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 highly readable texts and over 800 beautiful full-color images come together in a unique way to convey hidden dimensions of meaning. Each of the ca. 350 essays examines a given symbol’s psychic background, and how it evokes psychic processes and dynamics. Etymological roots, the play of opposites, paradox and shadow, the ways in which diverse cultures have engaged a symbolic image—all these factors are taken into consideration.Authored by writers from the fields of psychology, religion, art, literature, and comparative myth, the essays flow into each other in ways that mirror the psyche’s unexpected convergences. There are no pat definitions of the kind that tend to collapse a symbol; a still vital symbol remains partially unknown, compels our attention and unfolds in new meanings and manifestations over time. Rather than merely categorize, The Book of Symbols illuminates how to move from the visual experience of a symbolic image in art, religion, life, or dreams to directly experiencing its personal and psychological resonance.The Book of Symbols sets new standards for thoughtful exploration of symbols and their meanings, and will appeal to a wide range of readers: artists, designers, dreamers and dream interpreters, psychotherapists, self-helpers, gamers, comic book readers, religious and spiritual searchers, writers, students, and anyone curious about the power of archetypal images.

    Rich with extraordinary tales and anecdotes, What Are You Looking At? entertains as it arms readers with the knowledge to truly understand and enjoy what it is they’re looking at.

    These optimistic indicators paint a fascinating picture of the colorful capitalism that dominated the spirit of the 1950s and 60s, as concerns about the Cold War gave way to the carefree booze-and-cigarettes Mad Men era. Also included is a wide range of significant advertising campaigns from both eras, giving insight into the zeitgeist of the period. Bursting with fresh, crisp colors, these ads have been digitally mastered to look as bright and new as the day they first hit newsstands.

    This curated tour begins with the now-iconic redesign of the signature Penguin Classics black-spine series in 2003 and moves through award-winning series like the Penguin Classics Graphic Deluxe Editions, Penguin Drop Caps, and Penguin Horror. Exhibiting a mesmerizing array of front covers and full cover layouts, Paul Buckley illuminates the unique and inventive approaches to typography, image, and design that grace Penguin’s covers of the best works in literature. Throughout the book, the artists and designers including Chris Ware, Ivan Brunetti, Jillian Tamaki, Jessica Hische, and Ruben Toledo who have collaborated with Penguin Classics offer commentary on the design process. For lovers of classic literature, book design, and all things Penguin, Classic Penguin has you covered.

    Under the new authorial leadership of Alston Purvis, this authoritative book offers more than 450 new images, along with expansive coverage of such topics as Italian, Russian, and Dutch design. It reveals a saga of creative innovators, breakthrough technologies, and important design innovations.

    Increasingly, people are feeling powerless and underrepresented because they have no voice.Designers, however, have a voice. They are among the most influential bystanders because their skills enable them to communicate a message easily through the Web or through posters and printed pieces. A picture is worth a thousand words and designers have used this adage to their advantage for years by creating simple yet powerful designs that immediately convey the message to the viewer. The Design of Dissent focuses on graphic work that designers have made as a result of social and political concerns. The time is certainly ripe as the U.S., and world, flares in opposition on so many important issues.

    This book by one of Wired magazine's art directors traverses the graphic world through a collection of pie charts, bar graphs, timelines, scatter plots, and more. Super Graphic offers readers a unique look at the intricate and sometimes contradictory storylines that weave their way through comic books, and shares advice for navigating the pages of some of the most popular, longest-running, and best-loved comics and graphic novels out there. From a colorful breakdown of the DC Comics reader demographic to a witty Venn diagram of superhero comic tropes and a Chris Ware sadness scale, this book charts the most arbitrary and monumental characters, moments, and equipment of the wide world of comics.

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    Extracted from an Afghan mine, the blue “ultramarine” paint used by Michelangelo was so expensive he couldn’t afford to buy it himself. Since ancient times, carmine red—still found in lipsticks and Cherry Coke today—has come from the blood of insects.

    Humans are creative; it is a quality embedded in the fabric of our being, and a reality that reflects our existence as being made in the image of God.This book is a compilation of our e-books Liturgy for Creatives and On Becoming Creative, and new reflections—encompassing Alabaster's lived experience as a creative company for the past two years. It is a first step, the beginning of a conversation that allows readers to engage their faith and creativity against the larger backdrop of the God who has made all that is made.

