We multi-task, switch between screens, work faster. When was the last time you paused to consider a beautifully made object or stunning natural landscape? Yet this is when our spirits lift, our soul is restored. Designer Alan Moore invites us to rethink not only what we produce – whether it’s a website, a handmade chair, or a business – but how and why. With examples including Pixar, Apple, Yeo Valley and Blitz Motorcycles, we are encouraged to ask: Is it useful and considered. Is it a thing of beauty? Do Design will inspire you to: • Improve your creative process • Raise the quality and craft of your work • Consider the experience as much as the product • Adopt simplicity, utility and honesty as guiding principles We are creative beings. We love to make things. This book will inspire you to create better things for better reasons. Things that people will love – for a long time to come. Some say beauty is a luxury. But what if it is key to creating a better world for us all? Alan Moore has designed and created everything from books to businesses. He has a unique grasp on the forces that are reshaping our world and how to creatively respond to them. Working on six continents, Alan has shared his knowledge in the form of board and advisory positions at companies such as Hewlett Packard, Microsoft and Coca Cola, workshops and speaking as well as teaching in institutions as wide ranging as MIT and Reading University’s Typography Department, Sloan School of Management and INSEAD. He is the author of four books on creativity, marketing and business transformation including No Straight Lines: Making sense of our nonlinear world (2011). He still works as an artist. He tries everyday to lead a life as beautifully as he possibly can.

    We've embraced it in the boardroom, the bedroom, and the bathroom.Screens have taken over our lives. Most people spend over eight hours a day staring at a screen, and some "technological innovators" are hoping to grab even more of your eyeball time. You have screens in your pocket, in your car, on your appliances, and maybe even on your face. Average smartphone users check their phones 150 times a day, responding to the addictive buzz of Facebook or emails or Twitter.Are you sick? There's an app for that! Need to pray? There's an app for that! Dead? Well, there's an app for that, too! And most apps are intentionally addictive distractions that end up taking our attention away from things like family, friends, sleep, and oncoming traffic.There's a better way.In this book, innovator Golden Krishna challenges our world of nagging, screen-based bondage, and shows how we can build a technologically advanced world without digital interfaces.In his insightful, raw, and often hilarious criticism, Golden reveals fascinating ways to think beyond screens using three principles that lead to more meaningful innovation. Whether you're working in technology, or just wary of a gadget-filled future, you'll be enlighted and entertained while discovering that the best interface is no interface.

    We see how these brilliant minds get to work, the choices they have to make: rebuffing convention, stealing (or secreting away) time from the pull of husbands, wives, children, obligations, in order to create their creations.From those who are the masters of their craft (Eudora Welty, Lynn Fontanne, Penelope Fitzgerald, Marie Curie) to those who were recognized in a burst of acclaim (Lorraine Hansberry, Zadie Smith) . . . from Clara Schumann and Shirley Jackson, carving out small amounts of time from family life, to Isadora Duncan and Agnes Martin, rejecting the demands of domesticity, Currey shows us the large and small (and abiding) choices these women made--and continue to make--for their art: Isak Dinesen, "I promised the Devil my soul, and in return he promised me that everything I was going to experience would be turned into tales," Dinesen subsisting on oysters and Champagne but also amphetamines, which gave her the overdrive she required . . . And the rituals (daily and otherwise) that guide these artists: Isabel Allende starting a new book only on January 8th . . . Hilary Mantel taking a shower to combat writers' block ("I am the cleanest person I know") . . . Tallulah Bankhead coping with her three phobias (hating to go to bed, hating to get up, and hating to be alone), which, could she "mute them," would make her life "as slick as a sonnet, but as dull as ditch water" . . . Lillian Hellman chain-smoking three packs of cigarettes and drinking twenty cups of coffee a day--and, after milking the cow and cleaning the barn, writing out of "elation, depression, hope" ("That is the exact order. Hope sets in toward nightfall. That's when you tell yourself that you're going to be better the next time, so help you God.") . . . Diane Arbus, doing what "gnaws at" her . . . Colette, locked in her writing room by her first husband, Henry Gauthier-Villars (nom de plume: Willy) and not being "let out" until completing her daily quota (she wrote five pages a day and threw away the fifth). Colette later said, "A prison is one of the best workshops" . . . Jessye Norman disdaining routines or rituals of any kind, seeing them as "a crutch" . . . and Octavia Butler writing every day no matter what ("screw inspiration"). Germaine de Staël . . . Elizabeth Barrett Browning . . . George Eliot . . . Edith Wharton . . . Virginia Woolf . . . Edna Ferber . . . Doris Lessing . . . Pina Bausch . . . Frida Kahlo . . . Marguerite Duras . . . Helen Frankenthaler . . . Patti Smith, and 131 more--on their daily routines, superstitions, fears, eating (and drinking) habits, and other finely (and not so finely) calibrated rituals that help summon up willpower and self-discipline, keeping themselves afloat with optimism and fight, as they create (and avoid creating) their creations.

