Being ambidextrous with Eastern and Western cultures, he can see things most of us overlook. The result is a humor and expression that brings out the best in computers and art."--Nicholas Negroponte John Maeda is one of the world's leading experimental graphic designers and is quickly becoming a digital culture icon. His early preoccupation with the intersection of computer programming and digital art has resulted in a fascinating, interactive, and stunningly beautiful collection of work. Maeda has pioneered many of the key expressive elements that are prevalent on the web today. Among his most well-known works are "The Reactive Square," which features a simple black square on a computer screen that changes shape if one yells at it, and "Time Paint," in which paint flies across the screen. He has created innovative, interactive calendars, digital services, and advertisements for companies such as Sony, Shiseido, and Absolut Vodka. This is the first publication to present a complete overview of Maeda's work and philosophy. A glorious visual exploration of ideas and graphic form, "Maeda @ Media" takes you through Maeda's beginnings in early computerized printouts, to his reactive graphics on CD-ROM, to his dynamic experiments on the web, to his pedagogical approach to digital visual art, and finally to his overarching quest to understand the very nature of the relationship between technology and creativity. Six thematic chapters provide an overview of his entire career and research. But this is not just a catalog of older work: interspersedbetween each chapter is a new visual essay that has been created exclusively for this publication to underline each of the major themes. Coming together in a massive 480 pages, printed in a dazzling array of color combinations on three different kinds of paper, the result is a manifesto, a finely crafted manual and inspiration sourcebook all in one. With over 1000 illustrations.

    It draws in the reader with its design and layout, making use of more than 200 illustrations and photographs. It explains in everyday layman's terms what type is and how you can use it to enhance legibility, meaning, and aesthetic enjoyment. It also includes chapters on Web typography and other forms of online text display.

    King, and Howlin' Wolf; the multicolored psychedelic hallucinations promoting the Grateful Dead, Dylan, and the Doors; the deliciously tasteless art for the Sex Pistols, Crime, and the Clash. From the Red Dog Saloon in San Francisco, where the psychedelic scene started, to CBGB, New York's punk Mecca, and beyond. 1,500 images searched out world-wide from clubs, attics, and bedrooms—as well as more formal collections—are reproduced in their original blazing colors. Replete with firsthand history—including exclusive interviews with scores of insiders, poster artists, musicians, and promoters—this is the ultimate high for the rock music fan, required reading for the poster collector, a treasure trove for the graphic artist, and a riotous feast for anyone who digs pop culture.

    With communication comes responsibility; are designers aware of the meaning and impact of their work? An image or symbol that is acceptable in one culture can be offensive or even harmful in the next. A typeface or colour in a design might appear to be neutral, but its meaning is always culturally dependent. If designers learn to be aware of global cultural contexts, we can avoid stereotyping and help improve mutual understanding between people.Politics of Design is a collection of visual examples from around the world. Using ideas from anthropology and sociology, it creates surprising and educational insight in contemporary visual communication. The examples relate to the daily practice of both online and offline visual communication: typography, images, colour, symbols, and information.Politics of Design shows the importance of visual literacy when communicating beyond borders and cultures. It explores the cultural meaning behind the symbols, maps, photography, typography, and colours that are used every day. It is a practical guide for design and communication professionals and students to create more effective and responsible visual communication.

    By examining text and image in advertising, as well as “high art†versus “popular culture,†it reveals the difference between signs (such as a word or picture) and signifiers (the concept or object to which it refers).

    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

    Exercises range from creating a typeface in an hour to designing a paper robot in an afternoon to designing web pages and other interactive experiences. Each exercise includes compelling visual solutions from other designers and background stories to help you increase your capacity to innovate.Creative Workshop also includes useful brainstorming techniques and wisdom from some of today's top designers. By road-testing these techniques as you attempt each challenge, you'll find new and more effective ways to solve tough design problems and bring your solutions to vibrant life.

    Graphic Design which fulfills aesthetic needs, complies with the laws of form and exigencies of two-dimensional space; which speaks in semiotics, sans-serifs, and geometrics; which abstracts, transforms, translates, rotates, dilates, repeats, mirrors, groups, and regroups is not good design if it is irrelevant.Graphic design which evokes the symmetria of Vituvius, the dynamic symmetry of Hambidge, the asymmetry of Mondrian; which is a good gestalt, generated by intuition or by computer, by invention or by a system of coordinates is not good design if it does not communicate. - Paul Rand For the design student, teacher, professional designer, and, indeed, for anyone interested in the creative communication of ideas, Paul Rand: A Designer's Art is certain to be a book that is both provocative and enlightening.

    Though predominantly serving as a useful guide and bridge in the first year of your career as a designer, it should also be considered an essential tool that can be consulted when you're unsure of what to do next. Begin with the essentials of beginning your design career, like building your resume and portfolio, seeking out opportunities, and preparing for and securing interviews.More than just helping you get a job, however, this career guide serves to help you succeed in whichever design position you land. Learn how to effectively work with other designers and your own clients, keep up to date with the industry, hone your business skills, and much more. From the day after graduation to the completion of your first year as a design professional, this career guide will help you stay on top of your game.In What They Didn't Teach You in Design School you'll find:11 chapters covering topics ranging from software skills, print production, and designer relations, to good design practice, web skills, and working with external suppliersHelpful design advice that you'll want to return to again and againA word from the author:"Working in a studio is hugely different from studying; this book is aimed at helping you through the transition and giving you the ammo to climb this massive new learning curve." --Phil Cleaver

    Featuring more than 1,300 international typographic identities, by around 250 design studios, this is an indispensable handbook for every design studio, providing a valuable resource to draw on in branding and corporate identity projects. Retaining the striking black-and-white aesthetic and structure of Logo (also by Michael Evamy) and Symbol, Logotype is an important and essential companion volume.

    The twelfth edition of this classic reference has been revised and updated to provide all the information creative professionals need to keep up with current trends and compete in an ever-changing industry.

    This comprehensive guide is intended to advance the progress of designers seeking to deepen their typographic expertise. Typography Essentials is a practical, hands-on resource to distill, organize, and compartmentalize—but not to oversimplify—the many complex issues surrounding the effective use of typography. It is for designers of every medium in which type plays a major role, and is organized and designed to make the process enjoyable and entertaining, as well as instructional.This book is divided into four easy-to-use sections: The Letter, The Word, The Paragraph, and The Page. Each of the 100 principles has an explanation and examples representing the principle in action.

    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.

    Nineteen challenging assignments and over one thousand pieces of solution art executed by the authors' students are presented. Each visual problem shows the actual assignment sheet given to the students and includes an analysis of the problem's underlying intent, addressing principles such as framal reference, negative-positive relationships, cropping techniques, and other important issues.

    The first book of its kind, Raizmans History of Modern Design offers a gorgeously illustrated survey of the applied arts and industrial design from the eighteenth century to present day, covering furniture, metal, glass, ceramics, fashion, appliances, transportation, and advertising.