Help us make a video for Women’s History Month and the forthcoming book, DRESS LIKE A WOMAN by ABRAMS Books (foreword & introduction by Vanessa Friedman & Roxane Gay), and be in with a chance of winning the book when it publishes!
The Last Jedi is now officially in cinemas, Christmas is around the corner and, if it hasn’t already, the force of the wish-list awakens…
Here’s our guide to 5 of the galaxy’s greatest gifts for the Jedi/Sith/Droid/Porg in your life:
1. For the fan who’s already booked repeat viewings:
The Art of Star Wars: The Last Jedi by Phil Szostak
Star Wars: The Force Awakens shattered box-office records as one of the highest-grossing films of all time, and its eagerly awaited sequel, Star Wars: The Last Jedi, is sure to do the same. Written and directed by Rian Johnson (Looper, The Brothers Bloom, Brick) and production designed by Rick Heinrichs (Fargo, The Big Lebowski, The Nightmare Before Christmas, Captain America: The First Avenger), this episode, like every episode before it, owes its visual language and fully imagined cinematic landscape to an incomparable art department: the Lucasfilm ‘visualists.’ The Art of Star Wars: The Last Jedi explores their vision and illuminates their creative process in stunning detail. Featuring concept art and costume sketches, storyboards, and blueprints, fans will take a deep dive into the development of the fantastic worlds, characters, and creatures—both old and new—of Star Wars: The Last Jedi. Featuring unforgettable art and exclusive interviews with the filmmakers, this visual archive highlights moviemaking magic at its finest.
Darth Vader and Family Coloring Book By Jeffrey Brown
Jeffrey Brown’s reimagining of the Star Wars universe has delighted adult fans and young Jedi alike. This new adult colouring book is equally fun to share, featuring a careful translation of artwork from the bestselling Darth Vader and Son™ series to a large-format collection on crisp white paper, plus nine new images to colour.
Star Wars Kirigami: 15 Cut and Fold Ships from Across the Galaxy By Marc Hagan-Guirey
Celebrated paper artist and designer Marc Hagan-Guirey has applied his genius to the Star Wars galaxy in this book of 15 unique kirigami (cut-and-fold) ships featured in the saga’s films. Ranging in difficulty from beginner to expert, each beautifully detailed model features step-by-step instructions and a template printed on cardstock—all that’s needed are a utility knife, a cutting mat, and a ruler. Clear tips and guidance through the tricky stages help readers craft their own X-wing, Imperial Star Destroyer, Millennium Falcon, and a dozen more ships and vehicles, each accompanied by colourful and inspiring photographs of the final model on display (or ready for a jump to Hyperspace).
Ralph McQuarrie is the most iconic artist in the history of Star Wars. He worked hand-in- hand with George Lucas to help establish the saga’s visual aesthetic, its inimitable look and feel. Carefully selected from the definitive volume, Star Wars Art: Ralph McQuarrie, these postcards are a celebration of Star Wars as a masterpiece of design and world-building. The deluxe keepsake package also functions as a display frame: the box features a die-cut window, so fans can rotate their favourite production design paintings into view.
Ninety-nine Stormtroopers join the Empire, and then their troubles begin. One takes a lunch break in the carbon freezing chamber. Two underestimate a princess. One picks the wrong time to ask for a promotion. Another fails to show Jabba the proper respect. And one interrupts Lord Vader’s private time, failing him for the last time. A lifelong Star Wars fan, Greg Stones brings a playful wit and sympathy for the plight of the troops as they meet their amusing ends, filling each colorfully painted scenario with fun Star Wars details and appearances by Han, Luke, Chewie, K-2SO, and many other characters. As the trooper count ticks down, how will the last one fare as he receives a very special assignment (on the Death Star)?
The Star Wars Cookbook: BB-Ate Awaken to the Force of Breakfast and Brunch
By Lara Starr, photography by Matthew Carden
BB-Ate is rolling into shops in the New Year so store up any gift tokens or pre-order now for some delicious recipes from across the galaxy!
Fuel up with Hans Soloatmeal, battle hunger with Admiral Ackbars, and so much more!
These easy-to-make, mouth-watering recipes feature characters and scenes from Star Wars: The Force Awakens as well as from the upcoming film Star Wars: The Last Jedi. And photographs action figures Star Wars figurines re-creating epic moments from the films provide an extra helping of humour.
