Those cartoons eventually led to a popular blog-gapingvoid.com-and a reputation for pithy insight and humor, in both words and pictures.MacLeod has opinions on everything from marketing to the meaning of life, but one of his main subjects is creativity. How do new ideas emerge in a cynical, risk-averse world? Where does inspiration come from? What does it take to make a living as a creative person?Ignore Everybody expands on MacLeod's sharpest insights, wittiest cartoons, and most useful advice. For example:-Selling out is harder than it looks. Diluting your product to make it more commercial will just make people like it less.-If your plan depends on you suddenly being "discovered" by some big shot, your plan will probably fail. Nobody suddenly discovers anything. Things are made slowly and in pain.-Don't try to stand out from the crowd; avoid crowds altogether. There's no point trying to do the same thing as 250,000 other young hopefuls, waiting for a miracle. All existing business models are wrong. Find a new one.-The idea doesn't have to be big. It just has to be yours. The sovereignty you have over your work will inspire far more people than the actual content ever will.After learning MacLeod's forty keys to creativity, you will be ready to unlock your own brilliance and unleash it on the world.

    The Cheese Monkeys is a college novel that takes place over a tightly written two semesters. The book is set in the late 1950s at State U, where the young narrator, has decided to major in art, much to his parents’ dismay. It is an autobiographical, coming-of-age novel which tells universally appealing stories of maturity, finding a calling in life, and being inspired by a loving, demanding, and highly eccentric teacher.

    It is also a book they may want to keep out of view of their professors, for it expresses in clear and simple language things that tend to be murky and abstruse in the classroom. These 101 concise lessons in design, drawing, the creative process, and presentation--from the basics of "How to Draw a Line" to the complexities of color theory--provide a much-needed primer in architectural literacy, making concrete what too often is left nebulous or open-ended in the architecture curriculum. Each lesson utilizes a two-page format, with a brief explanation and an illustration that can range from diagrammatic to whimsical. The lesson on "How to Draw a Line" is illustrated by examples of good and bad lines; a lesson on the dangers of awkward floor level changes shows the television actor Dick Van Dyke in the midst of a pratfall; a discussion of the proportional differences between traditional and modern buildings features a drawing of a building split neatly in half between the two. Written by an architect and instructor who remembers well the fog of his own student days, 101 Things I Learned in Architecture School provides valuable guideposts for navigating the design studio and other classes in the architecture curriculum. Architecture graduates--from young designers to experienced practitioners--will turn to the book as well, for inspiration and a guide back to basics when solving a complex design problem.

    - Quick, easy approach and a wealth of case studies give readers a crash course in the difference between good and bad branding. - Tons of tips and real-world advice plus a new branding dictionary help readers turn brand strategy into brand design and execution.

    In soaring glass structures or minimalist canvases, we recognize a time of vast technological advance which affirmed the power of human beings to reshape their environment and to break, radically, from the conventions or constraints of the past.Less well-known, but no less fascinating, is thedistillation of modernism in graphic design. With the creation of clean visual concepts, designers sought to move away from the mystique they identified with the commercial artist, and to counterbalance an increasingly complicated world with clarity.This unprecedented TASCHEN publication, authored byJens Muller, brings together approximately 6,000 trademarks, focused on the period 1940 1980, to examine howmodernist attitudes and imperatives gave birth to corporate identity. Ranging from media outfits to retail giants, airlines to art galleries, the sweeping survey is organized into three design-orientated chapters: Geometric, Effect, and Typographic. Each chapter is then sub-divided into form and style led sections such as alphabet, overlay, dots and squares.Alongside the comprehensive catalog, the book features an introduction fromJens Mulleron the history of logos, and an essay byR. Roger Remingtonon modernism and graphic design. Eight designer profiles and eight instructive case studies are also included, with a detailed look at the life and work of such luminaries asPaul Rand, Yusaku Kamekura, andAnton Stankowski, and at such significant projects asFiat, The Daiei, Inc., and theMexico Olympic Games of 1968. An unrivaled resource for graphic designers, advertisers, and branding specialists, Logo Modernismis equally fascinating to anyone interested in social, cultural, and corporate history, and in the sheer persuasive power of image and form. Text in English, French, and German "

    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.

    This volume highlights the research and findings of this natural scientist. Powerful modern microscopes have confirmed the accuracy of Haeckel's prints, which even in their day, became world famous. Haeckel's portfolio, first published between 1899 and 1904 in separate installments, is described in the opening essays. The plates illustrate Haeckel's fundamental monistic notion of the -unity of all living things- and the wide variety of forms are executed with utmost delicacy. Incipient microscopic organisms are juxtaposed with highly developed plants and animals. The pages, ordered according to geometric and -constructive- aspects, document the oness of the world in its most diversified forms. This collection of plates was not only well-received by scientists, but by artists and architects as well. Rene Binet, a pioneer of glass and iron constructions, Emile Galle, a renowned Art Nouveau designer, and the photographer Karl Blossfeld all make explicit reference to Haeckel in their work.

    More than 100 4-color plates; 25 black-and-white illustrations. Shrink-wrapped.

