Guns, which lead to so much death, work exactly as they’re designed to work. And every time we “improve” their design, they get better at killing. Facebook’s privacy settings, which have outed gay teens to their conservative parents, are working exactly as designed. Their “real names” iniative, which makes it easier for stalkers to re-find their victims, is working exactly as designed. Twitter’s toxicity and lack of civil discourse is working exactly as it’s designed to work.The world is working exactly as designed. And it’s not working very well. Which means we need to do a better job of designing it. Design is a craft with an amazing amount of power. The power to choose. The power to influence. As designers, we need to see ourselves as gatekeepers of what we are bringing into the world, and what we choose not to bring into the world. Design is a craft with responsibility. The responsibility to help create a better world for all.Design is also a craft with a lot of blood on its hands. Every cigarette ad is on us. Every gun is on us. Every ballot that a voter cannot understand is on us. Every time social network’s interface allows a stalker to find their victim, that’s on us. The monsters we unleash into the world will carry your name.This book will make you see that design is a political act. What we choose to design is a political act. Who we choose to work for is a political act. Who we choose to work with is a political act. And, most importantly, the people we’ve excluded from these decisions is the biggest (and stupidest) political act we’ve made as a society.If you’re a designer, this book might make you angry. It should make you angry. But it will also give you the tools you need to make better decisions. You will learn how to evaluate the potential benefits and harm of what you’re working on. You’ll learn how to present your concerns. You’ll learn the importance of building and working with diverse teams who can approach problems from multiple points-of-view. You’ll learn how to make a case using data and good storytelling. You’ll learn to say NO in a way that’ll make people listen. But mostly, this book will fill you with the confidence to do the job the way you always wanted to be able to do it. This book will help you understand your responsibilities.

    Designing sites that foster user interaction and community-building is a valuable skill for web developers and designers today, but it's not that easy to understand the nuances of the social web. Now you have help. Christian Crumlish and Erin Malone share hard-won insights into what works, what doesn't, and why. You'll learn how to balance opposing factions and grow healthy online communities by co-creating them with your users.Understand the overarching principles you need to consider for every website you createLearn basic design patterns for adding social components to an existing siteRein in misbehaving users on an active community siteBuild a social experience around a product or service and invite people to joinDevelop a social utility without having to build an entirely new infrastructureEnable users of your site's content to interact with one anotherOffer your members the opportunity to connect in the real worldLearn to recognize and avoid antipatterns: emergent bad practices in the social network and social media space

    His iconic logo designs for IBM, UPS, and the ABC television network distilled the essences of modernity for his corporate patrons. His body of work includes advertising, poster, magazine, and book designscharacterized by simplicity and a wit uniquely his own. His ability to discuss design with insight and humor made him one of the most revered design educators of our time. This latest volume of the popular Conversations with Students series presents Rand's last interview, recorded at Arizona State University one year before his death in 1996. Beginners and seasoned design professionals alike will be informed by Rand's words and thoughts on varied topics ranging from design philosophy to design education.

    

    Today, however, most of us work on computers, with access to hundreds of fonts, and we’d all like our letters, reports and other documents to look as good – and as readable – as possible. But what does all the confusing terminology about ink traps, letter spacing, and visual centring mean, and what are the rules for good typography? Type Matters! is a book of tips for everyday use, for all users of typography, from students and professionals to anyone who does any layout design on a computer. The book is arranged into three chapters: an introduction to the basics of typography; headline and display type; and setting text. Within each chapter there are sections devoted to particular principles or problems, such as selecting the right typeface, leading, and the treatment of numbers. Examples throughout show precisely what makes good typography – and, crucially, what doesn’t. Authoritatively written and designed by a practitioner and teacher of typography, Type Matters! has a beautifully clear layout that reinforces the principles discussed throughout.

    In his second book, Fidgen presents more hand-tool woodworking projects for the home and workshop. The projects have a distinctive retro look, recycling designs from our not-so-distant past. He has reconceived the classic library card catalog (converted to use for kitchen storage); a clever medicine chest does double duty as a four-bottle wine tote; and his gentleman’s valet is an elegant clothing stand with a profile that harks back in time. In the opening chapters, Fidgen discusses the benefits of working in an unplugged woodshop, considers the sources of design inspiration, offers advice on the critical importance of sharpening, and even explains how to make hand tools using only hand tools.

