Fresh coats of paint and newly pasted posters appear overnight in cities across the world. New artists, new ideas, and new tactics displace faded images in a perpetual process of renewal and metamorphosis. From Los Angeles to Barcelona, Stockholm to Tokyo, Melbourne to Milan, wall spaces are a breeding ground for graphic and typographic forms as artists unleash their daily creations.Current graffiti art is reflective of the world around it. Using new materials and techniques, its innovators are creating a language of forms and images infused with contemporary graphic design and illustration. Fluent in branding and graphic imagery, they have been replacing tags with more personal logos and shifting from typographic to iconographic forms of communication.Street Logos is a worldwide celebration of these new developments in twenty-first-century graffiti, an essential sourcebook for all art and design professionals, and a delight to everyone excited by the vitality of the street.

    Combining practical, theoretical, and historical, this book is a must for graphic artists, editors, or anyone working with the printed page using digital or traditional methods.Having established itself as a standard in its field The Elements of Typographic Style is house manual at most American university presses, a standard university text, and a reference work in studios of designers around the world. It has been translated into italian and greek, and dutch.

    And rightly so: in our increasingly visual culture, it is an omnipresent form of creativity, something we are all influenced by whether we like it or not. Every logo, every poster, every CD cover confronts us with graphic design in some shape or form. It is the basis of all visual communication and arguably the most pervasive creative discipline of our times. designers arranged in an A to Z order. Each of the designers is featured over two double-page spreads, which are extensively illustrated with examples of their work. Alongside these examples, a 400 word text by the selecting curator explains his/her choice and illuminates the depicted work. The reproductions are further complemented with extended captions and biographical information on the designer. designers. Showcasing talents from Minneapolis to Macao, Area opens the door to the work of emerging designers practising in more than 25 countries around the world. It reflects a unique multitude of styles, ideas, and influences: an endless range of creativity from the playful, digital graphics of Eboy in Berlin, to the regional aesthetics of Chaz Mavyanne Davies of Zimbabwe or Ahn Sang-Soo of Korea; from the political awareness of Iran's Reza Abedini, to the more sober and traditional designs of the Italy's Leonardo Sonnoli. were also asked to choose what they consider a design 'classic, ' i.e. a piece of printed design from any era that is of particular significance to them. These 'classic' pieces are showcased in the shorter, second part of the book, each accompanied by a brief text explaining how the 'classic' piece fits into the selecting curator's general view and philosophy of graphic design. design, Area promises to be unique in its exciting design, its clear and interesting concept, its truly global scope, and its fresh and unconventional content

    Being able to craft type well and thoughtfully takes a deep understanding of the inherent complexities and a keen eye for the minute and subtle details. This book contains a collection of 1,000 instances of thoughtful type usage along with credits that note what fonts were used in the design. Like its predecessor, 1,000 Graphic Elements, the photography in this book focuses in on the typography so readers can get an up-close look at the work. 1,000 Type Treatments showcases an array of fonts in a catalog-like format, making it easy for the working designer to practically shop for ideas. The book is organized by style so if a designer has a traditional, elegant, or edgy piece, they can go directly to that section of the book, where they will find a wide collection of fresh ideas in the style they are seeking.Also included is a directory of font foundries and suppliers, providing busy designers with a quick reference guide to where they can find the fonts that pique their interest.

    Whether you’re enraged by Ikea’s Verdanagate, want to know what the Beach Boys have in common with easy Jet or why it’s okay to like Comic Sans, Just My Type will have the answer. Learn why using upper case got a New Zealand health worker sacked. Refer to Prince in the Tafkap years as a Dingbat (that works on many levels). Spot where movies get their time periods wrong and don’t be duped by fake posters on eBay. Simon Garfield meets the people behind the typefaces and along the way learns why some fonts – like men – are from Mars and some are from Venus. From type on the high street and album covers, to the print in our homes and offices, Garfield is the font of all types of knowledge.

    What type of font to use? How big? How should those letters, words, and paragraphs be aligned, spaced, ordered, shaped, and otherwise manipulated? In this groundbreaking new primer, leading design educator and historian Ellen Lupton provides clear and concise guidance for anyone learning or brushing up on their typographic skills. Thinking with Type is divided into three sections: letter, text, and grid. Each section begins with an easy-to-grasp essay that reviews historical, technological, and theoretical concepts, and is then followed by a set of practical exercises that bring the material covered to life. Sections conclude with examples of work by leading practitioners that demonstrate creative possibilities (along with some classic no-no's to avoid).

    If you are looking for new ways of employing type in your works of art and design (or new twists to apply to your current typographic techniques), check out Type Idea Index. You'll find yourself face-to-face with 650+ custom-created, idea-sparking examples of typography and type-intensive design. For maximum user-friendliness, these samples are organized according to the theme they express (Energy, Elegance, Order, Rebellion) and the sort of real-world application they relate to (initials, monograms, logos, headlines, paragraphs).Expand your knowledge of type and brainstorm for ideas every time you design with letters and words.Type Idea Index "is the sixth installment in the best-selling, globally popular Index series by Jim Krause."

