With affluent consumers turning to specialized retailers to satisfy their shopping needs, designers have responded by providing these charming and elegant settings.

This beautiful collection of copyright-free clip art-all on the subject of books-can be used in producing flyers, posters, newsletters, bulletin boards, bookmarks, and dozens of other forms of visual communication. Chapters cover seven subject areas: Just Books, People with Books, Animals, Nursery Rhyme and Storybook Characters, Holidays, Sports and Activities, and Borders. Images include silhouettes and line drawings that range in style from cartoon to representational drawings. All are easily reproduced, even on a photocopier. Librarians, teachers, storytellers, booksellers-anyone interested in books-will love this collection

The first book to consider the importance of commercial art and design for Ed Ruscha's work Ed Ruscha (b. 1937) emerged onto the Los Angeles art scene with paintings that incorporated consumer products, such as Spam and Sun-Maid raisins. In this revelatory book, Jennifer Quick looks at and beyond the consumer imagery in Ruscha's work, examining it through the tools, techniques, and habits of mind of commercial art and design. Quick shows how his training and early work as a commercial artist helped him become an incisive commentator on the presence and role of design in the modern world. Back to the Drawing Board explores how Ruscha mobilized commercial design techniques of scale, paste-up layout, and perspective as he developed his singular artistic style. Beginning with his formative design education and focusing on the first decade of his career, Quick analyzes previously unseen works from the Ruscha archives along - side his celebrated paintings, prints, and books, demonstrating how Ruscha's engagement with commercial art has been foundational to his practice. Through this insightful lens, Quick affirms Ruscha as a powerful and witty observer of the vast network of imagery that permeates visual culture and offers new perspectives on Pop and conceptual art.

Packaging is something of a hot topic at the moment, but in our eagerness to get rid of as much of it as possible we need to be careful not to throw the baby out with the bath water. Wrapping It Up gives an account of the usefulness of packaging to all involved - manufacturer, wholesaler, retailer and consumer - beyond its commercial value as a marketing and advertising tool. Homage is paid to the many graphic artists and designers - whether employed by manufacturer or retailer, by a design studio or an advertising agency - whose ingenuity was so successfully applied to the problem of how to protect goods in transit and in storage as well as having them attract attention. A visit to a super-market or a daily check in kitchen cupboards will never be quite the same.

Text in Danish. Tegn pa liv -- directly translated would be -- Sign for Life. But in fact it is an ambiguous title and means -- Draw for your life -- as Tegner Bruno means Bruno the illustrator. This book is a tour through the Danish illustrator Tegner Bruno's colourful and quirky universe. 415 of the best illustrations created for different purposes and in a variety of different techniques. The common denominator for all is the desire and ability to provide all drawings dynamics, life, atmosphere and soul.

A truly astonishing, illustrated history of Science fiction, covering fantasy, and horror, with forays into crime, mystery and the gothic. Using timelines, online links, illustrations, posters, movie stills, book covers, and more, this amazing new book propels us into the well of modern imagination, from its roots in Frankenstein, through Verne, H.G. Wells, the late gothic and weird horror of Lovecraft to the mass market sensationalism of the Pulp magazines. The Pulps then invoked a new generation of writers (such as Ray Bradbury and Robert Bloch) of the Golden Age before many transitioned to screenwriting for the movies and early TV (Psycho, Star Trek, Twilight Zone), inspiring, in turn, the invasion of superheroes, gigantic spaceships, and dystopian landscapes onto our data-streaming tablets and computers. The book explores the interplay between great writers, (Asimov and Arthur C. Clarke) and story-telling directors (Kubrick, James Cameron, Ridley Scott, Christopher Nolan, George Lucas) who create powerful Sci-Fi, reflecting and challenging the developments of technology, science and society. Each have played a major role in this all-consuming, speculative form of world-building, from its early manifestation as a shocking literary event, to the mass market sensation is today.

