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.

    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).

    How do they think, how do they connect to others, what special skills do they have? In honest and revealing interviews, nineteen designers, including Stefan Sagmeister, Michael Beirut, David Carson, and Milton Glaser, share their approaches, processes, opinions, and thoughts about their work with noted brand designer Debbie Millman. The internet radio talk host of Design Matters, Millman persuades the greatest graphic designers of our time to speak frankly and openly about their work. How to Think Like a Great GraphicDesigners offers a rare opportunity to observe and understand the giants of the industry. Designers interviewed include: —Milton Glaser —Stefan Sagmeister —David Carson —Paula Scher —Abbott Miler —Lucille Tenazas —Paul Sahre —Emily Oberman and Bonnie Siegler —Chip Kidd —James Victore —Carin Goldberg —Michael Bierut —Seymour Chwast —Jessica Helfand and William Drenttel —Steff Geissbuhler —John MaedaAllworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

    Aimed principally at the student market, the book shows where ideas and inspiration come from and helps unlock the reader s creativity, providing numerous strategies to help solve creative briefs and design problems. Using an upbeat, dynamic and easy-to-understand A Z format, the book reveals techniques that can be exploited to deliver ideas with greater impact, with each entry offering a different starting point. Entries include everything from Intuition and Instinct to Happy Accidents and Hidden Messages, and feature a section explaining how to use the idea or technique, providing readers with an infallible tool kit of inspiration. Including hundreds of inspirational quotes from creative people and packed with great examples of advertising campaigns, posters, book and magazine covers, illustrations and editorial images, this indispensable creative primer also includes previously unpublished photographic work.

    And we need constant reminders to keep us on the right path.With the support of his clients, Sagmeister transformed these sentences into typographic works, from billboards in France to sign-toting inflatable monkeys on the streets of Scotland. Accompanied by essays from design historian Steven Heller, Guggenheim chief curator Nancy Spector, and UK psychologist Daniel Nettle, as well as Sagmeister's own words, the series is revealed as a complex blend of personal revelation, art, and design--an eclectic mix of visual audacity and sound advice.This book consists of 15 unbound signatures in a laser-cut slipcase. Shuffling the sequence of the signatures will produce 15 different covers.

    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.

    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

    His tortured typography prompted a vocal camp of critics to accuse him of being flippant and of destroying the communicative basis of design. But now the techniques of David Carson (and those of his countless imitators) dominate advertising, design, the Web, and even motion pictures. With 35,000 copies of the original sold, this revised edition of The End of Print includes a striking new cover and first chapter that puts Carson's work in context. The rest is vintage Carson—cutting edge and explosive. The End of Print tracks his career from skateboard and surf magazines, to the landmark Beach Culture magazine and his groundbreaking grid-breaking work for Ray Gun, and finally to handling major corporate identity accounts. The End of Print marks a turning point in design that ushered in the look of today.

    Conceived as a handbook and teaching aid for artists, instructors, and students, this timeless book presents Albers’s unique ideas of color experimentation in a way that is valuable to specialists as well as to a larger audience.Originally published by Yale University Press in 1963 as a limited silkscreen edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten representative color studies chosen by Albers. The paperback has remained in print ever since and is one of the most influential resources on color for countless readers.This new paperback edition presents a significantly expanded selection of more than thirty color studies alongside Albers’s original unabridged text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusions of transparency and reversed grounds. Now available in a larger format and with enhanced production values, this expanded edition celebrates the unique authority of Albers’s contribution to color theory and brings the artist’s iconic study to an eager new generation of readers.

    The subject is presented, not as a foreign language, but as a native one that the student knows but cannot yet read.Responding to the need she so clearly perceives, Ms. Dondis, a designer and teacher of broad experience, has provided a beginning text for art and design students and a basic text for all other students; those who do not intend to become artists or designers but who need to acquire the essential skills of understanding visual communication at a time when so much information is being studied and transmitted in non-verbal modes, especially through photography and film. Understanding through seeing only seems to be an obviously intuitive process. Actually, developing the visual sense is something like learning a language, with its own special alphabet, lexicon, and syntax. People find it necessary to be verbally literate whether they are writers: or not; they should find it equally necessary to be visually literate, artists or not. This primer is designed to teach students the interconnected arts of visual communication. The subject is presented, not as a foreign language, but as a native one that the student knows but cannot yet read. The analogy provides a useful teaching method, in part because it is not overworked or too rigorously applied. This method of learning to see and read visual data has already been proved in practice, in settings ranging from Harlem to suburbia. Appropriately, the book makes some of its most telling points through visual means. Numerous illustrated examples are employed to clarify the basic elements of design (teach an alphabet), to show how they are used in simple syntactic combinations (See Jane run.), and finally, to present the meaningful synthesis of visual information that is a finished work of art (the apprehension of poetry...).

    Bierut is widely considered the finest observer on design writing today. Covering topics as diverse as Twyla Tharp and ITC Garamond, Bierut's intelligent and accessible texts pull design culture into crisp focus. He touches on classics, like Massimo Vignelli and the cover of The Catcher in the Rye, as well as newcomers, like McSweeney's Quarterly Concern and color-coded terrorism alert levels. Along the way Nabakov's Pale Fire; Eero Saarinen; the paper clip; Celebration, Florida; the planet Saturn; the ClearRx pill bottle; and paper architecture all fall under his pen. His experience as a design practitioner informs his writing and gives it truth. In Seventy-nine Short Essays on Design, designers and nondesigners alike can share and revel in his insights.

    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.

    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."

    Under the new authorial leadership of Alston Purvis, this authoritative book offers more than 450 new images, along with expansive coverage of such topics as Italian, Russian, and Dutch design. It reveals a saga of creative innovators, breakthrough technologies, and important design innovations.

    The poster has now become a postcard and e-mail blast, leaving many to long for the lost age when posters were not only major promotional vehicles, but also artwork worthy of framing.Some of the world's best designers just could not stand idle while the poster fell by the wayside. They turned to the poster for personal expression and as an outlet from more restrictive mediums.This book showcases their breathtaking artwork, which has proven that the poster can still serve as a worthy communications tool. In doing so, they've brought the poster back to prominence. In this book, the author has compiled the world's finest new work at the height of this rebirth. There is currently no book on the market that can claim it features a "definitive" poster collection.