The glory of growing older is the freedom to be more truly ourselves—with age we gain the liberty to pursue bold new endeavors and worry less about what other people think. In this richly illustrated volume, bestselling author and artist Lisa Congdon explores the power of women over the age of forty who are thriving and living life on their own terms. Profiles, interviews, and essays from women—including Vera Wang, Laura Ingalls Wilder, Julia Child, Cheryl Strayed, and many more—who’ve found creative fulfillment and accomplished great things in the second half of their lives are lavishly illustrated and hand-lettered in Congdon’s signature style. The perfect gift for women of all ages, A Glorious Freedom celebrates extraordinary lives and redefines what it means to gain wisdom and maturity.
The following is an extract from A Glorious Freedom by Lisa Congdon.
Cheryl’s famous memoir Wild: From Lost to Found on the Pacific Crest Trail was published when she was 43 years old. It took her two and a half years to trace the steps, challenges, and revelations she faced during her three-month, 1,100-mile hike from the Mojave Desert to the Pacific Northwest onto paper—and about two minutes for the finished book to land on the New York Times bestseller list. In the months following, Cheryl experienced instant fame—from Oprah’s Book Club 2.0 to the film adaptation championed by Reese Witherspoon and Nick Hornby, Wild went, well, wild. It is an international bestseller and a recipient of the Barnes & Noble Discover Award and the Oregon Book Award. Cheryl is also the author of the New York Times bestsellers Tiny Beautiful Things and Brave Enough. Her first novel, Torch, was published in 2007. Her essays have been published in the New York Times Magazine, the Washington Post, Vogue, and Tin House, among others, and her work has been selected three times for inclusion in the The Best American Essays. She anonymously authored The Rumpus’s popular Dear Sugar advice column from 2010 to 2012, for which she now cohosts a podcast. She currently lives and writes in Portland, Oregon.
Lisa: You worked for many years at writing, and it wasn’t until just a few short years ago, in your early 40s, you published the book that made you a household name. I encounter a lot of young artists who imagine that if they just concoct some magical formula they can have “instant success.” How would you describe the role of purpose, work, and patience in your own journey?
Cheryl: I was a successful writer long before Wild was published. What happened with Wild wasn’t “success.” It was crazy lightning striking. I’m always taken aback when people imply that I achieved success in my 40s. In fact, I had a pretty steady upward career trajectory as a writer, and all of that came about because, as you say, I showed up each day to do the work. I began publishing in my 20s. By the time I was in my early 30s I had won many awards and grants, and was publishing in respected magazines, and I’d earned my MFA in creative writing. In my mid-30s I sold my first novel to a major publisher and it was broadly reviewed and sold well. Meanwhile, I was continuing to publish essays in prominent places and I was also teaching writing.
I was known in the literary community. Then Wild happened and with that came fame and a much broader international audience. It was astounding and glorious, but it didn’t, for me, mark the beginning of the sense that I’d arrived as a writer. I was already there and I’m still here—working my tail off. That’s the magic formula: work.
Lisa: One of the most life-changing lessons I’ve learned over the past ten years is the power of embracing all of my life experience, and this is something you write about as well. Why is this idea of owning and learning to love all of your experience (even the stuff that makes us cringe or that would normally make us feel shame), why is it so important?
Cheryl: I’ve long believed our mistakes and failures teach us as much as our victories and successes. When you acknowledge the full spectrum of your possibility—as both someone who can be great and as someone who is sometimes not so great—you can bring the full force of your humanity to everything you do.
Lisa: What for you is the best part of getting older?
Cheryl: Feeling more secure about who I am. Feeling stronger about being okay with disappointing people. Putting up less of a facade. Being gentler with myself and others, too.
Lisa: What do you think is the relationship between forgiveness and the ability to age joyfully?
Cheryl: I’ve written about forgiveness a lot and it all pretty much boils down to the fact that when you can’t forgive people who have harmed you (or forgive yourself for the harm you’ve done to others) you stay locked in that struggle. Forgiveness is, to me, really acceptance. Accepting that what’s true is true. It’s saying, this is the way it was and onward we go.
Lisa: What are the three greatest lessons you’ve learned in the last ten years?
Cheryl: 1. Saying no is one form of saying yes. 2. Our ideas about famous people are projections of who we are, not a reflection of who they are. 3. Everyone struggles. Everyone hurts. Everyone wants to be told it’s all going to be okay.
Lisa: What advice do you have for women who fear getting older?
