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The Marber grid is a page construction method created by Polish graphic designer Romek Marber in 1961 for Penguin books. This construction was made at the instigation of Germano facet, then the art director at Penguin, with the intention of unifying the appearance of the many series of Penguin titles. Starting with the crime series Marber's brief (which was also made to Derek Birdsall and John Sewell though their proposals were not adopted) was ti integrate image and text in a way that would preserve the Penguin brand identity and the goodwill it had accrued. By the mid-1950s new printing techniques had allowed the introduction of pictorial covers with the use of offset lithography, Penguin had experimented with the use of this when it asked Abram Games to design a small number of contempo

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  • Marber grid
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  • The Marber grid is a page construction method created by Polish graphic designer Romek Marber in 1961 for Penguin books. This construction was made at the instigation of Germano facet, then the art director at Penguin, with the intention of unifying the appearance of the many series of Penguin titles. Starting with the crime series Marber's brief (which was also made to Derek Birdsall and John Sewell though their proposals were not adopted) was ti integrate image and text in a way that would preserve the Penguin brand identity and the goodwill it had accrued. By the mid-1950s new printing techniques had allowed the introduction of pictorial covers with the use of offset lithography, Penguin had experimented with the use of this when it asked Abram Games to design a small number of contempo
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Timestamp
  • 20120706133000(xsd:double)
abstract
  • The Marber grid is a page construction method created by Polish graphic designer Romek Marber in 1961 for Penguin books. This construction was made at the instigation of Germano facet, then the art director at Penguin, with the intention of unifying the appearance of the many series of Penguin titles. Starting with the crime series Marber's brief (which was also made to Derek Birdsall and John Sewell though their proposals were not adopted) was ti integrate image and text in a way that would preserve the Penguin brand identity and the goodwill it had accrued. By the mid-1950s new printing techniques had allowed the introduction of pictorial covers with the use of offset lithography, Penguin had experimented with the use of this when it asked Abram Games to design a small number of contemporary fiction covers. Games's solution of a white band title section atop a dominant image was the basis on which Marber built, but employing sans serif Standard for the lettering and allowing for some variation in the placing of the title in a manner responsive to the length of the text and the requirements of the composition. No record remains of the number of covers Marber designed for Penguin, though he personally vouched for the authorship of 71. In 1962, Herbert Spencer wrote a sixteen-page article for Typographica 5 magazine describing the history and development of Penguin designs in which the new format devised by Marber was attributed to Facetti. Marber sent a brief note to Spencer pointing out the error, Spencer then contacted former art director Hans Schmoller at Penguin who confirmed that the new design was Marber’s work. Subsequently, Spencer went to the great length of publishing a two-page correction, which included copies of Marber’s handwritten proposal and cover grid, and a letter from Facetti. ‘There is an omission in your otherwise admirable piece on Penguins in Typographica 5 which I should have hastened to amend at proof stage,’ writes Facetti. ‘I should be grateful if, in fairness to Marber and for the historical record, you could print a correction . . .’ Marber's grid was used across the Penguin brand throughout the sixties only falling into disuse with the arrival of Alan Aldrige and David Pelham. It was essential to the visual identity of Penguin at the height of its cultural significance.
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