    In Remote Research, Nate Bolt and Tony Tulathimutte teach you how to design and conduct remote research studies, top to bottom, with little more than a phone and a laptop. TESTIMONIALS "Nate and Tony have done it! They've described beautifully one of the user experience profession's best-kept secrets-conducting remote usability tests. This book is a must-have for anyone thinking about remote testing, since it tackles everything you need from soup to nuts. I can't wait to get a copy for my own bookshelf. Oh, it also will melt your face remotely." ?Jared Spool CEO and Founding Principal, User Interface Engineering "Remote Research is filled with sage advice, entertaining case studies, methods, and clear procedures that will benefit both new and experienced user researchers. Remote Research is an absorbing book that should be on the reading list of every user researcher. Kudos to Bolt and Tulathimutte for an engaging and informative guide to better remote research." ?Chauncey Wilson Senior Manager, AEC User Research, Autodesk, Inc. "The techniques in this book will make every designer's and user researcher's life much easier. Nate and Tony use the attitude and power of Web 2.0 technologies to create a new way of thinking about user experience research. They share their expertise clearly, concisely, and with a great sense of humor, giving practitioners step-by-step details to conduct remote research of virtually any complexity." ?Mike Kuniavsky author, Observing the User Experience "No longer must you only test your interfaces with people who come to your office or some expensive lab. So stop doing boring research! Stop having a boring life! Read this book!" ?Mark Trammell User Researcher, Twitter

    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...).

    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.

    Lovemarks is the product of the fertile-iconoclast mind of Kevin Roberts, CEO Worldwide of Saatchi & Saatchi. Roberts argues vociferously, and with a ton of data to support him, that traditional branding practices have become stultified. What's needed are customer Love affairs. Roberts lays out his grand scheme for mystery, magic, sensuality, and the like in his gloriously designed book Lovemarks."-Tom PetersTom Peters, one of the most influential business thinkers of all time, described the first edition of Lovemarks: the future beyond brands as "brilliant." He also announced it as the "Best Business Book" published in the first five years of this century. Now translated into fourteen languages, with more than 150,000 copies in print, Lovemarks is back in a revised edition featuring a new chapter on the peculiarly human experience of shopping. The new chapter, "Diamonds in the Mine," is an insightful collection of ideas for producers and consumers, for owners of small stores and operators of superstores. So forget making lists! Shopping, says Kevin Roberts, is an emotional event. With this as a starting point, he looks at the history of shopping and how it has changed so dramatically over the last ten years. Using the Lovemark elements of Mystery, Sensuality, and Intimacy, Roberts delves into the secrets of success that can be used to create the ultimate shopping experience.

    The text converts all programming code into the C++ language.

    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.

    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.

    Considering this complex variety of data floating around us, sometimes the best — or even only — way to communicate is visually. This unique book presents a fascinating historical perspective on the subject, highlighting the work of the masters of the profession who have created a number of breakthroughs that have changed the way we communicate. Information Graphics has been conceived and designed not just for designers or graphics professionals, but for anyone interested in the history and practice of communicating visually. The in-depth introductory section, illustrated with over 60 images (each accompanied by an explanatory caption), features essays by Sandra Rendgen, Paolo Ciuccarelli, Richard Saul Wurman, and Simon Rogers; looking back all the way to primitive cave paintings as a means of communication, this introductory section gives readers an excellent overview of the subject. The second part of the book is entirely dedicated to contemporary works by the current most renowned professionals, presenting 200 graphics projects, with over 400 examples — each with a fact sheet and an explanation of methods and objectives — divided into chapters by the subjects Location, Time, Category, and Hierarchy.Features:200 projects and over 400 examples of contemporary information graphics from all over the world—ranging from journalism to art, government, education, business and much more Historical essays about the development of information graphics since its beginnings Exclusive poster (673 x 475 mm / 26.5 x 18.7 in) by Nigel Homes, who during his 20 years as graphics director for TIME revolutionized the way the magazine used information graphics

    It is one of the few documents which shows him concentratedly at work on a single philosophical issue. The principal theme is the features of different colours, of different kinds of colour (metallic colour, the colours of flames, etc.) and of luminosity--a theme which Wittgenstein treats in such a way as to destroy the traditional idea that colour is a simple and logically uniform kind of thing.