Cheryl: The fear of getting older is about the false notion that one’s power was rooted in the things that youth offers us—namely, beauty. My advice would be to see that for the lie that it always was. Our power is never about how pretty we are. Our power is about how we live our lives. Start living it.
In The Book of Circles, his companion volume to the popular Book of Trees, Manuel Lima takes us on a lively tour through millennia of information design. Three hundred detailed and colourful illustrations cover an encyclopedic array of subjects, drawing fascinating parallels across time and culture.
Frontispiece to The Continental Harmony (1794), a book by William Billings containing dozens of psalm anthems and hymns. Billings was a prominent early American choral composer. This illustration represents the score for the tune “Connection” as a four-stave, circular piece of music, which starts at the top of the outermost ring and works its way to the centre.
Part of a series of experiments exploring how to visualise the content of the Guardian newspaper in an artistic and engaging way, a diagram showing the popularity of fifty-four news articles. The concentric circles group articles into colour-coded categories (e.g., life and style articles are shown by orange, technology by cyan, and science by blue), with the least popular category positioned in the centre. Word counts for each article are noted within speech bubbles.
Pie chart displaying the statistics for an average day of the author, plotting various data such as number of emails sent, miles run, or cups of coffee consumed. Between 2005 and 2015, information designer Nicholas Felton meticulously documented his daily activity to create his Personal Annual Reports, compilations of information graphics that give an overview of each year, set out in the style of corporate reporting. The project is an exploration of how to graphically encapsulate the activities of an entire year, as well as how we can glean data from rapidly changing technology
Chart measuring time through sins, as described in the Bible, displaying an inverse relationship between longevity and sin. Longevity decreases from Adam (the first man) to Moses at the same time that sin increases. The outer ring, read counter clockwise, moves through the major events of the Old Testament. Relevant biblical verses that reveal someone’s age are cited, and the average age for an epoch is shown underneath (coloured rings).
Lithograph of an ophidea, a type of echinoderm similar to a starfish. Ernst Haeckel was a German biologist who published a series of detailed lithographs, Kunstformen der Natur (Art forms of nature), over the course of five years. These images of microscopic biology have been hugely influential on both the arts and science.
Click here to find out more about Manuel Lima’s books.
Every graphic, like every story, has a point of view, and New York is rife with map-making possibilities, thick with mythology, and glutted with history. You Are Here: NYC assembles some two hundred maps charting every inch and facet of the five boroughs, depicting New Yorks of past and present, and a city that never was. A Nightclub Map of Harlem traces a boozy night from the Radium and the Cotton Club to the Savoy and then the Lafayette; Wonders of New York pinpoints three hundred sites of interest, including the alleged location of Captain Kidd’s buried treasure; the Ghostbusters subway map plots the route from Astral Projections Place to Stay Puft Street; and a rejected proposal of ornate topiaries illustrates a Central Park that might have been.
Take a peek at a few of the maps included in this unique tour of NYC.
You Are Here: NYC – Mapping the Soul of the City by Katharine Harmon is out now | Princeton Architectural Press
To celebrate our 5th Birthday we are taking a look at our Top Fives from across our list.
Take a peek at a few of our creative, unique and inspiring books from the past five years from all of our publishers.
Here are some of our Art & Design highlights.
Number one in our spectacular Art & Design list in the William Morris Pattern Book from the Victoria and Albert Museum. Showcasing the work of William Morris and Morris & Co. These popular repeating patterns possess a timeless quality and have a modern appeal surprising in work created over 120 years ago.
This attractive series reveals the V&A’s spectacular and extensive pattern collections. Each title includes a free CD of high resolution images.
It isn’t surprising that this one of a kind, insider’s perspective of the contemporary Graffiti scene and its antecedents, is in our Top 5 Art & Design titles. Authors, Zephyr and J.SON, have been both artists and historians of the graffiti movement and give us a wide-angle snapshot of the modern graffiti movement in this book.
Graffiti 365 is a fun, engaging, and wide-ranging survey of the international graffiti scene, using 365 rare images to introduce or describe important artists-from Taki 183 to Banksy-and styles-from bubble to wild.
This inspirational, charming and beautifully illustrated little book is a heartwarming addition to our Top 5 Art & Design titles.
