Today, innovation is seen by business leaders and the media alike as the key to growth, a burning issue in every company, from startups to the Fortune 500. And in that space, Fahrenheit 212 is viewed as a high-performance innovation SWAT team, able to solve the most complex, mission-critical challenges. Under Mark Payne, the firm's president and head of Idea Development, Fahrenheit 212, since its inception a decade ago, has worked with such giants of industry as Coca-Cola, Samsung, Hershey's, Campbell's Soup, LG, Starbucks, Mattel, Office Depot, Citibank, P&G, American Express, Nutrisystem, GE, and Goldman Sachs, to name but a few. It has been praised as a hotspot for innovation in publications like Fortune, Esquire, Businessweek, and FastCompany.  What Drives Fahrenheit 212's success is its unique methodology, combining what it calls Magic--the creative side of innovation--with Money, the business side. They explore every potential idea with the end goal in mind--bringing an innovative product to market in a way that will transform a company's business and growth. In How to Kill a Unicorn, Mark Payne pulls back the curtain on how the company is able to bring more innovative products and ideas successfully to market than any other firm and offers blow by blow inside accounts of how they grapple with and solved their biggest challenges.

    

    Using a layout style that was later copied by Wired, McLuhan and coauthor/designer Quentin Fiore combine word and image to illustrate and enact the ideas that were first put forward in the dense and poorly organized Understanding Media. McLuhan's ideas about the nature of media, the increasing speed of communication, and the technological basis for our understanding of who we are come to life in this slender volume. Although originally printed in 1967, the art and style in The Medium is the Massage seem as fresh today as in the summer of love, and the ideas are even more resonant now that computer interfaces are becoming gateways to the global village.

    They consider the problems posed by a wide range of projects—selection of a book’s size and shape, choice of typeface for text and display, arrangement of type on the page, and determination of typographic details for all parts of the book within manufacturing and budget limitations.As omnipresent as books are, few readers are aware of the “invisible” craft of book designing. The task a book designer faces is different from that faced by other designers. The challenge, says Hendel, isn’t to create something different or pretty or clever but to discover how to best serve the author’s words. Hendel does not espouse a single philosophy of design or offer a set of instructions; he shows that there are many ways to design a book. In detailed descriptions of the creative process, Hendel and the eight other designers, who represent extensive experience in trade and scholarly publishing in the United States and Great Britain, show how they achieve the most effective visual presentation of words, offering many examples to illustrate their choices. Written not only for seasoned and novice book designers, this book will fascinate others in publishing as well as all readers and authors who are curious to know how books end up looking the way they do.

    Invented and played by such artists as André Breton, Rene Magritte, and Max Ernst, these gems still produce results ranging from the hilarious to the mysterious and profound.

    With easy-to-understand instructions and guidelines, plenty of inspirational examples, and hundreds of hand sketches and illustrations, Martina Flor shows readers how to transform their initial lettering concepts and handdrawn sketches into a well-shaped, exquisite piece of digital lettering that can be sold and published. Readers learn how to train their "typographic eye" by studying lettering samples and the anatomy of letters; explore concepts of hierarchy, composition, and flourishes; and discover the many different ways of creating letter shapes. In addition, Flor explains the process of creating a lettering project step by step— from start to finish, from analog to digital—and gives valuable tips about how to make a career as a lettering artist.

    Often neglected in the various curricula of design schools, the new models of design research described in this book help designers to investigate people, form, and process in ways that can make their work more potent and more delightful. At the very least, Peter Lunenfeld writes in the preface, design research saves us from reinventing the wheel. At its best, a lively research methodology can reinvigorate the passion that so often fades after designers join the profession.The goal of the book is to introduce designers to the many research tools that can be used to inform design as well as to ideas about how and when to deploy them effectively. The chapter authors come from diverse institutions and enterprises, including Stanford University, MIT, Intel, Maxis, Studio Anybody, Sweden's HUMlab, and Big Blue Dot. Each has something to say about how designers make themselves better at what they do through research, and illustrates it with real world examples--case studies, anecdotes, and images. Topics of this multi-voice conversation include qualitative and quantitative methods, performance ethnography and design improvisation, trend research, cultural diversity, formal and structural research practice, tactical discussions of design research process, and case studies drawn from areas as unique as computer games, museum information systems, and movies. Interspersed throughout the book are one-page demos, snapshots of the design research experience. Design Research charts the paths from research methods to research findings to design principles to design results and demonstrates the transformation of theory into a richly satisfying and more reliably successful practice.

