This book tells that story in detail, defining and illustrating key developments and themes from 1980-2000.

    Munari insisted that design be beautiful, functional and accessible, and this enlightening and highly entertaining book sets out his ideas about visual, graphic and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children's books, advertising, cars and chairs - these are just some of the subjects to which he turns his illuminating gaze.How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever.Bruno Munari (1907-1998), born in Milan, was the enfant terrible of Italian art and design for most of the twentieth century, contributing to many fields of both visual (paint, sculpture, film, industrial design, graphics) and non-visual arts (literature, poetry). He was twice awarded the Compasso d'Oro design prize for excellence in his field.If you enjoyed Design as Art, you might like John Berger's Ways of Seeing, also available in Penguin Modern Classics.'One of the most influential designers of the twentieth century ... Munari has encouraged people to go beyond formal conventions and stereotypes by showing them how to widen their perceptual awareness'International Herald Tribune

    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.

    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.

    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.

    Not to worry: This book is the one place you can turn to find quick, non-intimidating, excellent design help. In The Non-Designer's Design Book, 2nd Edition, best-selling author Robin Williams turns her attention to the basic principles of good design and typography. All you have to do is follow her clearly explained concepts, and you'll begin producing more sophisticated, professional, and interesting pages immediately. Humor-infused, jargon-free prose interspersed with design exercises, quizzes, illustrations, and dozens of examples make learning a snap—which is just what audiences have come to expect from this best-selling author.

    Newly expanded with fifty additional pages of text and eighty-five new illustrations, this second edition reflects the exciting developments in typography since the first edition was published in 2002.

    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.

    "Grid Systems in Graphic Design - Raster Systeme für die Visuelle Gestaltung" By Josef Müller-Brockmann. English version by D. Q. Stephenson. English and German text. This is the 5th Edition, published by Verlag Niggli AG, 2007. Full title: "Grid Systems in Graphic Design. A Visual Communication Manual for Graphic Designers, Typographers and Three Dimensional Designers - Raster Systeme für die Visuelle Gestaltung. Ein Handbuch für Grafiker, Typografen und Ausstellungsgestalter". A comprehensive handbook on modern typography and using the Grid System, illustrated with drawings, diagrams, black & white photographs & numerous examples of graphic design. Subjects include: Grid and Design Philosophy; The Typographic Grid and its purpose; Sizes of Paper; Typeface Alphabets; Margin Proportions; Construction of the Grid and Type Area; Type & Picture Area with 8, 20 and 32 Grid Fields; Photograph & Illustration in the Grid System; the Grid in Corporate Identity and Three-Dimensional Design & more.

    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.

    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.

    Staying abreast of recent developments in the field is imperative for both design professionals and students. Thoroughly updated to maintain its relevancy in today's digital world, Typographic Design: Form and Communication, Fourth Edition continues to provide a compre-hensive overview of every aspect of designing with type, now in full color. This Fourth Edition of the bestselling text in the field offers detailed coverage of such essential topics as the anatomy of letters and type families, visual communications and design aesthetics, and designing for legibility. Supplementing these essential topics are theoret-ical and structural problem-solving approaches by some of the leading design educators across the United States. Unwrapping the underlying concepts about typographic form and message, Typographic Design, Fourth Edition includes four pictorial timelines that illustrate the evolution of typography and writing within the context of world events - from the origins of writing more than 5,000 years ago to contemporary Web site and electronic page design. New features include: Full-color treatment throughout A new ancillary Web site containing resources for self-learners, students and professors (www.typographicdesign4e.com) Two new chapters: The Typographic Grid and Typographic Design Process An updated design education section that includes recent examples of projects assigned by leading design educators New case studies that showcase design for Web sites and animated typography projects Case studies detailing examples of visual identification systems, environmental graphics, book and magazine design, Web site design, type in motion, and wayfinding graphics Updated coverage of digital type technology

    They pack as much raw material in their brains as possible and then use that to build their own unique designs. The Anatomy of Design is what, in the butcher business, they call a "side of beef." The authors selected fifty examples of graphic design that will be dissected, piece by piece, tissue by tissue, revealing an array of influences and inspirations. These are not necessarily the most well-known or celebrated objects of graphic design, though many contain the genetic codes of some canonical works. Instead, these represent contemporary artifacts that are well conceived, finely crafted, and filled with hidden treasures. Some are overtly complex and their influences are somewhat easy to see with the naked eye. Others are so simple that it is hard to believe there is a storehouse of inspiration hidden underneath.The selections include all kinds of design work including posters, book and record covers, packages, catalog covers, and more. Each exhibit is selected based on its ubiquity, thematic import, and aesthetic significance, and every page is a means to show how great work is derived from various inspirational and physical sources, some well-known, some unknown. Each design is presented on a gate-fold showing the featured design and and other works that share the key influences with extended captions explaining the whys and wherefores.

    Our infatuation with—and the backlash against—technology is over. Today's best designers have learned to embrace its advantages and think beyond its limitations by combining the power of the computer with the tactile qualities of handmade elements.Inside you'll find examples of work that showcase a variety of design methods, including mixed media, illustration, letterpress, screenprinting and collage. You'll find inspiration in examples from outstanding designers and see how traditional elements can make a more powerful statement than anesthetized computer-only work. Fingerprint also includes insightful essays on the power of the handmade by Debbie Millman, Jean Orlebeke, Jim Sherraden, Martin Venezky and Ross Macdonald.The projects in this book are beautiful, technical, simple, layered and powerful. Each project communicates its intended message with eloquence.You can be part of this exciting design revolution. Leave your own fingerprint on the world by exploring the fusion of the digital with the hand-wrought.

    This extended work is the culmination of forty years' research and shows the belief that we all can, and do, design, and that we can learn to design better. The creative mind continues to have the power to surprise and this book aims to nurture and extend this creativity. Neither the earlier editions, nor this book, are intended as authoritative prescriptions of how designers should think but provide helpful advice on how to develop an understanding of design.In this fourth edition, Bryan Lawson continues to try and understand how designers think, to explore how they might be better educated and to develop techniques to assist them in their task. Some chapters have been revised and three completely new chapters added. The book is now intended to be read in conjunction with What Designers Know which is a companion volume. Some of the ideas previously discussed in the third edition of How Designers Think are now explored more thoroughly in What Designers Know. For the first time this fourth edition works towards a model of designing and the skills that collectively constitute the design process.