Whatever You Are, Be a Good One collects words of wisdom from history’s greatest creative minds–from Socrates to Lewis Carroll, Julia Child to Walt Whitman, Jane Austen to Nora Ephron–lettered and illustrated in Lisa Congdon’s signature hip hand-drawn style. Offering readers everywhere encouragement and hope.
Thinking with Type is the definitive guide to using typography in visual communication, from the printed page to the computer screen. This revised edition, with it’s new and updated content has continued the success of it’s predecessor and easily found it’s place in our Top 5 Art & Design titles.
Throughout the book, visual examples show how to be inventive within systems of typographic form-what the rules are and how to break them. Thinking with Type is a type book for everyone: designers, writers, editors, students, and anyone else who works with words.
From Londoners to Anglophiles Edward Bawden’s London has universal appeal and sits happily in our Top 5.
This beautiful book, with almost 200 striking images, shows London as represented by Edward Bawden (1903-1989) in prints, posters, drawings, paintings, murals and advertising material produced during his long career.
The wide range of illustrations includes early work executed whilst a student in the early 1920s; the Morley College murals carried out in partnership with Eric Ravilious; advertising work for London Transport, Fortnum & Mason, Twinings Teas, Shell, Westminster Bank; the mural for the Lion & Unicorn Pavilion at the 1951 Festival of Britain; and a varied selection of his finest series of linocuts.
Graffiti made from cake icing, man-made clouds floating indoors, a luminous moon resting on water. Collected here are dozens of jaw-dropping artworks—site-specific installations, extraordinary sculptures and groundbreaking interventions in public spaces—that reveal the exciting things that happen when contemporary artists play with the idea of place.
Unexpected Artshowcases the wonderfully experimental work of more than 50 innovative artists from around the world in galleries of their most astonishing artworks. An unusual package with three different-coloured page edges complements the art inside and makes this tour of the world’s most mind-blowing artwork a beautiful and thought provoking gift for anyone interested in the next cool thing.
You don’t have to buy a ticket to a public space. It’s yours. It’s not like going to a theater or a museum, where you are choosing to be exposed to a type of art. It is my job as an artist, if I am allowed the use of a public space, to connect the audience to my work. You have to involve the people. The audience is not only the spectators— it is part of the art.
Recently, I visited my hometown. It’s a small place, the kind of place where everyone knows one another. The neighbors were happy to see me; they’ve been keeping up with my career as I have become more well-known. One neighbor came up to me and said, “Do you remember, Florentijn, when you used to build scenes out of soapboxes and come around asking us to see what you had made?”
As a child of six or seven, I would create little worlds, adventurescapes, fantasy lands, out of soapboxes and take them around the neighborhood asking, “Have you seen what I made?” I always had the sense that if I was going to make art, it had to be big, and it had to touch many people. From my days as an art student, when I started a small business with two friends painting murals each summer, public artwork is what I fell into naturally. After I graduated, I continued my work with public space—I had a feel for it, a love for it.
I love the connection with people. And I love the unique challenges posed by working in a public space. There are clearly logistical considerations in work of this scope: dealing with the paperwork and the local governments, making a work “asshole proof,” as we call it in Holland; that is, protecting it from vandals. The challenges of public installations—the approvals, the safety standards—push you to be more creative. There are problems that you have to solve, issues to overcome. As a result, it becomes a collaborative process. Part of the strength of the work comes from this collaboration with the many hands that touch it.
When beginning a project, I start with a site visit. You have to take into account all of the ingredients—the history of the place, the demographics, who lives there, the buildings—everything that comes together to make the place what it is. A public space can become so familiar that a person doesn’t see it anymore. People pass through a space that they’ve been through dozens, even hundreds, of times before, and it has become completely invisible, utterly strange, to them. When I insert a new object into that space, it provides a bright new perspective to the viewers, so that all of a sudden, they experience their surroundings once more.
Changing the volume of the space is one way to make the familiar fresh and new. The materials I use are also key to providing the unexpected—I have used flip-flops, tiles, plastic bags, thatch. If I try to astonish myself first and foremost, I can feel confident about bringing the awe factor to an installation.
Slow Slugs, in Angers, France, took many hands to complete. I worked with dozens of volunteers who tied forty thousand plastic bags to the frames forming the slugs, which crawled up the stairs to the church. Seeing this location in Angers, a stairway to a church—to God, to religion, to death—as well the way to a commercial district behind the church, brought to mind a race to the finish. The slow race of slugs up the church stairs combined with the suffocating effects of plastic bags and commercialism all came together in this public work. As with many public pieces, it was up for only a short time—days—but if I have succeeded in changing the space, providing the audience with a new perspective, then the impact has been made. And the work will live on in publications and on the Internet.
