This volume gathers highlights from designs commissioned by the Criterion Collection, featuring covers, supplemental art, and never-before-seen sketches and concept art plus a gallery of every Criterion cover since the collection’s first laserdisc in 1984. From avant-garde experiments to big-budget blockbusters, cult favorites to the towering classics of world cinema, the depth and breadth of what film can be is on display in these striking images. Whether painstakingly faithful re-creations or bold re-imaginings, the stunningly diverse designs collected here offer new ways for cinephiles and design aficionados alike to engage with the world’s greatest filmmakers.

    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

    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.

    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.

    The author, Matej Latin, takes complex concepts such as vertical rhythm, modular scale and page composition, and explains them in a simple way. The content of the book is accompanied by live code examples and the readers design and build an example website as they go through it. This is a new typography book for a new medium, the rules haven't changed much, everything else has.

    Dublin-based designer Annie Atkins invites readers into the creative process behind her intricately designed, rigorously researched, and visually stunning graphic props. These objects may be given just a fleeting moment of screen time, but their authenticity is vital and their role is crucial: to nudge both the actors on set and the audience just that much further into the fictional world of the film.

    Often moving beyond the traditional image associated with this medium, this survey illustrates the richness, eclecticism, dynamism and contemporaneity of painting.

    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

    It’s not a lofty book. It’s an affordable resource that feels like a sit-down with someone who has real answers to share.

    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.

    Among the many recognizable jackets he has created are those for The Girl with the Dragon Tattoo; collections of the works of Joyce, Kafka, Dostoevsky, de Beauvoir, and Foucault; the contemporary works of Martin Amis, Tom McCarthy, Ben Marcus, Jo Nesbø, and James Gleick; and many more. All have greatly benefitted from the care and touch Mendelsund gave them.Cover abounds with Mendelsund's completed book jackets along with ephemera from his previously unseen creative method, including jacket sketches, interior art and editorial illustrations, and scores of rejected drafts. These images are punctuated by Mendelsund's reflections on his work and his process, as well as by texts from writers with whom he has worked and designed for.Cover is a compendium of beautiful design and a beautiful design object itself; a profile and celebration of one of the publishing world's most talented and prolific contemporary creators, and a brilliant showcase of his deft touch for balanced and innovative design.

    Chip Kidd is renowned and revered as a maverick graphic designer. Specifically, Kidd's book jacket designs for such major New York publishers as Alfred A. Knopf are among the most significant and innovative of our time. This richly illustrated book--the first critical selection of kid's design work--looks closely at this contemporary visual pioneer. Veronique Vienne presents a full and nuanced view of Kidd, discussing how he has developed celebrity status as a designer, design critic, lecturer, and editor. She also relates how Kidd is greatly influenced by popular culture, noting his vast collection of Batman memorabilia. Vienne concludes by examining Kidd's editorial involvement with books on cartoonists as well as his own first novel, The Cheese Monkeys, published in 2001 to critical acclaim. Chip Kidd reveals the fascinating life and career of a revolutionary graphic designer with a winning public persona, whose ambitions now also lean toward editing and writing. The book will appeal to anyone involved in design and popular culture as well as admirers of Kidd's extraordinary creative spirit.

    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? "

    Literary journals bound by magnets, or designed to look like junk mail. The sharp wit, gorgeous design, and playful why not invention of independent literary publisher McSweeney's have earned it a large and loyal following and made its journals, books, The Believer magazine, and Wholphin DVDs collectible favorites of readers and graphic designers alike. Created by the McSweeney's staff to commemorate their 11th (or 12th) anniversary, this book showcases their award-winning art and design across all the company's activities. It features hundreds of images, interviews with collaborators such as Chris Ware and Michael Chabon, and dozens of insights into McSweeney's quirky creative process and the visual experience of reading.

    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...).