It takes Genis Carreras 32 words and a single image. If you ask me, he doesn't even need the text."—Co.Design"Remarkable visual eloquence in his Philographics project."—Brain PickingsPhilographics is all about explaining big ideas in simple shapes, merging the world of philosophy and graphic design. Here are ninety-five designs, each depicting a different "–ism" using a unique combination of geometric shapes, colors, and a short definition of the theory.

    Others may think of it as the last architectural treatise, for it provides a discursive container for ideas that would otherwise be lost. Whatever genre it belongs to, SITELESS is a new kind of architecture book that seems to have come out of nowhere. Its author, a young French architect practicing in Tokyo, admits he "didn't do this out of reverence toward architecture, but rather out of a profound boredom with the discipline, as a sort of compulsive reaction." What would happen if architects liberated their minds from the constraints of site, program, and budget? he asks. The result is a book that is saturated with forms, and as free of words as any architecture book the MIT Press has ever published.The 1001 building forms in SITELESS include structural parasites, chain link towers, ball bearing floors, corrugated corners, exponential balconies, radial facades, crawling frames, forensic housing--and other architectural ideas that may require construction techniques not yet developed and a relation to gravity not yet achieved. SITELESS presents an open-ended compendium of visual ideas for the architectural imagination to draw from. The forms, drawn freehand (to avoid software-specific shapes) but from a constant viewing angle, are presented twelve to a page, with no scale, order, or end to the series. After setting down 1001 forms in siteless conditions and embryonic stages, Blanciak takes one of the forms and performs a "scale test," showing what happens when one of these fantastic ideas is subjected to the actual constraints of a site in central Tokyo. The book ends by illustrating the potential of these shapes to morph into actual building proportions.

    The Chanel toe. Jackie O's pump. Marilyn's stiletto. And lotus shoes and fetish shoes, shoes made for coronations and inaugurations, Cinderella's slipper, shoes of tulle, brocade, rhinestone, python, fish scales, and feathers, and much, much, more, including the two-foot-high wooden chopines of the 16th century and their resurgence as the platform shoes of the 1960s and 1970s.Shoes, now with over 357,000 copies in print, is an obsessive, over-the-top extravaganza-chunky, full-color, and irresistible, it contains page after page of seductive photographs and information about women's shoes.Created for the woman who's a passionate shoe lover-and what woman isn't?--Shoes features over 1,000 glorious photographs, most of them taken for the book. Includes Footnotes (fascinating facts about shoes); Foot Soldiers (profiles of master shoemakers from David Little to Andrea Pfister); and The Shoe that Left an Imprint, focusing on one shoe that changed history-remember Courrage's futuristic go-go boot? Shoes is, as they say, to die for.

    The reality is that most innovations come from a process of rigorous examination through which great ideas are identified and developed before being realized as new offerings and capabilities.This book introduces the idea of design thinking‚ the collaborative process by which the designer′s sensibilities and methods are employed to match people′s needs not only with what is technically feasible and a viable business strategy. In short‚ design thinking converts need into demand. It′s a human−centered approach to problem solving that helps people and organizations become more innovative and more creative.Design thinking is not just applicable to so−called creative industries or people who work in the design field. It′s a methodology that has been used by organizations such as Kaiser Permanente to icnrease the quality of patient care by re−examining the ways that their nurses manage shift change‚ or Kraft to rethink supply chain management. This is not a book by designers for designers; this is a book for creative leaders seeking to infuse design thinking into every level of an organization‚ product‚ or service to drive new alternatives for business and society.

    Examining visual art from 1980 to the present, it takes an intriguing and accessible approach that motivates students and other readers to think actively about and discuss contemporary art--what it means and how it means what it does. The opening chapter provides a concise overview of the period, analyzing how four key changes (the rise of new media, a growing awareness of diversity, the influence of theory, and interactions with everyday visual culture) have resulted in an art world with dramatically expanded boundaries. Reflecting the paradigm shift from a formalist way of teaching studio art to more varied and open-ended concepts, the remaining six chapters each deal with a key theme--time, place, the body, language, identity, and spirituality. Each chapter features an introduction to the thematic topic; a brief look at historical precedents and influences; a detailed analysis of how contemporary artists have responded to and embodied aspects of the theme in specific works; and an in-depth and fascinating profile of an artist who has extensively explored aspects of the theme in his or her work. Themes of Contemporary Art: Visual Art after 1980 shows how art can be interpreted from several different angles: techniques and materials, historical circumstances, aesthetic qualities, theoretical issues, and an artist's ideas and intentions. Writing in a lucid and engaging style, the authors skillfully reveal the multiple levels of meaning in artworks, drawing connections between contemporary art, art of the past, and everyday existence. The volume is enhanced by 87 illustrations--19 in full color--that demonstrate an immense variety of materials, subjects, and styles. These well-chosen examples will help readers learn to critically describe, interpret, and evaluate contemporary visual art. A bibliography and a timeline that situates contemporary art in the context of major events in world history, art, and popular culture are also included. An ideal core text for courses in contemporary art history, Themes of Contemporary Art: Visual Art after 1980 can also be used as a supplement in modern art, art appreciation, art criticism/theory, and studio art courses.