A dozen years ago, I bought a world map. I fashioned stickers in the shape of a rubber duck, and I stuck them all over the map in the hopes that one day, I would bring my Rubber Duck project—a giant version of the child’s bath toy— to these places. Now, it’s happening. The Rubber Duck has been to more than twenty locations in eleven countries, and the momentum is growing. It’s an installation in which the audience reaction, the joy, the togetherness, is intrinsic to the experience. We all want to be amazed and astonished. The strong visual reference to a familiar object—an enormous rubber duck—draws the audience in. The scale of the Rubber Duck turns the harbor, bay, river into a giant bathtub and makes us all feel small. The audience becomes part of the installation, its reaction integral to the piece. You could be a CEO or a butcher, but we are all the same before this work. It interacts with all layers of society. It makes the world smaller. In my work, I play with scale. The effect of my work is to change your perception of reality.
Art doesn’t always have to be difficult; you don’t have to sweat to understand it. It can be a work that is all about relating, where we are all free to watch and investigate and discover. My sculptures don’t change reality. They reveal what is already there and make you part of it.
Do you wish you could carve out a little creativity in your day, but are convinced there are not enough hours in the day?
We know the feeling.
But despair no longer! Artist Danny Gregory, creativity guru to thousands across the globe, is here to help with this unique guide. Serving up a hearty helping of inspiration, Gregory offers 5 to 10 minute exercises for every skill level that fit into any schedule – whether on a plane, in a meeting, or at the breakfast table – along with practical instruction on techniques and materials, plus strategies for making work that’s exciting, unintimidating and fulfilling.
So why should you make art part of your everyday? We will let Danny take the lead here…
But not only that, art can fulfill so much more…
Art stops time. When you draw or paint what’s around you, you see it for what it is. Instead of living in a virtual world, as we do most of the time these days, you will be present in the real one. Instead of focusing on all the things whirring in your head, you will be able to stop, clear your mind, take a deep breath, and just be. You don’t need a mantra or a guru. Or an app. Just a pen.
Life is just a long succession of small epiphanies. You need to stop and seize them. By making art, you will be recording what you are living through and what you are learning about it. A drawing and a sentence or two in a sketchbook turns those everyday moments into something significant. Your art will set a frame around it and give you perspective on what really matters. Over time you will build up a book of memories—a true record of what’s important in your life.
It’s not perfect, but it’s beautiful. And the most beautiful things have character and experience built into them. There’s a lot to learn and appreciate in a chipped mug, a half-eaten apple, the tiny lines in the leather of your dashboard. Making art will show you how much you already have. Your real treasures. A brand-new Maserati is a lot less beautiful to draw than a rusty old pickup.
You will never be bored or waste time again. Every day is full of those moments between activities. Waiting in the doctor’s office, watching mindless TV. Instead of reading tweets on your phone, you’ll make a piece of art. Every minute of your day counts. Make it worthwhile.
We all live in chaos. It’s the natural state of things. Physicists call it entropy—everything is always changing and unraveling and ultimately turning into cosmic mush. That’s why your desk gets cluttered and your calendar gets filled. It’s physics.
Creativity is the act of shaping the mush of the world around us into something—of creating your own order. I’m not talking about going crazy and compulsive with a label maker and color-coded files. I’m talking about having a vision of what you want things to be like and moving toward it.
I assume that, deep down, you want to have more creativity in your life—that’s why you have this book in your hands. But you just don’t know how to fit it into the chaos of your day. There are always too many things to do, too many obligations and chores that take precedence over you. Maybe you think to yourself, “Sure, I’d love to make art, but I don’t have the time to indulge myself right now. Maybe on the weekend, on vacation, when I retire, etc.”
But creativity isn’t a luxury. It’s the essence of life. It’s what distinguishes us from the mush. And it’s why our ancestors survived while other less adaptive critters perished. They responded to change by being creative in some way, by inventing a new answer to the chaos.
And that’s what you need to do to make the most of your life, every day of it. To be inventive, open, flexible, in touch. To have perspective on what matters to you. To deal with change without being overwhelmed. And that’s what creativity offers you.