    These 101 maxims, meditations, and demonstrations offer both a toolkit of ideas for the art student and a set of guiding principles for the artist. Complementing each of the 101 succinct texts is an equally expressive drawing by the artist, often based on a historical or contemporary work of art, offering a visual correlative to the written thought. "Art can be anything" is illustrated by a drawing of Duchamp's famous urinal; a description of chiaroscuro art is illuminated by an image "after Caravaggio"; a lesson on time and media is accompanied by a view of a Jenny Holzer projection; advice about surviving a critique gains resonance from Piero della Francesca's arrow-pierced Saint Sebastian.101 Things to Learn in Art School offers advice about the issues artists confront across all artistic media, but this is no simple handbook to making art. It is a guide to understanding art as a description of the world we live in, and it is a guide to using art as a medium for thought. And so this book belongs on the reading list of art students, art teachers, and artists, but it also belongs in the library of everyone who cares about art as a way of understanding life.

    This is the book Haring wanted to make, based on the outline of a monograph that was never completed due to his untimely death in 1989.

      How do artists think? Where does their creativity originate? How can we, too, learn to be more creative? BBC Arts Editor Will Gompertz seeks answers to these questions in his exuberant, intelligent, witty, and thought-provoking style. Think Like an Artist identifies 10 key lessons on creativity from artists that range from Caravaggio to Warhol, Da Vinci to Ai Weiwei, and profiles leading contemporary figures in the arts who are putting these skills to use today.   After getting up close and personal with some of the world’s leading creative thinkers, Gompertz has discovered traits that are common to them all. He outlines basic practices and processes that allow your talents to flourish and enable you to embrace your inner Picasso—no matter what you do for a living.   With wisdom, inspiration, and advice from an author named one of the 50 most original thinkers in the world by Creativity magazine, Think Like an Artist is an illuminating view into the habits that make people successful. It’s time to get inspired and think like an artist! Includes a full-color pull-out insert featuring works of art discuessed.

    Graphic Design which fulfills aesthetic needs, complies with the laws of form and exigencies of two-dimensional space; which speaks in semiotics, sans-serifs, and geometrics; which abstracts, transforms, translates, rotates, dilates, repeats, mirrors, groups, and regroups is not good design if it is irrelevant.Graphic design which evokes the symmetria of Vituvius, the dynamic symmetry of Hambidge, the asymmetry of Mondrian; which is a good gestalt, generated by intuition or by computer, by invention or by a system of coordinates is not good design if it does not communicate. - Paul Rand For the design student, teacher, professional designer, and, indeed, for anyone interested in the creative communication of ideas, Paul Rand: A Designer's Art is certain to be a book that is both provocative and enlightening.

    With more than 2,000 design projects illustrating more than 400 entries, it provides an intense overview of the varied elements that make up the graphic design profession through a unique set of chapters: “principles" defines the very basic foundation of what constitutes graphic design to establish the language, terms, and concepts that govern what we do and how we do it, covering layout, typography, and printing terms; “knowledge" explores the most influential sources through which we learn about graphic design from the educational institutions we attend to the magazines and books we read; “representatives" gathers the designers who over the years have proven the most prominent or have steered the course of graphic design in one way or another; and “practice" highlights some of the most iconic work produced that not only serve as examples of best practices, but also illustrate its potential lasting legacy. Graphic Design, Referenced serves as a comprehensive source of information and inspiration by documenting and chronicling the scope of contemporary graphic design, stemming from the middle of the twentieth century to today.

    "Grid Systems in Graphic Design - Raster Systeme für die Visuelle Gestaltung" By Josef Müller-Brockmann. English version by D. Q. Stephenson. English and German text. This is the 5th Edition, published by Verlag Niggli AG, 2007. Full title: "Grid Systems in Graphic Design. A Visual Communication Manual for Graphic Designers, Typographers and Three Dimensional Designers - Raster Systeme für die Visuelle Gestaltung. Ein Handbuch für Grafiker, Typografen und Ausstellungsgestalter". A comprehensive handbook on modern typography and using the Grid System, illustrated with drawings, diagrams, black & white photographs & numerous examples of graphic design. Subjects include: Grid and Design Philosophy; The Typographic Grid and its purpose; Sizes of Paper; Typeface Alphabets; Margin Proportions; Construction of the Grid and Type Area; Type & Picture Area with 8, 20 and 32 Grid Fields; Photograph & Illustration in the Grid System; the Grid in Corporate Identity and Three-Dimensional Design & more.

    Betty Edwards's bestseller The New Drawing on the Right Side of the Brain. Now, much as artists progress from drawing to painting, Edwards moves from black-and-white into color. This much-awaited new guide distills the enormous existing knowledge about color theory into a practical method of working with color to produce harmonious combinations.Using techniques tested and honed in her five-day intensive color workshops, Edwards provides a basic understanding of how to see color, how to use it, and-for those involved in art, painting, or design-how to mix and combine hues. Including more than 125 color images and exercises that move from simple to challenging, this volume explains how to:see what is really there rather than what you "know" in your mind about colored objectsperceive how light affects color, and how colors affect one anothermanipulate hue, value, and intensity of color and transform colors into their oppositesbalance color in still-life, landscape, figure, and portrait paintingunderstand the psychology of colorharmonize color in your surroundingsWhile we recognize and treasure the beautiful use of color, reproducing what we see can be a challenge. Accessibly unweaving color's complexity, this must-have primer is destined to be an instant classic.