The design briefs in The Graphic Design Exercise Book act as sparks to fire your creativity and exercises to broaden your skill set. As prompts for developing your own personal projects they can lead to unexpected developments and revitalized portfolios, helping you break into new and lucrative areas of the design industry.Each brief is illustrated with inspiring reference material providing a visual resource that can be utilized well beyond this book. Sample roughs and visuals show work in progress to give you an insight into the thought processes and creative bent of other designers. Industry insiders share their specialist knowledge, offering professional advice on a selection of fully realized projects.As an additional research tool, The Graphic Design Exercise Book gives you a full glossary and reading list for every genre covered, including:packagingvisual identity and brandingpage layoutmusic graphicsscreen-based design

    He was a devoted family man and key figure in three Catholic art and craft communities: yet he also believed in complete sexual freedom. In her controversial, landmark biography, originally published in 1989, celebrated biographer Fiona MacCarthy delves into the complex, dark, and contradictory sides of the man and the artist for the first time - and the result is his definitive portrait.

    This hands-on book is organized into 52 units, which may, but don't need to be explored on a weekly basis. The labs can be worked on in any order, so that you can flip around to learn a new mixed-media technique or be inspired by a particular painting theme or application. The underlying message of this book is that, as an artist, you should learn and gain expertise through experimentation and play. There is no right or wrong result, rather you will find new forms of expression in your work and gain confidence in your skills. Designed to inform and inspire new artists and rekindle passion for painting in experienced artists, this book offers a range of exercises broken down by theme: Who (artist-inspired), What (tools and materials), When (a time-based concept), Where (a sense of place), and How (inspired by a technique or method).   Paint Lab is illustrated with brilliant full-color images and multiple examples of each exercise. This book offers you a visual, non-linear approach to learning painting techniques, and reinforces a fun and fearless approach to creating art.

    Born in 1940 in Chur Switzerland, he studied architecture and industrial design at the School of Applied Arts in Zurich. By 1964 he was producing his first artworks, mostly ink drawings and oils, leading to his first solo exhibition in 1966, followed by the world-wide distribution of his first published posters in 1969. Shortly after, he discovered the airbrush and his own signature freehand style, and created his most well known works, the Biomechanical dreamscapes which formed the cornerstone of his fame. Giger's first book, Necronomicon, published in 1977, servers as the visual inspiration for director Ridley Scott's blockbuster movie Alien, Giger's first film assignment, earning him the 1980 Oscar for "Best Achievement in Visual Effects," for his designs of the film's title character and otherworldly environment. Giger's album covers for Debbie Harry and the band ELP were voted among the 100 best in music history in a survey of rock journalists. Throughout his career, Giger also worked in sculpture and, in 1992, created his first total environment, the Giger Bar in Chur. The Museum H.R. Giger in Chateau Saint-Germain was opened in Gruyeres in 1998. Today, Giger continues to live and work in Zurich with his companion in life Carmen, where his current projects include the realization of his museum bar in Gruyeres.

    In the early 19th century, one of England's great epic poets paid tribute to the Italian master's work. Gifted at both poetry and painting, William Blake transformed more than a hundred of Dante's visions into sketches, engravings, and brilliant watercolors. This collection features all of his distinctive interpretations of Dante's immortal trilogy.Although Blake labored in poverty and obscurity all his life, he is recognized today as one of the preeminent artists and poets of the English-speaking world. An 1825 commission from patron John Linnell enabled him to focus on illustrating Dante's tales — the type of visionary work to which his talents were ideally suited. The artist spent the last three years of his life creating these images, which range from completely finished pieces to rough sketches. Blake's highly original approach offers not only an excellent introduction to Dante's allegorical tales, but also a new and fresh perspective for those already familiar with the Divine Comedy.

    In 1916, Virginia Woolf wrote to her sister, Vanessa Bell, that though the farmhouse at Charleston in Sussex was primitive, you could make it lovely. Six months later, Bell moved in and, treating the house as a blank canvas, went on to create a treasury of Bloomsbury art.

    His tortured typography prompted a vocal camp of critics to accuse him of being flippant and of destroying the communicative basis of design. But now the techniques of David Carson (and those of his countless imitators) dominate advertising, design, the Web, and even motion pictures. With 35,000 copies of the original sold, this revised edition of The End of Print includes a striking new cover and first chapter that puts Carson's work in context. The rest is vintage Carson—cutting edge and explosive. The End of Print tracks his career from skateboard and surf magazines, to the landmark Beach Culture magazine and his groundbreaking grid-breaking work for Ray Gun, and finally to handling major corporate identity accounts. The End of Print marks a turning point in design that ushered in the look of today.