    204 pages.

    How can your institution do it and do it well? The Participatory Museum is a practical guide to working with community members and visitors to make cultural institutions more dynamic, relevant, essential places. Museum consultant and exhibit designer Nina Simon weaves together innovative design techniques and case studies to make a powerful case for participatory practice. "Nina Simon's new book is essential for museum directors interested in experimenting with audience participation on the one hand and cautious about upending the tradition museum model on the other. In concentrating on the practical, this book makes implementation possible in most museums. More importantly, in describing the philosophy and rationale behind participatory activity, it makes clear that action does not always require new technology or machinery. Museums need to change, are changing, and will change further in the future. This book is a helpful and thoughtful road map for speeding such transformation." -Elaine Heumann Gurian, international museum consultant and author of Civilizing the Museum "This book is an extraordinary resource. Nina has assembled the collective wisdom of the field, and has given it her own brilliant spin. She shows us all how to walk the talk. Her book will make you want to go right out and start experimenting with participatory projects." -Kathleen McLean, participatory museum designer and author of Planning for People in Museum Exhibitions "I predict that in the future this book will be a classic work of museology." --Elizabeth Merritt, founding director of the Center for the Future of Museums

    Designing the Obvious explores the character traits of great Web applications and uses them as guiding principles of application design so the end result of every project instills customer satisfaction and loyalty. These principles include building only whats necessary, getting users up to speed quickly, preventing and handling errors, and designing for the activity. Designing the Obvious does not offer a one-size-fits-all development process—in fact, it lets you use whatever process you like. Instead, it offers practical advice about how to achieve the qualities of great Web-based applications and consistently and successfully reproduce them.

    But the truth is that the world's most successful artists did not starve. In fact, they capitalized on the power of their creative strength. In Real Artists Don't Starve, Jeff Goins debunks the myth of the starving artist by unveiling the ideas that created it and replacing them with timeless strategies for thriving, including:steal from your influences (don't wait for inspiration),collaborate with others (working alone is a surefire way to starve),take strategic risks (instead of reckless ones),make money in order to make more art (it's not selling out), andapprentice under a master (a "lone genius" can never reach full potential).Through inspiring anecdotes of successful creatives both past and present, Goins shows that living by these rules is not only doable but it's also a fulfilling way to thrive.From graphic designers and writers to artists and business professionals, creatives already know that no one is born an artist. Goins' revolutionary rules celebrate the process of becoming an artist, a person who utilizes the imagination in fundamental ways. He reminds creatives that business and art are not mutually exclusive pursuits. In fact, success in business and in life flow from a healthy exercise of creativity.Expanding upon the groundbreaking work in his previous bestseller The Art of Work, Goins explores the tension every creative person and organization faces in an effort to blend the inspired life with a practical path to success. Being creative isn't a disadvantage for success; rather, it is a powerful tool to be harnessed.