    Arranged in broadly chronological order, it provides a source of inspiration and a fascinating resource for the general reader to dip into. Lavishly illustrated with historical masterpieces and packed with fascinating contemporary examples, this is an inspirational and wholly original guide to understanding the forces that have shaped world art.

    The authors, Frank Thomas and Ollie Johnston, worked with Walt Disney himself as well as other leading figures in a half-century of Disney films. They personally animated leading characters in most of the famous films and have decades of close association with the others who helped perfect this extremely difficult and time-consuming art form. Not to be mistaken for just a "how-to-do-it," this voluminously illustrated volume (like the classic Disney films themselves) is intended for everyone to enjoy.Besides relating the painstaking trial-and-error development of Disney's character animation technology, this book irresistibly charms us with almost an overabundance of the original historic drawings used in creating some of the best-loved characters in American culture: Mickey Mouse and Donald Duck, Snow White and Bambi (among many, many others) as well as early sketches used in developing memorable sequences from classic features such as Fantasia and Pinocchio. With the full cooperation of Walt Disney Productions and free access to the studio's priceless archives, the authors took unparalleled advantage of their intimate long-term experience with animated films to choose the precise drawings to illustrate their points from among hundreds of thousands of pieces of artwork carefully stored away.The book answers everybody's question about how the amazingly lifelike effects of Disney character animation were achieved, including charming stories of the ways that many favorite animated figures got their unique personalities. From the perspective of two men who had an important role in shaping the art of animation, and within the context of the history of animation and the growth of the Disney studio, this is the definitive volume on the work and achievement of one of America's best-known and most widely loved cultural institutions. Nostalgia and film buffs, students of popular culture, and that very broad audience who warmly responds to the Disney "illusion of life" will find this book compelling reading (and looking!).Searching for that perfect gift for the animation fan in your life? Explore more behind-the-scenes stories from Disney Editions:The Art of Mulan: A Disney Editions ClassicWalt Disney's Ultimate Inventor: The Genius of Ub IwerksOne Day at Disney: Meet the People Who Make the Magic Across the GlobeThe Walt Disney Studios: A Lot to RememberFrom All of Us to All of You: The Disney Christmas CardInk & Paint: The Women of Walt Disney's AnimationOswald the Lucky Rabbit: The Search for the Lost Disney Cartoons, Revised Special EditionDisney Villains: Delightfully Evil - The Creation, The Inspiration, The FascinationThe Art and Flair of Mary Blair: An Appreciation, Updated Edition

    His groundbreaking revelations shed light not just on business but on the way every human being acts and lives around the world. Rapaille’s breakthrough notion is that we acquire a silent system of Codes as we grow up within our culture. These Codes—the Culture Code—are what make us American, or German, or French, and they invisibly shape how we behave in our personal lives, even when we are completely unaware of our motives. What’s more, we can learn to crack the Codes that guide our actions and achieve new understanding of why we do the things we do. Rapaille has used the Culture Code to help Chrysler build the PT Cruiser—the most successful American car launch in recent memory. He has used it to help Procter & Gamble design its advertising campaign for Folger’s coffee – one of the longest-lasting and most successful campaigns in the annals of advertising. He has used it to help companies as diverse as GE, AT&T, Boeing, Honda, Kellogg, and L’Oréal improve their bottom line at home and overseas. And now, in The Culture Code, he uses it to reveal why Americans act distinctly like Americans, and what makes us different from the world around us. In The Culture Code, Dr. Rapaille decodes two dozen of our most fundamental archetypes—ranging from sex to money to health to America itself—to give us “a new set of glasses” with which to view our actions and motivations. Why are we so often disillusioned by love? Why is fat a solution rather than a problem? Why do we reject the notion of perfection? Why is fast food in our lives to stay? The answers are in the Codes. Understanding the Codes gives us unprecedented freedom over our lives. It lets us do business in dramatically new ways. And it finally explains why people around the world really are different, and reveals the hidden clues to understanding us all.

    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.