Effective layout is essential to communication and enables the end user not only to be drawn in with an innovative design but to digest information easily. Making and Breaking the Grid is a comprehensive layout design workshop that assumes that in order to effectively break the rules of grid-based design, one must first understand those rules and see them applied in real-world projects.Text reveals top designers' work in process and rationale. Projects with similar characteristics are linked through a simple notational system that encourages exploration and comparison of structure ideas. Also included are historical overviews that summarize the development of layout concepts, both grid-based and non-grid based, in modern design practice.

    Covering history of design, along with current trends, methods for customizing fonts, techniques for setting type, common mistakes to avoid, and guidelines for selecting the right type for the job, the book is fully illustrated with smart, relevant images.

    Graphic Design Thinking explores a variety of techniques to stimulate fresh thinking to arrive at compelling and viable solutions. Each approach is explained with a brief narrative text followed by a variety of visual demonstrations and case studies. Lupton's hands-on, close-up approach, made famous with Thinking with Type, makes the creative process accessible to anyone and removes the myth that creativity is an in-born talent.Presents a wide range of methods applicable to any brainstorming scenario.• Techniques are grouped around the three basic phases of the design process: defining the problem, inventing ideas, and creating form• From informal strategies that are ideal for quick, seat-of-the-pants thinking, to formal research methods• Learn to approach problems through focus groups, interviewing, brand mapping, and co-designIncludes discussions with leading professional designers: Art Chantry, Ivan Chermayeff, Jessica Helfand, Steven Heller, Abbott Miller, Christoph Niemann, Paula Scher, and Martin Venezk reveal how they get ideas and overcome blocks to creativity.Graphic Design Thinking is directed at working designers, design students, and anyone who wants to apply inventive thought patterns to everyday creative challenges in the design process.

    In Typographic Systems, Kim Elam, author of our bestselling books, Geometry of Design and Grid Systems, explores eight major structural frameworks beyond the gridincluding random, radial, modular, and bilateralsystems. By taking the reader through exercises, student work, and professional examples, Elam offers a broad range of design solutions. Once essential visual organization systems are understood the designer can fluidly organize words or images within a structure, combination of structures, or a variation of a structure. With clarity and substance, each systemfrom the structured axis to the nonhierarchical radial arrayis explained and explored so that the reader comes away with a better understanding of these intricate complex arrangements. Typographic Systems is the seventh title in our bestselling Design Briefs series, which has sold more than 100,000 copies worldwide.

    Under the new authorial leadership of Alston Purvis, this authoritative book offers more than 450 new images, along with expansive coverage of such topics as Italian, Russian, and Dutch design. It reveals a saga of creative innovators, breakthrough technologies, and important design innovations.

    Ruder, one of the great twentieth-century typographers was a pioneer who abandoned the conventional rules of his discipline and replaced them with new rules that satisfied the requirements of his new typography. Now in its sixth printing, this book has a hallowed place on the bookshelves of both students and accomplished designers. Dimension: 83/4 x 11 inches, over 500 examples, English, German & French text.

    How to be a graphic designer without losing your soul addresses the concerns of young designers who want to earn a living by doing expressive and meaningful work, and who want to avoid becoming hired drones working on soulless projects. Written by a designer for designers, it combines practical advice with philosophical guidance to help young professionals embark on their careers. How should designers manage the creative process? What's the first step in the successful interpretation of a brief? How do you generate ideas when everything just seems blank? How to be a graphic designer offers clear, concise guidance for these questions, along with focused, no-nonsense strategies for setting up, running, and promoting a studio, finding work, and collaborating with clients.The book also includes inspiring interviews with ten leading designers, including Rudy VanderLans (Emigre), John Warwicker (Tomato), Neville Brody (Research Studios), and Andy Cruz (House Industries). All told, How to be a graphic designer covers just about every aspect of the profession, and stands as an indispensable guide for any young designer.

    From researching the competition to translating the vision of the CEO, to designing and implementing an integrated brand identity programme, the meticulous development process of designing a brand identity is presented through a highly visible step-by-step approach in five phases.

    But what about the elements that make up a picture? Using the tale of Little Red Riding Hood as an example, Molly Bang uses boldly graphic artwork to explain how images -- and their individual components -- work to tell a story that engages the emotions: Why are diagonals dramatic? Why are curves calming? Why does red feel hot and blue feel cold?