    Written by J. Jason Horejs, owner of Xanadu Gallery in Scottsdale, AZ, Starving to Successful will give you pragmatic advice and concrete, actionable steps you can begin implementing immediately to become more successful in marketing your work to galleries.Gain insight into what a gallery owner is thinking as he or she reviews your portfolio. Understand why the most common approaches artists make to galleries are largely ineffective. Learn what most artists fail to do in preparing their work for sale.Starving to Successful will change the way you look at the artist/gallery relationship, and will set your art career on a new path.About the AuthorArt flows through Xanadu Gallery owner J. Jason Horejs veins. Second generation in the art business, (Horejs father is a nationally recognized oil painter John Horejs) Horejs life has always been filled with art. Though not interested in pursuing a life as an artist, Horejs fell in love with the business side of art at an early age. At age 12, the future gallery owner was employed by his father building custom canvas stretchers.In 1991, at the age of 17, Horejs began working for Legacy Gallery in Scottsdale, AZ, where he learned the gallery business from the ground up. Horejs handled logistics, shipping and installation, eventually working into a sales position at the western art gallery. Horejs worked in the gallery s Scottsdale and Jackson Hole, WY, locations.In 2001, Jason and his wife, Carrie, opened Xanadu Gallery in Scottsdale. In spite of opening on September 11th into a completely changed art world, Horejs built the gallery into a successful venture, showing dozens of artists and selling to collectors from around the world, including major municipal and private collections.In 2008, Horejs developed a series of art marketing workshops designed to help artists better understand the gallery business and better prepare themselves to approach galleries. This series of workshops has helped hundreds of artists get organized to show and sell their work through galleries."I discovered," says Horejs, "there was very little information out there for the aspiring professional artist regarding the business side of art, especially in terms of the crucial relationship between the artists and the fine art gallery. Even artists who have graduated with master s degrees leave school having never heard a word about how to approach galleries."Horejs observes that artists approaching his gallery are making many of the same mistakes, not because their work isn t gallery-ready, but simply because they don t have a clear idea of how to proceed. Horejs designed his workshops working closely with his parents and other artists who have learned the ropes of working with galleries by trial and error. The clear-headed advice the gallery owner gives is designed to give the artists concrete steps they can take to prepare their work, research galleries and approach galleries for representation.

    Effective layout is essential to communication and enables the end user not only to be drawn in with an innovative design but to digest information easily. Making and Breaking the Grid is a comprehensive layout design workshop that assumes that in order to effectively break the rules of grid-based design, one must first understand those rules and see them applied in real-world projects.Text reveals top designers' work in process and rationale. Projects with similar characteristics are linked through a simple notational system that encourages exploration and comparison of structure ideas. Also included are historical overviews that summarize the development of layout concepts, both grid-based and non-grid based, in modern design practice.

    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.

    The Anatomy of Type (The Geometry of Type in the UK) is all about looking more closely at letters. Through visual diagrams and practical descriptions, you’ll learn how to distinguish between related typefaces and see how the attributes of letterforms (such as contrast, detail, and proportion) affect the mood, readability, and use of each typeface. Nutritional value aside, the spreads full of big type are nice eye candy, too.The 100 typefaces featured in the book are hand-picked by the author for their functionality and stylistic relevance in today’s design landscape. Along with several familiar faces (Garamond, Bodoni, Gill Sans, Helvetica), you’ll also discover contemporary fonts that are less common — and often more useful — than the overused classics.

    As soon as you open the book you will want to pick up a brush and start painting — and whatever your ability, Jean encourages you to simply ‘have a go’ and enjoy the freedom and happiness that painting can bring.Jean’s subjects include animals, landscapes, people and flowers, and there are many examples of Jean’s work throughout the book to both delight and inspire you. Jean takes a highly practical approach to her teaching, and there are numerous short exercises and demonstrations as well as longer projects that guide you through a painting from beginning to end. Wherever you are on your painting journey, Jean will open your eyes to the color and light that surrounds you and show you how to incorporate it into your paintings.

    In this e-book you will learn what exactly is needed to run a successful Design Thinking Workshop which is fun and at the same time generates great results. In this e-book Pauline Tonhauser, founder of designthinkingcoach.de, shares her best practices.

    We need a brand new way to take it all in. 'Information is Beautiful' transforms the ideas surrounding and swamping us into graphs and maps that anyone can follow at a single glance.

    Like an Art of War for design, this slim volume contains guidance, inspiration, and reassurance for all those who labor with the user in mind. If you work on the web, in print, or in film or video, this book can help. If you know someone working on the creative arena, this makes a great gift. Funny, too.Look for fresh aphorisms on our Facebook page.