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.

    The Devil and Dr. Barnes traces the near-mythical journey of a man who was born into poverty, amassed a fortune through the promotion of a popular medicine, and acquired the premier private collection of works by such masters as Renoir, Matisse, Cézanne, and Picasso. Ostentatiously turning his back on the art establishment, Barnes challenged the aesthetic sensibilities of an uninitiated, often resistant and scoffing, American audience. In particular, he championed Matisse, Soutine, and Modigliani when they were obscure or in difficult straits. Analyzing what he saw as the formal relationships underlying all art, linking the old and the new, Barnes applied these principles in a rigorous course of study offered at his Merion foundation. Barnes's own mordant words, culled from the copious printed record, animate the narrative throughout, as do accounts of his associations with notables of the era--Gertrude and Leo Stein, Bertrand Russell, and John Dewey among them--many of whom he alienated with his appetite for passionate, public feuds. In this rounded portrait, Albert Barnes emerges as a complex, flawed man, who--blessed with an astute eye for greatness--has left us an incomparable treasure, gathered in one place and unforgettable to all who have seen it.

    Whether we find ourselves in a museum, hospital, airport, mall, or street in an unfamiliar city, we depend on systems of visual, audible, and tactile cues not only to lead the way, but also to keep us safe. They are the fundamental questions of wayfindinga process that encompasses both the experience of choosing a path within a built environment and the set of design elements that aid in such a decision. A decade ago, the professional practice of wayfinding design simply involved devising sign systems. Today, the field is much broader and continues to expand to address technological developmentskinetic media, GPS systems, web connectivity, smart materialsas well as cultural changes in areas such as branding and environmental awareness. Similarly, a cross-disciplinary familiarity with graphic, architectural, landscape, interior, industrial, and information design has become an essential requirement of twenty-first-century wayfinding design.The Wayfinding Handbook is an exciting new volume in our acclaimed Design Briefs series. Professional wayfinding designer David Gibson draws on more than thirty years of experience collaborating with architects, planners, developers, managers, and civic leaders to offer an insider's view of this rapidly evolving discipline. Using real-life examples, Gibson illustrates the way type, color, mapmaking, dimensional forms, material selection, and new media are used to create effective wayfinding systems.The Wayfinding Handbook is a complete guide to the discipline, from planning and design to practical considerations, such as setting up teams and managing projects. "Other Voices" sidebars, presentedthroughout the book, reveal the opinions of experts who plan, manage, and shape wayfinding projects. A comprehensive bibliography and gallery of resources round out what is likely to become the go-to resource for students, professionals, or anyone charged with designing people-friendly, universally accessible environments.

    Jim Felici brings together a vast amount of knowledge in this book. Must-have!" --Erik Spiekermann, author, Stop Stealing Sheep (and Find Out How Type Works)This book is about how type should look and how to make it look that way; in other words, how to set type like a professional. It releases the craft knowledge that used to reside almost exclusively in the heads of people working in type shops. The shops are gone, the technologies have changed, but the goal remains the same. This book explains in very practical terms how to use today's computerized tools to achieve that secret of good design: well-set type.Beautifully designed and richly illustrated, The Complete Manual of Typography is an essential reference for anyone who works with type. Designers, print production professionals, and corporate communications managers can go straight to the index to find focused answers to specific questions, while educators and students can read it as a textbook from cover to cover. You'll find:History, basic concepts, and anatomy of good typography, concisely presented and indexed for quick reference by busy professionals. Straight-ahead instructions for how to manage fonts, handle corrupted or missing fonts, and find the characters you need. Clear, useful explanations of what makes good type good (and bad type bad) . Detailed guidance on controlling the fundamentals of type, including measure, point size, leading, kerning, and hyphenation and justification. Practical advice on how to fix and avoid composition problems such as loose lines, bad rags, widows and orphans. Hard-to-find rules for managing indents and alignments, skews, wraps, expert-set characters, and tables. Scores of workarounds that show how to wring good type out of uncooperative word-processing and layout programs.

    "The Language of Graphic Design "provides graphic design students and practitioners with an in-depth understanding of the fundamental elements and principles of their language--graphic design--what they are, why they are important, and how to use them effectively. Organized by the building blocks of the graphic design language, this reference includes work by some of the most successful and renowned practitioners from around the world and how they have applied these fundamental principles to their work. By examining both student and professional work, this comprehensive handbook is a more meaningful, memorable, and inspiring reference tool for novice design students, as well as young designers starting their careers. To understand visual communications one has to first understand by seeing. To develop this discipline or visual sense is similar to learning a new language with its own unique alphabet, lexicon (vocabulary), and syntax (sentence structure). This book provides clear, concise information that will enhance visual literacy, while using dynamic, memorable visual references to inspire and reinforce the skill of seeing.

    In this book, Mari Grinde Arntzen asks how and why this is—how can fashion simultaneously attract us to its glamour and repel us with its superficiality and how being called “fashionable” can be at once a compliment and an insult. Arntzen guides us through the major figures and brands of today’s fashion industry, showing how they shape us and in turn why we love to be shaped by them. She examines both everyday, affordable “fast fashion” brands, as well as the luxury market, to show how fashion commands a powerful influence on every socioeconomic level of our society. Stepping into our closets with us, she thinks about what happens when we get dressed: why fashion can make us feel powerful, beautiful, and original at the same time that it forces us into conformity. Stripping off the layers of the world’s fifth largest industry, garment by garment, she holds fashion up as a phenomenon, business, and art, exploring the questions it forces us to ask about the body, image, celebrity, and self-obsession. Ultimately, Arntzen asks the most direct question: what is fashion? How has it taken such a powerful hold on the world, forever propelling us toward its concepts of beauty?

