Beautiful Evidence is about how seeing turns into showing, how data and evidence turn into explanation. The book identifies excellent and effective methods for showing nearly every kind of information, suggests many new designs (including sparklines), and provides analytical tools for assessing the credibility of evidence presentations (which are seen from both sides: how to produce and how to consume presentations). For alert consumers of presentations, there are chapters on diagnosing evidence corruption and PowerPoint pitches. Beautiful Evidence concludes with two chapters that leave the world of pixel and paper flatland representations - and move onto seeing and thinking in space land, the real-land of three-space and time.

    After a brief introduction to the various tools and materials, artists and lettering enthusiasts will learn how to master the art of hand lettering and typography through easy-to-follow step-by-step projects, prompts, and exercises. From the basic shape and form of letters to cursive script, spacing, and alignment, artists will discover how to transform simple words, phrases, and quotes into beautiful works of hand-lettered art. The interactive format and step-by-step process offers inspirational instruction for a wide variety of fun projects and gift ideas, including hand-rendered phrases on paper and digitally enhanced note cards. Artists will also discover how to apply lettering to linen, coffee mugs, calendars, and more. Numerous practice pages and interactive prompts throughout the book invite readers to put their newfound lettering skills to use, as well as work out their artistic ideas. Covering a variety of styles and types of lettered art, including calligraphy, illustration, chalk lettering, and more, artists will find a plethora of exercises and tips to help them develop their own unique lettering style.

    When deployed wisely, it can bring us pleasure, choice, strength, decency and much more. But if its power is abused, the outcome can be wasteful, confusing, humiliating, even dangerous. None of us can avoid being affected by design, whether or not we wish to. It is so ubiquitous that it determines how we feel and what we do, often without our noticing.Hello World explores design's influence on our lives. Written by the renowned design critic Alice Rawsthorn and designed by the award-winning book designer Irma Boom, it describes how warlords, scientists, farmers, hackers, activists and designers have used design to different ends throughout history: from the macabre symbol invented by 18th century pirates to terrorise their victims into surrender, to one woman's quest for the best possible prosthetic legs and the evolution of the World Cup ball.At a time when we face colossal changes, unprecedented in their speed, scale and intensity - from the deepening environmental crisis, to giant leaps in science and technology - Hello World explains how design can help us to make sense of them andto turn them to our advantage.

    For the revised edition, a new final chapter covers all the recent international developments in graphic design, including the role of the computer and the Internet in design innovation and globalization. In the last years of the twentieth century, at a time when "designer products" and the use of logos grew in importance, the role of graphic designers became more complex, subversive, and sometimes more political—witness Oliviero Toscani's notorious advertisements for Benetton. Digital technology cleared the way for an astonishing proliferation of new typefaces, and words began to take second place to typography in a whole range of magazines and books as designers asserted the primacy of their medium. Designers and companies discussed here include Neville Brody, David Carson, Design Writing Research, Edward Fella, Tibor Kalman, Jeffery Keedy, LettError, Pierre di Sciullo, Tomato, Gerard Unger, Cornel Windlin, and a host of others.

    Today, however, most of us work on computers, with access to hundreds of fonts, and we’d all like our letters, reports and other documents to look as good – and as readable – as possible. But what does all the confusing terminology about ink traps, letter spacing, and visual centring mean, and what are the rules for good typography? Type Matters! is a book of tips for everyday use, for all users of typography, from students and professionals to anyone who does any layout design on a computer. The book is arranged into three chapters: an introduction to the basics of typography; headline and display type; and setting text. Within each chapter there are sections devoted to particular principles or problems, such as selecting the right typeface, leading, and the treatment of numbers. Examples throughout show precisely what makes good typography – and, crucially, what doesn’t. Authoritatively written and designed by a practitioner and teacher of typography, Type Matters! has a beautifully clear layout that reinforces the principles discussed throughout.

    It's really not something we should be ashamed about, for it reinforces something we sincerely believe: design matters. At its best, book cover design is an art that transcends the publisher's commercial imperativesto reflect both an author's ideas and contemporary cultural values in a vital, intelligent, and beautiful way.In this groundbreaking and lavishly illustrated history, authors Ned Drew and Paul Sternberger establish American book cover design as a tradition of sophisticated, visual excellence that has put shape to our literary landscape.By Its Cover traces the story of the American book cover from its inception as a means of utilitarian protection for the book to its current status as an elaborately produced form of communication art. It is, at once, the intertwined story of American graphic design and American literature, and features the work of such legendary figures as Rockwell Kent, E. McKnight Kauffer, Paul Rand, Alvin Lustig, Rudy deHarak, and Roy Kuhlman along with more recent and contemporary innovators including Push Pin Studios, Chermayeff & Geismar, Karen Goldberg, Chip Kidd, and John Gall.

