Scribble grammar has no neighbor. In the name of reason I need to record something because I am a survivor in this ocean.

    His works—among them Taliesin North, Taliesin West, Fallingwater, the Johnson Wax buildings, the Guggenheim Museum—earned him a good measure of his fame, but his flamboyant personal life earned him the rest. Here Brendan Gill, a personal friend of Wright and his family, gives us not only the fullest, fairest, and most entertaining account of Wright to date, but also strips away the many masks the architect tirelessly constructed to fascinate his admirers and mislead his detractors. Enriched by hitherto unpublished letters and 300 photographs and drawings, this definitive biography makes Wright, in all his creativity, crankiness, and zest, fairly leap from its pages.

    The linear metaphor is ubiquitous in everyday visual representations of time—in almanacs, calendars, charts, and graphs of all sorts. Even our everyday speech is filled with talk of time having a "before" and an "after" or being "long" and "short." The timeline is such a familiar part of our mental furniture that it is sometimes hard to remember that we invented it in the first place. And yet, in its modern form, the timeline is not even 250 years old. The story of what came before has never been fully told, until now. Cartographies of Time is the first comprehensive history of graphic representations of time in Europe and the United States from 1450 to the present. Authors Daniel Rosenberg and Anthony Grafton have crafted a lively history featuring fanciful characters and unexpected twists and turns. From medieval manuscripts to websites, Cartographies of Time features a wide variety of timelines that in their own unique ways—curving, crossing, branching—defy conventional thinking about the form. A fifty-four-foot-long timeline from 1753 is mounted on a scroll and encased in a protective box. Another timeline uses the different parts of the human body to show the genealogies of Jesus Christ and the rulers of Saxony. Ladders created by missionaries in eighteenth-century Oregon illustrate Bible stories in a vertical format to convert Native Americans. Also included is the April 1912 Marconi North Atlantic Communication chart, which tracked ships, including the Titanic, at points in time rather than by theirgeographic location, alongside little-known works by famous figures, including a historical chronology by the mapmaker Gerardus Mercator and a chronological board game patented by Mark Twain. Presented in a lavishly illustrated edition, Cartographies of Time is a revelation to anyone interested in the role visual forms have played in our evolving conception of history.

    But David Airey’s “Logo Design Love” is something different: it’s a guide for designers (and clients) who want to understand what this mysterious business is all about. Written in reader-friendly, concise language, with a minimum of designer jargon, Airey gives a surprisingly clear explanation of the process, using a wide assortment of real-life examples to support his points. Anyone involved in creating visual identities, or wanting to learn how to go about it, will find this book invaluable. - Tom Geismar, Chermayeff & GeismarIn Logo Design Love, Irish graphic designer David Airey brings the best parts of his wildly popular blog of the same name to the printed page. Just as in the blog, David fills each page of this simple, modern-looking book with gorgeous logos and real world anecdotes that illustrate best practices for designing brand identity systems that last. David not only shares his experiences working with clients, including sketches and final results of his successful designs, but uses the work of many well-known designers to explain why well-crafted brand identity systems are important, how to create iconic logos, and how to best work with clients to achieve success as a designer. Contributors include Gerard Huerta, who designed the logos for Time magazine and Waldenbooks; Lindon Leader, who created the current FedEx brand identity system as well as the CIGNA logo; and many more. Readers will learn:• Why one logo is more effective than another• How to create their own iconic designs• What sets some designers above the rest• Best practices for working with clients• 25 practical design tips for creating logos that last

    A thought-provoking examination of the nature of visual representation, it remains ever-relevant to all the visual arts.A well-known painter and printmaker, Dow taught for many years at Columbia University and acted as a mentor to countless young artists, including Georgia O'Keeffe. His text, presented in a workbook format, offers teachers and students a systematic approach to composition. It explores the creation of freely constructed images based on harmonic relations between lines, colors, and dark and light patterns. The author draws upon the traditions of Japanese art to discuss a theory of "flat" formal equilibrium as an essential component of pictorial creation. Practical and well-illustrated, this classic guide offers valuable insights into modern design.