    The Art of Urban Sketching is both a comprehensive guide and a showcase of location drawings by artists around the world who draw the cities where they live and travel.

    Be on time, don’t miss class, and turn off your phones. No time for introductions, we start drawing right away. The goal is more rock, less talk, and we communicate only through images.For more than five years the cartoonist Lynda Barry has been an associate professor in the University of Wisconsin–Madison art department and at the Wisconsin Institute for Discovery, teaching students from all majors, both graduate and undergraduate, how to make comics, how to be creative, how to not think. There is no academic lecture in this classroom. Doodling is enthusiastically encouraged. Making Comics is the follow-up to Barry's bestselling Syllabus, and this time she shares all her comics-making exercises. In a new hand-drawn syllabus detailing her creative curriculum, Barry has students drawing themselves as monsters and superheroes, convincing students who think they can’t draw that they can, and, most important, encouraging them to understand that a daily journal can be anything so long as it is hand drawn.Barry teaches all students and believes everyone and anyone can be creative. At the core of Making Comics is her certainty that creativity is vital to processing the world around us.

    Much like Banksy's early graffiti work, Slinkachu's creations mix the bustle, humor, and melancholy of city life, and lie quietly in the darker corners of London's streets, waiting to be discovered. And if you’re lucky enough to find one, to quote The Times: "Oddly enough, even when you know they are just hand-painted figurines, you can't help but feel that their plights convey something of our own fears about being lost and vulnerable in a big, bad city." This volume also includes a forward from acclaimed novelist Will Self.

    Intimate and often unseen, sketchbooks document the sources of inspiration as well as the journey to final execution. They showcase ideas and how these evolve and change into accomplished works. Fresh and spontaneous, their style connects directly with current illustration trends. The material is complemented by interviews where artists explain how they use their sketchbooks and how these relate to finished works. These, along with the sketchbooks themselves, will give readers a direct and unmediated insight into the process of research and creation.

    When Philip Johnson died in 2005 at the age of 98, he was still one of the most recognizable and influential figures on the American cultural landscape. The first recipient of the Pritzker Prize and MoMA's founding architectural curator, Johnson made his mark as one of America's leading architects with his famous Glass House in New Caanan, CT, and his controversial AT&T Building in NYC, among many others in nearly every city in the country -- but his most natural role was as a consummate power broker and shaper of public opinion. Johnson introduced European modernism -- the sleek, glass-and-steel architecture that now dominates our cities -- to America, and mentored generations of architects, designers, and artists to follow. He defined the era of "starchitecture" with its flamboyant buildings and celebrity designers who esteemed aesthetics and style above all other concerns. But Johnson was also a man of deep paradoxes: he was a Nazi sympathizer, a designer of synagogues, an enfant terrible into his old age, a populist, and a snob. His clients ranged from the Rockefellers to televangelists to Donald Trump. Award-winning architectural critic and biographer Mark Lamster's The Man in the Glass House lifts the veil on Johnson's controversial and endlessly contradictory life to tell the story of a charming yet deeply flawed man. A rollercoaster tale of the perils of wealth, privilege, and ambition, this book probes the dynamics of American culture that made him so powerful, and tells the story of the built environment in modern America.

    At the forefront of a revolution in publishing, Kidd's iconic covers, with their inventive marriage of type and found images, have influenced an entire generation of design practitioners in many fields.Chip Kidd: Book One collects all of his book covers and designs for the first time, as well as hundreds of developmental sketches and concepts-annotated by Kidd and by many of the best-selling authors he's worked with over the years. The result is an important contribution to the design canon today as well as a visually dazzling (and often hilarious) insider's look at the design and publishing process.The book also showcases Kidd's work with comics and graphic novels, including his collaborations with leading artists and writers in the field. Featured are projects for DC Comics, including Batman and Superman, as well as Kidd's award-winning exploration of the art of Charles M. Schulz. Chip Kidd: Book One is sure to enthrall design aficionados, book lovers, pop-culture fanatics, comics fans, and design students.

    His main pictorial elements are horizontals and verticals, his preferred colours yellow, red and blue. Throughout his life, Mondrian (1872-1944) applied these elements in his quest for 'universal harmony'. This album presents his work.

    Spike is the most amazing dog ever. He inspires Sparky to draw. Someday, Sparky will be an artist. Based on the childhood of Charles Schulz, creator of the world-renowned Peanuts comic, and the dog who inspired the most beloved dog of all—Snoopy—this book will resonate with children everywhere. Sparky & Spike includes a biographical note, as well as archival photographs of Sparky and Spike and a letter Charles Schulz wrote to the book’s illustrator, Dan Andreasen, when Andreasen was a boy.