The "Logo, Font & Lettering Bible" provides the start-to-finish information you need to succeed in today's competitive design market.

    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.

    The work adds up to a powerful and endlessly rewarding resource for students of all ages. First published in 1969, the book is now reissued to present the enduring core of Potter's arguments. An afterword by Robin Kinross sets the work andits author in their contexts.

    How to be a graphic designer without losing your soul addresses the concerns of young designers who want to earn a living by doing expressive and meaningful work, and who want to avoid becoming hired drones working on soulless projects. Written by a designer for designers, it combines practical advice with philosophical guidance to help young professionals embark on their careers. How should designers manage the creative process? What's the first step in the successful interpretation of a brief? How do you generate ideas when everything just seems blank? How to be a graphic designer offers clear, concise guidance for these questions, along with focused, no-nonsense strategies for setting up, running, and promoting a studio, finding work, and collaborating with clients.The book also includes inspiring interviews with ten leading designers, including Rudy VanderLans (Emigre), John Warwicker (Tomato), Neville Brody (Research Studios), and Andy Cruz (House Industries). All told, How to be a graphic designer covers just about every aspect of the profession, and stands as an indispensable guide for any young designer.

    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.

    It outlines and demonstrates basic logo and branding design guidelines and rules through 100 principles including the elements of a successful graphic identity, identity programs and brand identity, and all the various strategies and elements involved.

    From blonde to ginger, the brown that changed the way battles were fought to the white that protected against the plague, Picasso's blue period to the charcoal on the cave walls at Lascaux, acid yellow to kelly green, and from scarlet women to imperial purple, these surprising stories run like a bright thread throughout history.In this book, Kassia St. Clair has turned her lifelong obsession with colors and where they come from (whether Van Gogh's chrome yellow sunflowers or punk's fluorescent pink) into a unique study of human civilization. Across fashion and politics, art and war, the secret lives of color tell the vivid story of our culture.

    We want them to buy something, read more, or take action of some kind. Designing without understanding what makes people act the way they do is like exploring a new city without a map: results will be haphazard, confusing, and inefficient. This book combines real science and research with practical examples to deliver a guide every designer needs. With it you'll be able to design more intuitive and engaging work for print, websites, applications, and products that matches the way people think, work, and play.Learn to increase the effectiveness, conversion rates, and usability of your own design projects by finding the answers to questions such as: What grabs and holds attention on a page or screen?What makes memories stick?What is more important, peripheral or central vision?How can you predict the types of errors that people will make?What is the limit to someone's social circle?How do you motivate people to continue on to (the next step?What line length for text is best?Are some fonts better than others? These are just a few of the questions that the book answers in its deep-dive exploration of what makes people tick.

    You dream and plan and make stuff – all the time. And whether that “stuff” is a book, a startup, or abstract crayon art on the bathroom wall, you have a nagging feeling that you could take your work further. Do it better. Become more successful. In The Good Creative, I outline the 18 habits of the world’s most respected artists. It’s a concise, invigorating manifesto for creative pursuits of every kind. Unlike the get-rich-while-you-meditate programs and e-courses that seem to multiply by the day, there offers no guarantees here. None. These 18 principles might not fund your early retirement, but when applied consistently with a healthy dose of hard work, they will help you to make better, more meaningful art. Now that’s a promise you can take to the bank (or at least to Twitter). You’ll learn how to: Promote yourself without feeling like a used car salesman Hug your critics, embrace failure and reinvent your work Launch small and build a larger, more engaged audience Share your process and break the rules You will NOT learn how to: Take over the world from your bathtub Win the Sundance Grand Jury prize Earn six figures, yesterday Make an age-defying green smoothie (but you might learn how to attract more fans and readers for your recipe books)

    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

    This book helps you avoid the pitfalls that can ruin a career, with advice on crucial first impressions, how to create a portfolio and approach clients, how to negotiate contracts, and how to handle, deliver, and bill the first job. It discusses how to set up a studio, maintain a steady flow of work, and manage time and money. In addition, it provides information on successful self-promotion, self-publishing, and the prosand cons of agents. Packed with useful tips gleaned from the author's own career and his work as an agent handling major artists in the US and UK, the book includes interviews with nine big-name illustrators. The reader benefits from their experience of starting out; what they learned during the metamorphosis from student to professional; what their expectations and experiences have been. In addition, art directors and commissioners describe the ways they like to be approachedand the ways they really dislike.

    How does design help choose our leaders?Why do we"really"have an environmental crisis?How can accessible design broaden your audience?Why does the U.S. economy now struggle to compete?How has design thinking added to the bottom line of the world s most valuable companies? Design matters. As it never has before. Design creates so much of what we see, what we use, and what we experience. In a time of unprecedented environmental, social, and economic crises, designers must now choose what their young profession will be about: deploying weapons of mass deception or helping repair the world. "Do Good Design"is a call to action: This book alerts us to the role design plays in persuading global audiences to fulfill invented needs. The book then outlines a sustainable approach to both the practice and the consumption of design. All professionals will be inspired by the message of how we can feel better and do better while holding onto our principles. In a time when anything has become possible, design thinking offers a way forward for us all. What will you do? "

    But what about the elements that make up a picture? Using the tale of Little Red Riding Hood as an example, Molly Bang uses boldly graphic artwork to explain how images -- and their individual components -- work to tell a story that engages the emotions: Why are diagonals dramatic? Why are curves calming? Why does red feel hot and blue feel cold?

    The reality is that most innovations come from a process of rigorous examination through which great ideas are identified and developed before being realized as new offerings and capabilities.This book introduces the idea of design thinking‚ the collaborative process by which the designer′s sensibilities and methods are employed to match people′s needs not only with what is technically feasible and a viable business strategy. In short‚ design thinking converts need into demand. It′s a human−centered approach to problem solving that helps people and organizations become more innovative and more creative.Design thinking is not just applicable to so−called creative industries or people who work in the design field. It′s a methodology that has been used by organizations such as Kaiser Permanente to icnrease the quality of patient care by re−examining the ways that their nurses manage shift change‚ or Kraft to rethink supply chain management. This is not a book by designers for designers; this is a book for creative leaders seeking to infuse design thinking into every level of an organization‚ product‚ or service to drive new alternatives for business and society.

    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.