"Stunning in its visual display of information, intuitive in its navigation, and generous in every single way, the design of New West rewards the reader page after page. The printing is absolutely incredible, using the art of vintage linen postcards to create a textured, color-saturated vision of the American West that is both old and new at once. The harmony between the vision for the design and the technical aspects of the production is a beautiful thing to behold." -- GOLD winner of the PubWest Book Design Awards The Mid-Century Linen Post Card, recognized for its color-saturated hues and textured finish, evolved as a rare hybrid of the mediums of photography, painting, and mass printing. New West, a comprehensive publication of this popular artform, explores the evolution of the American West through these vibrant and compelling images. The American West is renowned for its unique and spectacular natural scenery. While early images depicting vast expanses of unsettled land still persist, today, contemporary westerners are far more likely to live in cities than in the wild. New West celebrates the pre-existing geography of the landscape, as well as its high-speed transformation to suit man's need for growth, commerce, transportation, entertainment, arts, education, and public life. Examined through the lens of four waves of innovation; steam, steel, oil, and information, this book also asks the ultimate question of any exploration of history: what innovation is next?

Evocative of luxury ocean liners and steamer trunks packed with elegant evening clothes, this treasury of antique luggage labels reveals a glamorous bygone age. Fifty colorful, stylish stickers recall the grand hotels of Rome, Cairo, London, Amsterdam, Zürich, and other cities, as well as Air France, Matson Steamship Line, and other carriers. These labels are the ideal way to add a touch of well-traveled sophistication to a host of art and craft projects. Dover Original. 50 full-color stickers on 4 plates.

Victorian-era designs for borders, wreaths, cushion squares, sprays, etc. Patterns for verbena, strawberry, lily, many more.

In a contemporary and ever-changing society, 'the visual' has become a dynamic element that traverse all parts of current life all over the world - what in this book series is termed transvisuality. The present book is volume 3, which attempts to study the visual as it comes about: through the dynamic involvement in all sorts of articulations. The topics are in all volumes covered by introductions bring everything together under the new theme of transvisuality: the notion of visual as a cultural practice and constant dynamic that knows no representational limits and no framings. In this volume, the visual is seen as dynamic new and nonrepresentational matter - a 'flesh' which is researched from the particular vantage points of design of the visual and branding of the visual. In dialogue with radical new theories of the present, non-representational theory and new materialism, design and branding are surveyed from the viewpoint of business research, design studies, cultural studies, and practice - all focused on the visual. Topics covered are fashion blogging, DIY, Junk Space, handmade signage and public spaces in New Delhi, city branding, dance festivals and youtubing, visual branding in China and Multi-Sensory Retrieval Methods.

A hidden history of the twentieth century's brilliant innovations-as seen through art and images of electronics that fed the dreams of millions. A rich historical account of electronic technology in the twentieth century, Inside the Machine journeys from the very origins of electronics, vacuum tubes, through the invention of cathode-ray tubes and transistors to the bold frontier of digital computing in the 1960s. But, as cultural historian Megan Prelinger explores here, the history of electronics in the twentieth century is not only a history of scientific discoveries carried out in laboratories across America. It is also a story shaped by a generation of artists, designers, and creative thinkers who gave imaginative form to the most elusive matter of all: electrons and their revolutionary powers. As inventors learned to channel the flow of electrons, starting revolutions in automation, bionics, and cybernetics, generations of commercial artists moved through the traditions of Futurism, Bauhaus, modernism, and conceptual art, finding ways to link art and technology as never before. A visual tour of this dynamic era, Inside the Machine traces advances and practical revolutions in automation, bionics, computer language, and even cybernetics. Nestled alongside are surprising glimpses into the inner workings of corporations that shaped the modern world: AT&T, General Electric, Lockheed Martin. While electronics may have indelibly changed our age, Inside the Machine reveals a little-known explosion of creativity in the history of electronics and the minds behind it.