    Gestalt theory and the psychology of visual perception form the basis for an analysis of art and its basic elements.

    Updated to include two extended final chapters with in-depth prescriptions for building a career in advertising, this edition also features a real-world look at the day-to-day operations of today's ad agencies. Among the most disparaged campaigns in advertising history, the Mr. Whipple ads for Charmin toilet paper were also wildly successful. Sullivan explores the Whipple phenomenon, examining why bad ads sometimes work, why great ads sometimes fail, and how advertisers can learn to balance creative work with the mandate to sell products.

    The book profiles both budding and experienced entrepreneurs across a broad range of industries (from fashion designers to hoteliers) in cities across the globe (from Copenhagen to Dubai). Readers will learn how today’s industry leaders handle both their successes and failures, achieve work-life balance, find motivation in the face of adversity, and so much more.

    With examples from magazines, websites, books, and mobile devices, the Fifth Edition provides an overview of the visual communications profession, with a new focus on the intersection of design specialties. A brand-new section on web and interactivity covers topics such as web tools, coding requirements, information architecture, web design and layout, mobile device composition, app design, CMS, designing for social media, and SEO.

    Richard Nixon used it for his presidential campaign, as did Hillary Clinton. Indeed, Futura is one of the most used fonts in the world today—the typeface of modern design—more so even than Helvetica. This fascinating book explores the cultural history and uses of a face that's so common you might not notice, until you start looking, and then you can't escape it. Douglas Thomas traces Futura from its Bauhaus-inspired origin in Paul Renner's 1924 design, to its current role as the go-to choice for corporate work, logos, motion pictures, and advertisements. Never Use Futura is illuminating, sometimes playful, reading, not just for type nerds, but for anyone interested in how typefaces are used, take on meaning, and become a language of their own.

    So much of the prophetic ministry is esoteric and a free for all in which people throw down the God card on anything they "feel," but this book brings balance without taking away the desire to see the powerful nature of God displayed. On top of that, it's biblically based and is supported by scripture throughout each story, driving home the book's message of activating the ability to hear God's voice for each reader. Through a thought-provoking prophetic ministry philosophy and Shawn's glorious successes and very real failures, you will be inspired and equipped to:learn how to hear God for yourself and othersgrow through simple focused steps, take great risks,stay accountable,love people well,grow in intimacy with the Lord.As an internationally known prophetic voice who has ministered to thousands—from political leaders to those on the streets—Shawn shares everything he has learned about the prophetic in a way that is totally unique and refreshing. Shawn aims for the higher goal of loving people relationally, not just pursuing the gift or information, and he activates you to do the same. Start to reshape the world around you with God’s love today.

    With more than 60,000 copies sold, this book teaches readers how to study Scripture and specifically mark the text to unlock its meaning. In just 28 days readers learn how to study the Bible book by book and understand what they are reading recognize key words and concepts in the Bible discover the main point of any passage of Scripture discern God's purpose and apply life-changing truths to everyday life This is a very practical, hands-on, learn-by-doing book, perfect for either individuals or small groups. Bible text and space to write insights are included. Readers need only a pen, a few colored pencils...and a prayerful heart to complete each study and experience the Bible's life-changing power.

    My name's Frank Chimero. I've spent the better part of the last two years writing and speaking on design and thinking about the topics that orbit the practice: storytelling, concept, craft, and improvisation. I want to take all of the ideas I've had and connected these past few months and capture them in a book format.I've been teaching for the past 5 years, and I've always been a bit frustrated that there isn't a nice, concise book that overviews the mental state of a successful designer while they go through their creative process. For instance, many say that graphic design is visual communication. A cornerstone of communication is storytelling, and yet you'd be hard-pressed to find any discussion of how to tell stories with design in any design book. This should be remedied.There are new challenges in the world that need to be discussed, and I think design is a prime lens to consider these topics. As our world moves faster and as things become less stable, it becomes more important for individuals to embrace ambiguity, understand paradox, and realize that two things can conflict and still somehow both be true. We must realize that logic doesn't always work, and that sometimes nonsense is the best answer. These are the topics I intend to address in the book.The Shape of Design isn't going to be a text book. The project will be focused on Why instead of How. We have enough How; it's time for a thoughtful analysis of our practice and its characteristics so we can better practice our craft. After reading the book, I want you to look at what you do in a whole new light. Design is more than working for clients.But really, this book aims to look at the mindset and worldview that designing develops in order to answer one big, important question: How can we make things that help all of us live better?"