    It became a film in 1960 starring David Niven and Doris Day, and a television series in 1965. Now you can hear why many consider Jean Kerr to be one of America's funniest writers. In this unique collection of essays, Kerr captures the perils of motherhood, wifehood, selfhood, and other assorted challenges. Listen and learn "How to Decorate in One Easy Breakdown" and how to drop those unwanted pounds with "Aunt Jean's Marshmallow Fudge Diet." Please Don't Eat the Daisies strikes modern listeners as particularly funny because these feminist issues are still relevant today.

    It seeks to answer a simple question: why is there such a thing as style? The question may be simple but there is no easy answer, and Professor Gombrich's brilliant and wide-ranging exploration of the history and psychology of pictorial representation leads him into countless crucial areas. Gombrich examines, questions and re-evaluates old and new ideas on such matters as the imitation of nature, the function of tradition, the problem of abstraction, the validity of perspective and the interpretation of expression: all of which reveal that pictorial representation is far from being a straightforward matter. First published more than 40 years ago, Art and Illusion has lost none of its vitality and importance. In applying the findings of experimental science to a nuanced understanding of art and in tackling complex ideas and theoretical issues, Gombrich is rigorous.Yet he always retains a sense of wonder at the inexhaustible capacity of the human brain, and at the subtlety of the relationships involved in seeing the world and in making and seeing art. With profound knowledge and his exceptional gift for clear exposition, he advances each argument as an hypothesis to be tested. The problems of representation are forever fundamental to the history of art: Art and Illusion remains an essential text for anyone interested in understanding the complexities of art. For the sixth edition Professor Gombrich has written an entirely new 12-page preface, in which he makes use of the distinction between an image and a sign, so as to clarify his intentions in writing the book in the first place.

    I was inspired to write it by the writer and diarist, Anais Nin, who was a mentor to me in the early seventies. My hope was that it would aid young women artists in their development and that reading about my struggles might help them avoid some of the pitfalls that were so painful to me. I also hoped to spare them the anguish of 'reinventing the wheel", which my studies in women's history had taught me was done again and again by women, specifically because we have not had access to our foremothers' experience and achievements-one consequence of the fact that we still learn both history and art history from a male-centered bias with insufficient inclusion of women's achievements. I must admit that when I re-read Through the Flower, I winced at some of the unabashed honesty; at the same time, I am glad that my youthful self had the courage to speak so directly about my life and work. I doubt that I could recapture the candor that allowed this book to reflect such unabashed confidence that the world would accept revelations so lacking in self-consciousness. And yet, it is precisely this lack that helps give the book its flavor, the flavor of the seventies, when so many of us believed that we could change the world for the better, a goal that has been-as one of my friends put it-'mugged by reality". And yet, better an overly idealistic hope that the world could be reshaped for the better than a cynical acceptance of the status quo. At least we tried-and I'm still trying. Perhaps I'm just too old now to change. Judy Chicago 2005

    It is hard enough to find thesequalities in trained photographers with the benefit of schooling and mentors and a community of fellow artists and aficionados supporting and rewarding their efforts. It is incredibly rare to find it in someone with no formal training and no network of peers.Yet Vivian Maier is all of these things, a professional nanny, who from the 1950s until the 1990s took over 100,000 photographs worldwide—from France to New York City to Chicago and dozens of other countries—and yet showed the results to no one. The photos are amazing both for the breadth of the work and for the high quality of the humorous, moving, beautiful, and raw images of all facets of city life in America’s post-war golden age.It wasn’t until local historian John Maloof purchased a box of Maier’s negatives from a Chicago auction house and began collecting and championing her marvelous work just a few years ago that any of it saw the light of day. Presented here for the first time in print, Vivian Maier: Street Photographer collects the best of her incredible, unseen body of work.

    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.

    The highly readable texts and over 800 beautiful full-color images come together in a unique way to convey hidden dimensions of meaning. Each of the ca. 350 essays examines a given symbol’s psychic background, and how it evokes psychic processes and dynamics. Etymological roots, the play of opposites, paradox and shadow, the ways in which diverse cultures have engaged a symbolic image—all these factors are taken into consideration.Authored by writers from the fields of psychology, religion, art, literature, and comparative myth, the essays flow into each other in ways that mirror the psyche’s unexpected convergences. There are no pat definitions of the kind that tend to collapse a symbol; a still vital symbol remains partially unknown, compels our attention and unfolds in new meanings and manifestations over time. Rather than merely categorize, The Book of Symbols illuminates how to move from the visual experience of a symbolic image in art, religion, life, or dreams to directly experiencing its personal and psychological resonance.The Book of Symbols sets new standards for thoughtful exploration of symbols and their meanings, and will appeal to a wide range of readers: artists, designers, dreamers and dream interpreters, psychotherapists, self-helpers, gamers, comic book readers, religious and spiritual searchers, writers, students, and anyone curious about the power of archetypal images.