    Many were created by the musicians themselves and demonstrate the emphasis within the punk scene on individuality and the manic urge of its members to create things new. Images were compiled out of whatever material could be found, often photocopied and, still warm, stapled to the nearest telephone pole to warn the world about next week's gig. One glance and you can sense the fury of live performances by bands such as Black Flag, the Dead Kennedys and The Minutemen, and, through the subtext the reader is exposed to the psyche of a generation of musicians stripped bare: The Germs, J.F.A, NOFX, X, The Circle Jerks, Devo, The Exploited, The Screamers, The Cramps, The Dils, The Avengers and more.

    Each beautifully designed, affordable volume offers a concise overview of a design fundamentalthe hows of design. But as most seasoned designers will tell you, a comprehensive education also requires an understanding of the whys of design practice. Graphic Design Theory presents groundbreaking, primary texts from the most important historical and contemporary designthinkers. From Aleksandr Rodchenko's "Who We Are: Manifesto of the Constructivist Group" to Kenya Hara's "Computer Technology and Design," this essential volume provides the necessary foundation for contemporary critical vocabulary and thought. Graphic Design Theory is organized in three sections: "Creating the Field" traces the evolution of graphic design over the course of the early 1900s, including influential avant-garde ideas of futurism, constructivism, and the Bauhaus; "Building on Success" covers the mid- to late twentieth century and considers the International Style, modernism, and postmodernism; and "Mapping the Future" opens at the end of the last century and includes current discussions on legibility, social responsibility, and new media. Striking color images illustrate each of the movements discussed and demonstrate the ongoing relationship between theory and practice. A brief commentary prefaces each text, providing a cultural and historical framework through which the work can be evaluated. Authors include such influential designers as Herbert Bayer, Lszl Moholy-Nagy, Karl Gerstner, Katherine McCoy, Michael Rock, Lev Manovich, Ellen Lupton, and Lorraine Wild. Additional features include a timeline, glossary, and bibliography for further reading. A must-have survey for graduate and undergraduate courses in design history, theory, and contemporary issues, Graphic Design Theory invites designers and interested readers of all levels to plunge into the world of design discourse.

    Artists use these journals to document their daily lives, produce their initial ideas for bigger projects, and practice their skills. Using a variety of media from paint to pencil to collage, these pages can become works of art themselves. They often feel fresh and alive because they are first thoughts and often not reworked. These pages capture the artist's personalities along with glimpses of their process of working and inspirations.In Drawn In, you can take a peek inside the sketchbooks of 44 high-profile, amazingly talented artists as they discuss their collections and how they use them. Featuring a spectrum of creators from illustrators and fine artists to graphic designers and cartoonists, this books offers an inside, full-color glimpse into pages filled with pencil and pen sketches, thumbnail drawings, unpublished comics, elaborate collages, loose clippings, and much more. Become inspired by these incredible artists and the pages they share in Drawn In!

    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?"

    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.

    "The Language of Graphic Design "provides graphic design students and practitioners with an in-depth understanding of the fundamental elements and principles of their language--graphic design--what they are, why they are important, and how to use them effectively. Organized by the building blocks of the graphic design language, this reference includes work by some of the most successful and renowned practitioners from around the world and how they have applied these fundamental principles to their work. By examining both student and professional work, this comprehensive handbook is a more meaningful, memorable, and inspiring reference tool for novice design students, as well as young designers starting their careers. To understand visual communications one has to first understand by seeing. To develop this discipline or visual sense is similar to learning a new language with its own unique alphabet, lexicon (vocabulary), and syntax (sentence structure). This book provides clear, concise information that will enhance visual literacy, while using dynamic, memorable visual references to inspire and reinforce the skill of seeing.

    This authoritative text guides readers through establishing formats, constructing grids, choosing typefaces, designing a jacket, and, finally, preparing materials for the printer, with more than 300 illustrations to demonstrate every aspect of the process. Interviews with professional book designers provide valuable insight, and an extensive glossary of editorial, design, and production terms make a handy reference for the burgeoning new designer. Book Design is one of three titles this spring from Abrams Studio, our new imprint dedicated to providing artists and designers with innovative, affordable books to help them improve their skills.

    Set out in A-Z style and written in a realistic, conversational, and insightful way, the book provides advice on the fundamental topics and issues that face designers in their daily lives. It looks at everything from kerning to presenting, from budgeting to dealing with rejection, from annual reports to interface design. Adrian Shaughnessy, author of the best-selling How to be a Graphic Designer Without Losing Your Soul, is himself a successful designer, and brings a wealth of experience to this very useful and entertaining book.

    Among significant mid-century interiors, none are more celebrated yet underpublished as the homes created by architects and interior designers for themselves. This collection of newly commissioned photographs presents the most compelling homes by influential mid-century designers, such as Russel Wright, George Nakashima, Harry Bertoia, Charles and Ray Eames, and Eva Zeisel, among others. Intimate as well as revelatory, Williamson’s photographs show these creative homes as they were lived in by their designers: Walter Gropius’s historic Bauhaus home in Massachusetts; Albert Frey’s floating modernist aerie on a Palm Springs rock outcropping; Wharton Esherick’s completely handmade Pennsylvania house, from the organic handcarved staircase to the iconic furniture. Personal and breathtaking by turn—these homes are exemplary studies of domestic modernism at its warmest and most creative.