Contrarian of graphic design, Art Chantry.

There used to be a time when designers were trained in the history of composition. Now you just buy a fuckin' piece of software and now you've become a designer. "Art Chantry . . . Is he a Luddite?" asks a Rhode Island School of Design poster promoting a Chantry lecture. "Or is he a graphic design hero?" For decades this avatar of low-tech design has fought against the cheap and easy use of digital software. Chantry's homage to expired technology, and his inspired use of Xerox machines and X-Acto blade cuts of printed material, created a much-copied style during the grunge period and beyond. Chantry's designs were published in Some People Can't Surf: The Graphic Design of Art Chantry (Chronicle Books), exhibited at the Seattle Art Museum, the Rock and Roll Hall of Fame, the Museum of Modern Art, the Smithsonian, and the Louvre. More recently, Chantry has drawn upon his extraordinary collection of twentieth-century graphic art to create compelling histories of the forgotten and unknown on essays he has posted on his Facebook page. These essays might lionize the unrecognized illustrators of screws, wrenches, and pipes in equipment catalogs. Other posts might reveal how some famous artists were improperly recognized. Art Chantry Speaks is the kind of opinionated art history you've always wanted to read but were never assigned.

Art Chantry's contrarian ways have placed him in the pantheon of great modern designers. Some People Can't Surf: The Graphic Design of Art Chantry is the first survey of this visual iconoclast, who also designed the book and packed it with hundreds of his vibrant images. Gritty, funny, and refreshingly low-tech, his award-winning work has promoted countless bands, social causes, and non-profits. Tracing Chantry's career from his covers and layouts for the seminal music magazine The Rocket, to album covers for such cult bands as Mudhoney, the Reverend Horton Heat, and the Fastbacks, Some People Can't Surf is a comprehensive look at his creative evolution. Complete with commentary on the unusual origins and unorthodox processes behind his work, as well as providing context for his oft-copied look, Some People Can't Surf is a much-anticipated exploration of this idiosyncratic design master.

Estrus: Shovelin' The Shit Since '87 is the complete, as-yet-untold story of US garage rock powerhouse Estrus Records, which for nearly two decades churned out hundreds of releases from some of the biggest garage, trash, surf, and punk bands worldwide, among them The Makers, The Mummies, Man . . . or Astroman?, and label head honcho Dave Crider's drunk/punk quartet The Mono Men. Shovelin' charts the label's highs and lows - from its highly successful hosting of the annual Garageshock, arguably the greatest series of garage rock "festivals," to the devastating loss of its warehouse in a fire. Estrus is one of the few record labels whose cover art and other graphics match the brilliance of its music, thanks to the contributions of trash-culture visionary Art Chantry. Packed with iconic visuals the book draws on lively, extensive interviews, never-seen-before archival photos, oddball artifacts, and more, to give a fascinating insight into the major players behind one of garage rock's most influential and successful independent record labels.

One of the seminal texts of graphic design, Paul Rand's Thoughts on Design is now available for the first time since the 1970s. Writing at the height of his career, Rand articulated in his slender volume the pioneering vision that all design should seamlessly integrate form and function. This facsimile edition preserves Rand's original 1947 essay with the adjustments he made to its text and imagery for a revised printing in 1970, and adds only an informative and inspiring new foreword by design luminary Michael Bierut. As relevant today as it was when first published, this classic treatise is an indispensable addition to the library of every designer.

Best-known for his corporate brand logos and art direction, Paul Rand (1914–1986) transformed commercial art from craft to profession, introduced European design standards to American commercial art, influenced the look of advertising and book design, and altered the ways in which major corporations including IBM, UPS, and Westinghouse did business. His adherence to a strict design form in his work for corporate clients was balanced by a playful side , captured in this spirited collection of literal (and figural) back-of-the-envelope sketches, doodles, notes, and imaginative sparks that later found their full form in his children's books, logos, and personal work.

Edited by Franc Nunoo-Quarcoo. Texts by Derek Birdsall, Ivan Chermayeff, Shigeo Fukuda, Milton Glaser, Diane Gromeala, Jessica Helfand, Steven Heller, Armin Hoffmann, Takenobu Igharashi, John Meada, Richard Sapper, Wolfgang Weingart and Massimo Vignelli.

In this arousing new work, Walter Chantry expounds from Christ's dealing with the rich young ruler the essential elements in gospel preaching. A close examination of the scripture evidence leads to this conclusion: "Differences between much of today's preaching and that of Jesus are not petty; they are enormous. The chief errors are not in emphasis or approach but in the heart of the gospel message. Were there a deficiency in one of the areas mentioned in these pages, it would be serious. But to ignore all -- the attributes of God, the holy law of God, repentance, a call to bow to the enthroned Christ -- and to pervert the doctrine of assurance, is the most vital mistake. This powerfully-written book has a message which goes to the heart of the contemporary problem in a way that conferences and commissions on evangelism have failed to do. Its expository approach is particularly valuable. - Back cover.

Taking Punk to the Masses: From Nowhere to Nevermind visually documents the explosion of Grunge, the Seattle Sound, within the context of the underground punk subculture that was developing throughout the u.S. in the late 1970s and 1980s. The book serves as a companion and contextual backdrop to the Nirvana: Taking Punk to the Masses exhibition, which opens at Seattle’s Experience Music Project in 2011. This decade-and-a-half musical journey will be represented entirely through the lens of EMP’s oral history and permanent object collection, an invaluable and rich cultural archive of over 800 interviews and 140,000 objects ― instruments, costumes, posters, records and other ephemera dedicated to the pursuit of rock ’n’ roll. Taking Punk to the Masses focuses on 100 key objects from EMP’s permanent collection that illustrate the evolution of punk rock from underground subculture to the mainstream embrace (and subsequent underground rejection) of Grunge. These objects are put into context by the stories of those who lived it, culling from EMP’s vast archive of oral histories with such Northwest icons as Mudhoney’s Mark Arm, cartoonist Peter Bagge, design legend Art Chantry, Beat Happening’s Calvin Johnson, Sub Pop founders Bruce Pavitt and Jonathan Poneman, the Screaming Trees’ Mark Lanegan, Nirvana’s krist Novoselic, photographer Charles Petersen, Soundgarden’s kim Thayil, and dozens of others. From the Northwest’s earliest punk bands like The Wipers, to proto-grunge bands of the 1980s like Green River, Melvins and Malfunkshun, through the heady 1990s when bands such as Nirvana, Soundgarden, Pearl Jam, Alice in Chains and Mudhoney rose to the national stage and popularized alternative music, Taking Punk to the Masses is the first definitive history of one of America’s most vibrant music scenes, as told by the participants who helped make it so, and through the artifacts that survive.

"Man is born unto trouble, as the sparks fly upward;" therefore we all need to learn the same lesson as Paul. "I have learned," he said "in whatsoever state I am, therewith to be content," Philippians 4. 11. Believers, especially, wish to attain to a holy equanimity in their tribulations and under the stresses caused by our increasingly secular society. In this volume we have a full exposition, by the Puritan, Thomas Watson, of the above verse of Scripture, originally preached during his ministry as rector of St Stephen's, Wallbrook, London Puritan preachers, having an eye to the practice of their hearers, built their heart-searching application of the truth upon sound biblical doctrine. This characteristic is evident in The Art of Divine Contentment; as is also the fact that Watson was the "master of a terse, vigorous style and of a beauty of expression