    Tolkien.When J.R.R. Tolkien wrote The Hobbit, he was already an accomplished amateur artist, and drew illustrations for his book while it was still in manuscript. The Hobbit as first printed had ten black and white pictures, two maps, and binding and dust-jacket designs by its author. Later, Tolkien also painted five scenes for colour plates which are some of his best work. His illustrations for The Hobbit add an extra dimension to that remarkable book, and have long influenced how readers imagine Bilbo Baggins and his world.To celebrate the 75th anniversary of the publication of The Hobbit, the complete artwork created by the author for his story has been collected in The Art of The Hobbit by J.R.R. Tolkien. Including related pictures, more than one hundred sketches, drawings, paintings, maps, and plans are presented here, preliminary and alternate versions and experimental designs as well as finished art. Some of these images are now published for the first time, and others for the first time in colour. Fresh digital scans from the Bodleian Libraries in Oxford and Marquette University in Wisconsin allow Tolkien’s Hobbit pictures to be seen more vividly than ever before.The Art of The Hobbit by J.R.R. Tolkien has been written and edited by Wayne G. Hammond and Christina Scull, two of the leading experts on Tolkien and authors of the acclaimed J.R.R. Tolkien: Artist and Illustrator, The Lord of the Rings: A Reader’s Companion, and The J.R.R. Tolkien Companion and Guide.

    We want them to buy something, read more, or take action of some kind. Designing without understanding what makes people act the way they do is like exploring a new city without a map: results will be haphazard, confusing, and inefficient. This book combines real science and research with practical examples to deliver a guide every designer needs. With it you'll be able to design more intuitive and engaging work for print, websites, applications, and products that matches the way people think, work, and play.Learn to increase the effectiveness, conversion rates, and usability of your own design projects by finding the answers to questions such as: What grabs and holds attention on a page or screen?What makes memories stick?What is more important, peripheral or central vision?How can you predict the types of errors that people will make?What is the limit to someone's social circle?How do you motivate people to continue on to (the next step?What line length for text is best?Are some fonts better than others? These are just a few of the questions that the book answers in its deep-dive exploration of what makes people tick.

    Her dad’s not really a homosexual. He just acts like it. Her mom, however, really is a hypochondriac), Sara Barron never stood a chance of being normal. At age eleven, she starts writing porn (“He humped me wildly with his wiener”). At twelve, she gets mistaken for a trannie. The pre-op sort, no less. By seventeen, she's featured on the Jerry Springer Show. And that’s all before she hits New York.People Are Unappealing tells the strange, funny, and sometimes filthy stories of Sara Barron’s twisted suburban upbringing and deranged attempt at taking the Big Apple by storm–first as an actor (then a waiter), then a dancer (then a waiter), then a comic (then a waiter). It’s there that she meets the ex-boyfriend turned street clown. The silk pajama-clad poet. The OCD Xanax addict who refuses to have sex wearing any fewer than three condoms. Barron has a knack for attracting the unattractive. People Are Unappealing is her wickedly funny look at the dark side of humanity.

    Through the lens of esteemed writers and critics such as Carlo McCormick, Steven Heller and Roger Gastman, Fairey's work is seen for all its depth and placed in context as art, design, social experiment and "getting over". This massive book pulls no punches and all areas of the enigmatic artist's work, travels and travails are illuminated; from exhibitions, posters, flyers, silkscreens and stickers to high altitude pursuits, citations and police beatings, it's all documented in a museum quality layout and binding. The evidence is in, and it's clear that Shepard Fairey is not one to rest on his laurels, the work must go on. For both long time fans wanting the complete collection and those just curious to know what this OBEY business is all about Supply and Demand is the answer.