Translated into twenty-three languages, it is one of the world's most widely read books on design. In this edition, Victor Papanek examines the attempts by designers to combat the tawdry, the unsafe, the frivolous, the useless product, once again providing a blueprint for sensible, responsible design in this world which is deficient in resources and energy.

    Whether you’re enraged by Ikea’s Verdanagate, want to know what the Beach Boys have in common with easy Jet or why it’s okay to like Comic Sans, Just My Type will have the answer. Learn why using upper case got a New Zealand health worker sacked. Refer to Prince in the Tafkap years as a Dingbat (that works on many levels). Spot where movies get their time periods wrong and don’t be duped by fake posters on eBay. Simon Garfield meets the people behind the typefaces and along the way learns why some fonts – like men – are from Mars and some are from Venus. From type on the high street and album covers, to the print in our homes and offices, Garfield is the font of all types of knowledge.

    Drawing from street culture, high art, and traditional Japanese painting, Murakami takes the contemporary art trend of mixing high and low to an unprecedented level (critics call him the new Warhol), producing original paintings and sculptures as well as mass-produced consumer objects such as toys, books, and most famously, a line of handbags for Louis Vuitton. A committed supporter and spokesperson for Japanese artists and a powerful commentator on postwar culture and society, Murakami has organized influential exhibitions of Japanese art as well as a biannual art fair in Tokyo. Murakami has positioned himself as a new type of artist for the twenty-first century: a hybrid of creator, entrepreneur, and cultural ambassador.In conjunction with the first major retrospective of his work, Murakami traces Murakami’s global impact socially, culturally, and art historically. Essays focus on Murakami’s early works, which were based on a social critique of Japan’s rampant consumerism; the development of his characters; his work with anime, fantasy; otaku culture; and his engagement with global pop culture. Representing output from original works of art to mass-produced multiples, the catalogue also considers the implications of Murakami’s working methods within the tradition of the Western avant-garde.

    His ruminations range from his obsession with theater to his concept of architecture as ritual. The illustrations--photographs, evocative images, as well as a set of drawings of Rossi's major architectural projects prepared particularly for this publication--were personally selected by the author to augment the text.

    Divided into three parts, this book offers a methodology for artistic and professional work and also offers technical advice for translating this to the web.

    Through the worst years of the Great Depression as many as five thousand laborers toiled twenty-four hours a day, seven days a week, to erect the huge structure that would harness the Colorado River and transform the American West.Construction of the giant dam was a triumph of human ingenuity, yet the full story of this monumental endeavor has never been told. Now, in an engrossing, fast-paced narrative, Joseph E. Stevens recounts the gripping saga of Hoover Dam. Drawing on a wealth of material, including manuscript collections, government documents, contemporary newspaper and magazine accounts, and personal interviews and correspondence with men and women who were involved with the construction, he brings the Hoover Dam adventure to life.Described here in dramatic detail are the deadly hazards the work crews faced as they hacked and blasted the dam’s foundation out of solid rock; the bitter political battles and violent labor unrest that threatened to shut the job down; the deprivation and grinding hardship endured by the workers’ families; the dam builders’ gambling, drinking, and whoring sprees in nearby Las Vegas; and the stirring triumphs and searing moments of terror as the massive concrete wedge rose inexorably from the canyon floor.Here, too, is an unforgettable cast of characters: Henry Kaiser, Warren Bechtel, and Harry Morrison, the ambitious, headstrong construction executives who gambled fortune and fame on the Hoover Dam contract; Frank Crowe, the brilliant, obsessed field engineer who relentlessly drove the work force to finish the dam two and a half years ahead of schedule; Sims Ely, the irascible, teetotaling eccentric who ruled Boulder City, the straightlaced company town created for the dam workers by the federal government; and many more men and women whose courage and sacrifice, greed and frailty, made the dam’s construction a great human, as well as technological, adventure.Hoover Dam is a compelling, irresistible account of an extraordinary American epic.

    Since its 1970 s renaissance in the iconic album designs of bands such as the Grateful Dead, the skull has found its way into the visual vocabulary of urban life, adorning T-Shirts, badges and rock memorabilia as the ultimate symbol of anarchy and rebellion. Repurposed and recast by artists, illustrators and designers, it has become one of the most iconic cultural symbols of our time. In response to this cultural phenomenon, The Book of Skulls presents a cool visual guide to the skull, charting its rebirth through music and street fashion to become today s ultimate anti-establishment icon. From Black Sabbath to Cypress Hill, skater punk graffiti to Gothic tattoos, from high-couture to Hello Kitty and Dali to Damien Hirst, this book is the ultimate collection of cool and iconic skull motifs. Drawing together artwork from music, fashion, street art and graphic design The Book of Skulls is a celebration of one of today s most iconic cultural symbols.