    Prepare for your next job interview."Redesign the NYC metrocard system. Design a dashboard for a general practitioner. Redesign an ATM".Learn how to solve and present exercises like these, that top startups use to interview designers for product design and UI/UX roles. Today top companies are looking for business-minded designers who are not just focused on visuals. With this book you can practice this kind of mindset, prepare for job interview, learn how to interview other designers and find concepts for projects for your portfolio. What will you learn from this book:- Prepare for the design interview — prepare for the design exercise and learn more about how tech companies hire product designers.- Improve your portfolio — use product challenges to showcase in your porfolio instead of unsolicited visual redesigns.- Step up your design career — practice your product design skills to become a better designer and prepare for your next career move.- Interview designers — learn how to interview designers to evaluate their skills in the most efficient and scalable way.What’s inside?- A 7-step framework for solving product design exercises- 30+ examples of exercises similar to exercises used by Google, Facebook, Amazon etc.- 5 full solutions for product design exercises- 5 short interviews with design leaders that worked at Apple, Google, Pinterest, IDEO etc.

    The album covers collected in this comprehensive volume under the well-known Blue Note record label embody classic design and pioneering typography. Two hundred color photographs of the album sleeves, an informative history of the Blue Note record company, and a portrait of Reid Miles, who designed nearly 500 album covers, capture the integrity of this distinctive record label. Sophisticated jazz connoisseurs and young listeners alike, as well as those with an interest in style and graphic design, will enjoy this exciting book of jazz memorabilia.

    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

    Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject. The Story of Art, one of the most famous and popular books on art ever written, has been a world bestseller for over four decades. Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject.For the first time in many years the book has been completely redesigned. The illustrations, now in colour throughout, have all been improved and reoriginated, and include six fold-outs. The text has been revised and updated where appropriate, and a number of significant new artists have been incorporated. The bibliographies have been expanded and updated, and the maps and charts redrawn. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur.

    Anyone who can hold a pencil can learn to draw.In this book, Bert Dodson shares his complete drawing system--fifty-five "keys" that you can use to render any subject with confidence, even if you're a beginner.These keys, along with dozens of practice exercises, will help you draw like an artist in no time.You'll learn how to:Restore, focus, map, and intensifyFree your hand action, then learn to control itConvey the illusions of light, depth, and textureStimulate your imagination through "creative play"

     Unlike other creative professionals, visual artists don't have agents or managers. You have to do it all yourself, at least until you find gallery representation -- and even then, there are important business and legal issues you need to understand to stay in control of your career and ensure you're being treated fairly. Heather Darcy Bhandari, a gallery director, and Jonathan Melber, an arts lawyer, walk you through these issues so that you can essentially act as your own manager and agent. They show you, for example, how to tackle business basics such as tracking inventory and preparing invoices; how to take legal precautions like registering a copyright and drafting consignment forms; how to use promotional tools like websites and business cards; and how to approach career decisions such as choosing the right venue to show your work. In addition to drawing on their own experiences, Bhandari and Melber interviewed nearly one hundred curators, dealers, and other arts professionals, in cities across the country, about what they expect from and look for in artists. The authors also talked to a host of artists about their careers and the lessons they've learned navigating the art world. The book is full of their entertaining anecdotes and candid advice. No matter what kind of artist you are -- or want to be -- this book will help you. Art/Work covers everything you need to know to succeed, saving you from having to learn it all the hard way -- and letting you spend more time making art.

    It will enable making a design for almost any kind of building, or any part of the built environment. ‘Patterns,’ the units of this language, are answers to design problems: how high should a window sill be?; how many stories should a building have?; how much space in a neighborhood should be devoted to grass and trees?More than 250 of the patterns in this language are outlined, each consisting of a problem statement, a discussion of the problem with an illustration, and a solution. As the authors say in their introduction, many of the patterns are archetypal, so deeply rooted in the nature of things that it seems likely that they will be a part of human nature and human action as much in five hundred years as they are today.A Pattern Language is related to Alexander’s other works in the Center for Environmental Structure series: The Timeless Way of Building (introductory volume) and The Oregon Experiment.