    Whether you're a freelancer, an aspiring entrepreneur or a seasoned small-business owner, you'll learn everything you need to know about how to market and price your services.This book shows you how to:learn which marketing tools are most effective and how to use themcreate a smart marketing plan that reflects your financial goalsplan small actionable steps to take in reaching those financial goalsdetermine who your ideal clients are and establish contact with themturn that initial contact into a profitable relationship for both of youtalk to clients about money and the design process - without fearfigure out a fair hourly rate and give an accurate estimate for a projectYou'll learn the ins and outs of creating and running a creative services business - the things they never taught you in school. Plus, there are useful worksheets throughout the book, so you can apply the principles and formulas to your own circumstances and create a workable business plan right away.

    The book also offers an overview of the development of fashion, as seen through the eyes of the greatest illustrators of the day. Early in the century fashion illustration reflected new, liberating currents in art and culture, such as the exoticism of the Ballets Russes, while the postwar period saw inspiration from the great Parisian couturiers. After the dominance of the celebrity fashion photographer in the '60s, a new generation of illustrators emerged, embracing the medium of the computer, while many returned to more traditional techniques.

    Glaser’s work ranges from the psychedelic Bob Dylan poster to book and record covers; from store and restaurant design to toy creations; and magazine formats including New York magazine and logotypes, all of which define the look of our time. Here Glaser undertakes not only a remarkably wide-ranging representation of his oeuvre from the incredibly fertile early years, but, in a new preface, speaks of the influences on his work, the responsibilities of the artist, the hierarchies of the traditional art world, and the role of graphic design in the area of his creative growth. First published in 1973, Milton Glaser: Graphic Design is an extraordinary achievement and indisputably a classic in the field.

    Easy access to computer graphic tools has turned many of us into either amateur or professional image producers. But without a basic understanding of visual language, a productive dialogue between producers and consumers of visual communication is impossible. Visual Grammar can help you speak and write about visual objects and their creative potential, and better understand the graphics that bombard you 24/7. It is both a primer on visual language and a visual dictionary of the fundamental aspects of graphic design.Dealing with every imaginable visual concept from abstractions such as dimension, format, and volume; to concrete objects such as form, size, color, and saturation; to activities such as repetition, mirroring, movement, and displacement; to relations such as symmetry, balance, diffusion, direction,and variation this book is an indispensable reference for beginners and seasoned visual thinkers alike. Whether you simply want to familiarize yourself with visual concepts or whether you're an experienced designer looking for new ways to convey your ideas to a client, Visual Grammar is the clear and concise manual that you've been looking for.

    Ordinary art. Ordinary art means something like: all art not made by Mozart. After all, art is rarely made by Mozart-like people; essentially-statistically speaking-there aren't any people like that. Geniuses get made once-a-century or so, yet good art gets made all the time, so to equate the making of art with the workings of genius removes this intimately human activity to a strangely unreachable and unknowable place. For all practical purposes making art can be examined in great detail without ever getting entangled in the very remote problems of genius."--from the Introduction

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    The motifs and patterns are spare and graphic, yet softened with organic shapes and imagery drawn from nature. The result is embroidery that evokes a personal feel and conjures a sense of nostalgia. The task of picking just the right palette for an embroidery project can be overwhelming to beginners and experienced stitchers alike. But when you take away that challenge, a whole world of texture and style becomes available. Here Japanese designer Yumiko Higuchi presents embroidery motifs to be stitched using just one or two colors--creating patterns and designs that are more evocative for their form than for a play of colors. Each embroidery design is paired with a simple craft project, transforming the stitched fabric into a functional object, including pouches, pillows, aprons, and more. With beautiful photographs, clear step-by-step instructions, and detailed diagrams, Zakka Embroidery will be an inspiring guide for those new to embroidery and a delightful experience for those experienced with needle and thread.

    It goes without saying that the book is suited for the classroom, but every design studio will also find this manual an asset, because in spite of the ascendancy of the computer, hand-drawn sketches are still a very much used.

    Featured are more than 70 dancers from companies including American Ballet Theatre, New York City Ballet, Alvin Ailey American Dance Theater, Martha Graham Dance Company, Boston Ballet, Royal Danish Ballet, The Royal Ballet, Abraham in Motion, and many more. Accompanying the photographs are intimate and inspiring words from the dancers, as well as from choreographers and artistic directors on what dance means to them.

    Not only did he smuggle his pieces into four of New York City's major art museums, he's also "hung" his work at London's Tate Gallery and adorned Israel's West Bank barrier with satirical images. Banksy's identity remains unknown, but his work is unmistakable with prints selling for as much as $45,000.