    One of the most fascinating representatives of the Belle Epoque, Klimt is chenshed for his rich use of ornament and his paintings of fin de siecle Viennese high society, which bring to life the decadence of the era through vibrant colours and patterns. Yet there can be no doubt about Klimt's greatness as a draughtsman. Remarkable above all is the intensely sensual mood that he establishes in his limpid, fluid drawings and watercolours; the line with which his subjects are described explores and caresses as though the drawing itself was an act of seduction. Here, Rainer Metzger brings together hundreds of Klimt's works on paper in a way that enriches our knowledge of the artist and enhances the visual impact of his oeuvre. Many revolve around Klimt's taboo-breaking main themes - the naked woman, erotica and homoerotica - while others provide allegorical and historical insights. Between these...

    17th century to the present. Book was reprinted in 2006

    Today, more and more graphic designers, advertising agencies, motion designers, and artists work in this area. New techniques and forms of expression are being developed. Consequently, the demand for information on this topic has grown enormously. Data Flow 2 expands the definition of contemporary information graphics. The book features new possibilities for diagrams, maps, and charts. It investigates the visual and intuitive presentation of processes, data, and information. Concrete examples of research and art projects as well as commercial work illuminate how techniques such as simplification, abstraction, metaphor, and dramatization function. The book also includes interviews with experts such as The New York Times s Steve Duenes, Infosthetics's Andrew Vande Moere, Visualcomplexity's Manuel Lima, ART+COM's Joachim Sauter, and passionate cartographer Menno-Jan Kraak as well as text features by Johannes Schardt about the challenges in creating effective information graphics and about the relationship between complexity, clarity, content, and innovation. Offering practical advice, background information, case studies, and inspiration, Data Flow 2 is a valuable reference for anyone working with or interested in information graphics.

    They reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the twenties and thirties, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announces the end of Soviet Union. Taking advantage of the collapsing monolithic structure, the holes of the widening net, architects revisited all the chronological periods and styles, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba sanatorium), others expressed their imagination in an expressionist way (Tbilisi wedding palace). A summer camp, inspired by sketches of a prototype lunar base, lays claim to its suprematist influence (Promethee). Then comes the speaking architecture widespread in the last years of the USSR: a crematorium adorned with concrete flames (Kiev crematorium), a technological institute with a flying saucer crashed on the roof (Kiev institute), a political center watching you like a Big Brother (Kaliningrad House of Soviet). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of privacy and it also outlines the geography of the USSR, showing how local influences made their exotic twists before bringing the country to its end.

    Over 100 additional new images are integrated into Volume I, and appear online as full size digital images with discussions written by the author. These bonus images are complemented by groundbreaking media support for students including video study tools and a robust eBook.

    Traces the life and career of the California artist, who currently works with pure light and the subtle modulation of empty space.

    Andy Tuohy is a graphic designer and worked in advertising for many years before becoming a freelance artist/ designer. He has had design work commissioned by the Tate Modern and Tate Liverpool, Turner Contemporary and Henley Regatta, and has been featured in Design Week amongst other publications.

    And while art criticism is ubiquitous in newspapers, magazines, and exhibition brochures, it is also virtually absent from academic writing. How is it that even as criticism drifts away from academia, it becomes more academic? How is it that sifting through a countless array of colorful periodicals and catalogs makes criticism seem to slip even further from our grasp? In this pamphlet, James Elkins surveys the last fifty years of art criticism, proposing some interesting explanations for these startling changes."In What Happened to Art Criticism?, art historian James Elkins sounds the alarm about the perilous state of that craft, which he believes is 'In worldwide crisis . . . dissolving into the background clutter of ephemeral cultural criticism' even as more and more people are doing it. 'It's dying, but it's everywhere . . . massively produced, and massively ignored.' Those who pay attention to other sorts of criticism may recognize the problems Elkins describes: 'Local judgments are preferred to wider ones, and recently judgments themselves have even come to seem inappropriate. In their place critics proffer informal opinions or transitory thoughts, and they shy from strong commitments.' What he'd like to see more of: ambitious judgment, reflection about judgment itself, and 'criticism important enough to count as history, and vice versa.' Amen to that."—Jennifer Howard, Washington Post Book World