Today e-mail, Facebook, and Twitter are sometimes used to spread hateful messages and slurs masking as humor. In the late nineteenth and early twentieth centuries postcards served this purpose. The images collected in this volume make it painfully clear that anti-Semitic propaganda did not simply begin with the Nazis. Nor was it the sole province of politicians, journalists, and rabble-rousers. One of the most virulent forms of anti-Semitism during this time was spread by quite ordinary people through postcards. Of the millions of postcards exchanged during their heyday of 1890 through 1920, a considerable percentage carried the anti-Semitic images that publishers churned out to meet public demand, reflecting deep-seated attitudes of society.

Over 250 examples of such postcards, largely from the pre-Holocaust era, are reproduced here for the first time--selected, translated, and historically contextualized by one of the world's foremost postcard collectors. Although representing but a small sample of the many thousands that were in print, these examples nonetheless offer a disturbing glimpse--one shocking to the modern sensibility--into the many permutations of anti-Semitism eagerly circulated by millions of people. In so doing, they help us to better understand a phenomenon still pervasive today.

In Art, Liturgy, and Legend in Renaissance Toledo, Lynette Bosch examines liturgical manuscripts that members of the powerful Mendoza family commissioned for the cathedral of Toledo at a time when it was the symbolic center of the Spanish nation. Using patronage as a filter, Bosch relates the style, content, and function of these lavish manuscripts to the many-sided ritual life of the Cathedral and, beyond that, to its social and political role in efforts to forge Spanish identity in the midst of the Reconquista.

Bosch's study shows that the patrons of the Toledan manuscripts were active proponents both of the Catholic monarchy and of an extraordinary hybrid culture. Although medieval legend and history are laced through this "caballero culture," Bosch breaks new ground by also connecting it to the taste and outlook associated with the Renaissance. Art, Liturgy, and Legend in Renaissance Toledo includes a complete catalogue of the Toledan liturgical manuscripts.

Max Bill (1908-1994) is primarily associated with the terms "Concrete Art" and "Environmental Design". He was active in nearly every area of art and design, which were universal concepts for him. Furthermore, his theoretical publications have turned him into one of the most fruitful stimulators of Modern Concrete Art in post-war Europe among the Bauhaus generation of students. This volume offers a comprehensive view into an area of his work that has so far received little attention: typography, advertising and book design. It shows for that almost everything that the Swiss Avantgarde movement accomplished during the 1930s was visualized in Bill's studio "bill-zurich reklame". The reader discovers Max Bill as the tireless creator of highly individual types, commercial logos and advertisements as well as an exceedingly versatile designer who had an amazing command of "visual humor". presenting Max Bill's less known work as a visual designer highlighting his influence in the field examples of his typefaces and logos documents the works of his studio "bill-zurich reklame"

From the 1787 Wedgwood antislavery medallion featuring the image of an enchained and pleading black body to Quentin Tarantino's Django Unchained (2012) and Steve McQueen's Twelve Years a Slave (2013), slavery as a system of torture and bondage has fascinated the optical imagination of the transatlantic world. Scholars have examined various aspects of the visual culture that was slavery, including its painting, sculpture, pamphlet campaigns, and artwork. Yet an important piece of this visual culture has gone unexamined: the popular and frequently reprinted antislavery illustrated books published prior to Harriet Beecher Stowe's Uncle Tom's Cabin (1852) that were utilized extensively by the antislavery movement in the first half of the nineteenth century. The Illustrated Slave analyzes some of the more innovative works in the archive of antislavery illustrated books published from 1800 to 1852 alongside other visual materials that depict enslavement. Martha J. Cutter argues that some illustrated narratives attempt to shift a viewing reader away from pity and spectatorship into a mode of empathy and interrelationship with the enslaved. She also contends that some illustrated books characterize the enslaved as obtaining a degree of control over narrative and lived experiences, even if these figurations entail a sense that the story of slavery is beyond representation itself. Through exploration of famous works such as Uncle Tom's Cabin, as well as unfamiliar ones by Amelia Opie, Henry Bibb, and Henry Box Brown, she delineates a mode of radical empathy that attempts to destroy divisions between the enslaved individual and the free white subject and between the viewer and the viewed.