    Set out in A-Z style and written in a realistic, conversational, and insightful way, the book provides advice on the fundamental topics and issues that face designers in their daily lives. It looks at everything from kerning to presenting, from budgeting to dealing with rejection, from annual reports to interface design. Adrian Shaughnessy, author of the best-selling How to be a Graphic Designer Without Losing Your Soul, is himself a successful designer, and brings a wealth of experience to this very useful and entertaining book.

    In these chapters we learn about how and why we see color, the nature of rainbows, animals with color vision far superior and far inferior to our own, how our language influences the colors we see, and much more. Between these chapters, authors Joann Eckstut and Ariele Eckstut turn their attention to the individual hues of the visible spectrum?red, orange, yellow, green, blue, and violet?presenting each in fascinating, in-depth detail.Including hundreds of stunning photographs and dozens of informative, often entertaining graphics, every page is a breathtaking demonstration of color and its role in the world around us. Whether  you see red, are a shrinking violet, or talk a blue streak, this is the perfect book for anyone interested in the history, science, culture, and beatuty of color in the natural and man-made world.

    Organized chronologically, the book illuminates the dynamic relationship between design and manufacturing as well as the roles of technology, social change, and commercial forces on the course of design history. The layout of each chapter reflects the unique style of the period it describes, and some 450 illustrations throughout the volume provide a visual record of more than one hundred years of creative achievement in the field.Under the influence of William Morris and the Arts and Crafts movement in the late 19th century, a new era began for design arts. Fueled by popular Art Nouveau advertising, the work of graphic designers became central in the growing consumer goods economy. This book traces the emergence of varied modernist design styles in the early 20th century and then examines the wartime politicization of regional styles through American government patronage and revolutionary Soviet ideas. Richly contextualized chapters chronicle the history of the Bauhaus and the rise of the International Style, followed by the postmodern movement of the 1970s and '80s. After highlighting recent developments in graphic design around the globe, the author discusses the impact of inexpensive, powerful design software and the challenges facing designers now.

    Finding patterns and making meaningful connections inside complex data networks has emerged as one of the biggest challenges of the twenty-first century. In recent years, designers, researchers, and scientists have begun employing an innovative mix of colors, symbols, graphics, algorithms, and interactivity to clarify, and often beautify, the clutter. From representing networks of friends on Facebook to depicting interactions among proteins in a human cell, Visual Complexity presents one hundred of the most interesting examples of information-visualization by the field's leading practitioners.

    It is simple and clean, and commonly seen in advertising, signage, and literature. The R has a curved leg, and the i and j have square dots. The Q has a straight angled tail, and the counterforms inside the O, Q, and C are oval. It is an all-purpose type design that can deliver practically any message clearly and efficiently. It is one of the most popular typefaces of all time. Helvetica: Homage to a Typeface presents 400 examples of Helvetica in action, selected from two diametrically opposed worlds. Superb applications by renowned designers are juxtaposed with an anonymous collection of ugly, ingenious, charming, and hair-raising samples of its use.

    She shows the shocking and hilarious sketches that didn’t make the cut and explains how these are essential stages in the evolution of a cover that stands the test of time but retains its edge. Her book captures contemporary history—from the farce of Monica Lewinsky to the adventures of Michelle and Barack to nuclear meltdown in Japan—in images that are as acute as they are outrageous. More than that, it shows how the magazine that exemplifies journalistic excellence in America also dares to cultivate a sense of humor when grappling with complex moral and political issues.Praise for Blown Covers:“Interesting failures are the driving force behind BLOWN COVERS: New Yorker Covers You Were Never Meant to See (Abrams, $24.95), by Françoise Mouly. Mouly is the art editor of The New Yorker, and paging through this book is like standing in the corner of her office as she pins up rejected covers on the wall. Mouly has dozens of tales about images that failed for one reason or another. Now, presumably with the approval of her bosses at Condé Nast, she has created a tell-all (or tell-most) that even non–illustrators and designers will find enlightening.” —New York Times Book Review “Yes, Blown Covers sometimes offends—and that’s the audacious joy of it.” —NPR.org“[New Yorker] art editor Mouly offers some true delights.” —Sacramento Bee

    Readers will love the opportunity to practice the creative art of hand-lettering in a way that inspires them and helps them relax.As an example of what’s inside, Workshop 1 encourages readers to renew & recharge by writing, “It’s me time,” with the easiest technique for a scripted, calligraphy look. Workshop 2 builds on the theme as readers use their skills from Workshop 1 to write, “Practice makes progress,” and add a new skill of drawing laurels and wreaths that take their calligraphy to the next level. With each workshop, readers are inspired with a brief introduction reminding them to relax and cultivate joy, then learn step by step how to letter each word of an example lettered design and draw embellishments. With plenty of practice space and a page to draw their own final design, this interactive workbook meets readers’ every need. High-quality, thick watercolor paper with perforated edging allows readers to tear out their finished hand-lettered art to display. This book goes beyond basic hand-lettering books to calm and relax, and goes beyond adult coloring books to teach a usable creative skill. It’s the perfect gift for yourself or friends and family who love crafts and coloring.

    Together they provide a complete painting programme.

    It is also illustrated with some of the most important and resonant portfolio projects. Book of Ideas is an invaluable tool to any creative at any stage in their career.