Creativity can become a habit that fits into your life, like Pilates or flossing, only a lot more fulfilling. You just need to shift your perspective on what it is to be creative. It doesn’t mean you have to be a full-time artist. It doesn’t mean you need lots of training or supplies. Or time. It doesn’t mean you need to be a so-called expert.
You just have to be you—and express what that means.
Art Before Breakfast is out now,find out more about here.
Want to find out more about Danny Gregory? You can find him on Twitter, Facebook and on his Blog
Yup, Monday, Tuesday, Wednesday, Thursday and Friday I sat down with my coffee and toast and, with artist Danny Gregory’s guidance, completed a selection of drawing lessons. With the ultimate aim of ending the week able to incorporate new skills into making art part of my daily life. That is what Danny Gregory is trying to help you achieve with his new book. He want’s us to…
Contour Drawing is all about what you see. What you REALLYsee before your brain tricks you into thinking something else. Where does the handle of the mug meet the body? How far was the pot of honey from the plate? Isn’t the plate more of an oval than a circle from where I am sitting? What other shapes are there?
It was a daunting task; everything started out looking, well, a bit of a mess! I looked down in despair at the odd shapes littering the page. But once I start filling out the drawing it was like magic! Suddenly the weird shapes took on form, a CUP! a Plate! a POT OF HONEY! Day one compete, breakfast eaten, time to start my work day.
Day Two, another day, another lesson. Tuesday’s task was Negative Space.
I will admit up-front this was the task I found the most difficult. Negative Space is again about training yourself to draw what you see, not what you think you see. The instructions were to draw the shapes between the objects. But, I found myself drawing the objects not the space. I got there in the end, sort of…
Have a go yourself. Draw the shapes around the objects on your table and remember to trust your eyes your brain is telling you lies!
Wednesday’s lesson brought joy to my logically inclined brain. Day three of my project was all about perspective. I learned more about contour drawing, this time using measurements for depth and distance! It’s all about the attention to detail here.
I think there was a marked improvement, what do you think?
For Thursday and Friday’s lessonswe moved away from actually sketching breakfast – phew…there are only so many times you can draw a honey pot!
On Thursday I was instructed to draw my bathroom cabinet, but as I was taking on this task at work I opted for our microwave. Continuing the lesson on outline drawing, I sketched the shapes I SAW. My level of confidence by this fourth day was much improved and it showed in the sketch I was able to produce in a quick 10 minutes (before I even finished my cup of coffee!). My hand felt more dexterous curving the edge of the toaster and I even managed some semi-convincing negative space! On Friday I was instructed to added depth to the outline I had drawn. Giving my microwave sketch life. It might not be the Sistine Chapel, but I finished my week of Art Before Breakfast with real pride.
My week of Art Before Breakfast proved two things to me.
1. Even just a few lessons can make a real difference to your skill level.
2. There is always time for art.
So give it ago! Pick-up a copy of Danny’s Book and carve out some creativity in your life.
We would like to introduce you to our first Bookstore of the Week of 2015…
*Drum roll Please*
Salts Mill Gallery & Bookshop in West Yorkshire.
Salts Mill Gallery & Bookshop is set in the UNESCO World Heritage Site, Saltaire, in a Grade II Listed historic mill building built in 1853 by Sir Titus Salt. Home to four galleries (the Mill is home to a permanent exhibition on David Hockney’s work), a selection of places to eat and drink, and spaces to rent Salts Mill creates a hive of culture truly underpinned by history.
The main bookshop is upstairs and has an eclectic mix of books on all subjects. Housed in a beautiful and spacious stone hall, it retains clear traces of its industrial past; the stone floor, cast iron columns, metal pulley and huge windows.
Little history trivia for you, the quality of light was important to the cloth-manufacturing processes in the mill.
Occupying half of one of the huge galleries on the second floor of the West Mill, the bookstore has the luxury of displaying a significant number of titles on tables rather than shelves. Exposing the eye to a rainbow of covers and encouraging even the most prudent to pick-up a book (or two).
It can be quite a busy place, especially at weekends, so there is a satisfying buzz about it, but it’s also a space made for quiet browsing. The shop is enhanced by all the artwork on the walls; many are Hockney prints but some are the work of other artists.
Salts Mill Bookshop is the kind of shop you could linger in all day, the placement of everything is designed so that book covers and spines sit in intriguing harmony. We couldn’t recommend visiting more highly, but we do suggest taking someone with you, party to share the love, partly to make sure you don’t buy one of everything…