    Fresh coats of paint and newly pasted posters appear overnight in cities across the world. New artists, new ideas, and new tactics displace faded images in a perpetual process of renewal and metamorphosis. From Los Angeles to Barcelona, Stockholm to Tokyo, Melbourne to Milan, wall spaces are a breeding ground for graphic and typographic forms as artists unleash their daily creations.Current graffiti art is reflective of the world around it. Using new materials and techniques, its innovators are creating a language of forms and images infused with contemporary graphic design and illustration. Fluent in branding and graphic imagery, they have been replacing tags with more personal logos and shifting from typographic to iconographic forms of communication.Street Logos is a worldwide celebration of these new developments in twenty-first-century graffiti, an essential sourcebook for all art and design professionals, and a delight to everyone excited by the vitality of the street.

    These fundamentals of design, once the exclusive domain of professional typographers, have become an essential starting point for anyone looking for a fresh way to communicate. Practical information about creating letters and type often amounts to a series of guidelines for executing a particular process, font program, or style. But what makes lettering and type endlessly fascinating is the flexibility to interpret and sometimes even break these rules. Lettering & Type is a smart-but- not-dense guide to creating and bending letters to one's will. More than just another pretty survey, it is a powerful how-to book full of relevant theory, history, explanatory diagrams, and exercises. While other type design books get hung up on the technical and technological issues of type design and lettering, Lettering & Type features the context and creativity that shape letters and make them interesting. Authors and designers Bruce Willen and Nolen Strals examine classic design examples as well as exciting contemporary lettering of all stripes—from editorial illustrations to concert posters to radical conceptual alphabets. Lettering & Type is ideal for anyone looking to move beyond existing typography and fonts to create, explore, and use original or customized letterforms. This latest addition to our best-selling Design Briefs seriesfeatures a foreword by Ellen Lupton and hundreds of images and examples of work by historical and contemporary designers, artists, and illustrators, including Marian Bantjes, Stefan Sagmeister, Matthew Carter, Christoph Niemann, Steve Powers (ESPO), House Industries, Christian Schwartz, Margaret Kilgallen, James Victore, Abbott Miller, Sibylle Hagmann, Ed Fella, and many more. Throughout the book interviews with type designers, artists, and graphic designers provide real-world perspective from contemporary practitioners.

    More than 1300 logos are grouped according to their focal form, symbol, and graphic associations into 75 categories such as crosses, stars, crowns, animals, people, handwritten, illustrative type, etc. To emphasize the visual form of the logos, theyare shown predominantly in black and white. By sorting a vast, international array of current logotypesranging from those of small, design-led businesses to global brandsthe book offers design consultancies a ready resource to draw on in the research phase of identity projects. Logos are also indexed alphabetically by name of company/designer and by industrial sector, making it easy to piece together a picture of the state of the identity art in any client's marketplace.

    Organized by spectrum, in color-by-color sections for easy navigation, this book documents each hue with charts showing color range and palette variations. Chapters detail each color’s creative history and cultural associations, with examples of color use that extend from the artistic to the utilitarian—whether the turquoise on a Reid Miles album cover or the avocado paint job on a 1970s Dodge station wagon. A practical and inspirational resource for designers and students alike, The Designer’s Dictionary of Color opens up the world of color for all those who seek to harness its incredible power.

    Logolounge features the work of superstar artists and firms such as Michael Vanderbyl and Sibley Peteet Design and includes both new campaigns and never-before-seen projects. With 2,000 logos from a variety of sources, this visually compelling volume will become the go-to resource for inspiration from the best in the field.

    Each beautifully designed, affordable volume offers a concise overview of a design fundamentalthe hows of design. But as most seasoned designers will tell you, a comprehensive education also requires an understanding of the whys of design practice. Graphic Design Theory presents groundbreaking, primary texts from the most important historical and contemporary designthinkers. From Aleksandr Rodchenko's "Who We Are: Manifesto of the Constructivist Group" to Kenya Hara's "Computer Technology and Design," this essential volume provides the necessary foundation for contemporary critical vocabulary and thought. Graphic Design Theory is organized in three sections: "Creating the Field" traces the evolution of graphic design over the course of the early 1900s, including influential avant-garde ideas of futurism, constructivism, and the Bauhaus; "Building on Success" covers the mid- to late twentieth century and considers the International Style, modernism, and postmodernism; and "Mapping the Future" opens at the end of the last century and includes current discussions on legibility, social responsibility, and new media. Striking color images illustrate each of the movements discussed and demonstrate the ongoing relationship between theory and practice. A brief commentary prefaces each text, providing a cultural and historical framework through which the work can be evaluated. Authors include such influential designers as Herbert Bayer, Lszl Moholy-Nagy, Karl Gerstner, Katherine McCoy, Michael Rock, Lev Manovich, Ellen Lupton, and Lorraine Wild. Additional features include a timeline, glossary, and bibliography for further reading. A must-have survey for graduate and undergraduate courses in design history, theory, and contemporary issues, Graphic Design Theory invites designers and interested readers of all levels to plunge into the world of design discourse.