This book provides an introduction to topics in color theory suitable for artists, designers, and others who may not possess a scientific or technical background. It presents factual information in a simple, yet technically sound manner. (All mathematical equations are confined to a notes section and are not necessary in order to understand the text.) One chapter presents an explanation of the CIE chromaticity diagram, together with demonstrations of some of its applications. Practical means are provided for the selection of complementary colors, for the conversion of color specifications from one system to another, for assigning color names, for predicting colors of mixtures of colored lights, and for appraising the influence of simultaneous contrast in some instances. In this second edition some passages have been updated and the discussions of some topics have been expanded (e.g. of metamerism, CIELUV and CIELAB color spaces, and OSA uniform color scales). New sections have been added on liquid crystals, metameric illumination, color rendering, various color standards, adaptation, memory color, afterimage complementary colors, simultaneous contrast, colored shadows, edge contrast, and assimilation.

The Production Sites of Architecture examines the intimate link between material sites and meaning. It explores questions such as: how do spatial configurations produce meaning? What are alternative modes of knowledge production? How do these change our understanding of architectural knowledge? Featuring essays from an international range of scholars, the book accepts that everything about the production of architecture has social significance. It focuses on two areas: firstly, relationships of spatial configuration, form, order and classification; secondly, the interaction of architecture and these notions with other areas of knowledge, such as literature, inscriptions, interpretations, and theories of classification, ordering and invention. Moving beyond perspectives which divide architecture into either an aesthetic or practical art, the authors show how buildings are informed by intersections between site and content, space and idea, thought and materiality, architecture and imagination. Presenting illustrated case studies of works by architects and artists including Amale Andraos, Dan Wood, OMA, Koen Deprez and John Soane, The Production Sites of Architecture makes a major contribution to our understanding of architectural theory.

When Stan Lee first pitched the idea of Spider-Man in 1962, his boss was full of objections: People hate spiders. Teenagers aren't lead characters; they're sidekicks. He should be glamorous and successful, not a friendless loser. But Stan persisted and Martin Goodman let him give the unlikely hero a tryout in Amazing Fantasy, which was already slated for cancellation. With Spider-Man on the cover, No. 15 shot to the top of Marvel's best-seller list for the year, and the rest is history. Amazing Spider-Man, which debuted seven months later, broke the comics mold. Peter Parker lived in uncool Queens, was always broke, continually worried about his Aunt May, was unlucky in love, and was constantly getting yelled at by his boss, Daily Bugle publisher J. Jonah Jameson. Spider-Man had the quips and confidence that Parker lacked, but learning to use his powers wasn't always easy. He often seemed on the verge of defeat against the rogue's gallery of classic foes that debuted in the first couple of years: Vulture, Doctor Octopus, Sandman, Lizard, Electro, Kraven the Hunter, Mysterio, and the Green Goblin. Much of the credit for Spider-Man's greatness goes to co-creator and artist Steve Ditko, who had a knack for portraying teenagers and their problems. His artwork infused Spider-Man with a loose-limbed energy, and, while maybe everyone was scared of spiders, Ditko made swinging through New York seem like the coolest adventure ever. This XXL-sized collector's dream, close in size to the original artworks, features the first 21 stories of the world's favorite web slinger from 1962-1964. Rather than recolor the original artwork (as has been done in previous decades' reprints of classic comics), TASCHEN has attempted to create an ideal representation of these books as they were produced at the time of publication. The most pristine pedigreed comics have been cracked open and photographed for reproduction in close collaboration with Marvel and the Certified Guaranty Company. Each page has been photographed as printed more than half a century ago, then digitally remastered using modern retouching techniques to correct problems with the era's inexpensive, imperfect printing-as if hot off of a world-class 1960s printing press. Three different paper stocks, including an uncoated and woodfree paper, were exclusively developed for this series to simulate the feel of the original comics. With an in-depth historical essay by Marvel editor Ralph Macchio, an introduction by uber-collector David Mandel, and original art, rare photographs, and other gems, these 698 pages of wall-crawling wonder will make anyone's spider-sense tingle with anticipation. (c) 2021 MARVEL About the series MARVEL COMICS LIBRARY is an exclusive, long-term collaboration between TASCHEN and Marvel. The rarest classic comics, including Spider-Man, Avengers, and Captain America are meticulously reproduced in their original glory, in extra-large format. The library offers collectors a once-in-a-lifetime opportunity to lay their hands on the world's most desirable comics. Each volume includes an essay by a comic book historian along with hundreds of photos and artifacts, including rare original comic book artwork.

Coping with complexities is an everyday reality for private, public and third sectors that face intricate, overlapping, obscuring and ever-changing challenges. Developments in technology and systems of value creation are driving a new need to understand, facilitate and manage complexity. The book proposes design and design research as a solution to respond to the complexities associated with the intensifying and rapid changes in societies, technological fields and environments. A four-step design process for managing complexities is introduced in the four parts of this book, spanning from design research in the field to practice-based contexts. This publication collates high-level research and the latest scholarship on this topic, while many of the case studies described herein draw on rich experiences and applications in practice. The ways designers work to overcome complexities through design, and the methods and frameworks presented in the chapters, provide critical insights and form an important scholarly contribution in this subject area.

In the early days of the digital revolution in graphic design, many designers and teachers of design were convinced that the era of drawing on paper was over - that there would soon no longer be a place for craft-based drawing at any stage of the design process. It soon became apparent, however, that technological progress had not obviated the inherent value of drawing, and that, in fact, it opened up new avenues for convergent and hybrid drawing practices. This book traces the evolution of design-based drawing through analysis of a series of research projects from the 1980s to recent years that have sought to characterize the changing practices of design within various industries. Built on more than three hundred interviews with designers, academics and design students, and an exhaustive analysis of thousands of drawings, it aims to generate discussion around historical and contemporary models of the design process.

In Patterns: Design and Composition, M. A. Hann and I. S. Moxon present guidelines for the original design and composition of regular patterns alongside an understanding of the inherent structures of these patterns. Starting with the compositional elements, Hann and Moxon take the reader through patterns in the environment, early forms of patterns and aspects of classification based on circles, squares, triangles and symmetry. With 250 images sourced from past examples as well as student work, this essential read for design students and researchers demonstrates how simplicity begets complexity in the design and composition of regular patterns.

Designing Modern Norway: A History of Design Discourse is an intellectual history of design and its role in configuring the modern Norwegian nation state. Rather than a conventional national design history survey that focuses on designers and objects, this is an in-depth study of the ideologies, organizations, strategies and politics that combined might be said to have "designed" the modern nation's material and visual culture. The book analyses main tropes and threads in the design discourse generated around key institutions such as museums, organisations and magazines. Beginning with how British and continental design reform ideas were mediated in Norway and merged with a nationalist sentiment in the late nineteenth century, Designing Modern Norway traces the tireless and wide-ranging work undertaken by enthusiastic and highly committed design professionals throughout the twentieth century to simultaneously modernise the nation by design and to nationalise modern design. Bringing the discussion up towards the present, the book concludes with an examination of how Norway's new-found wealth has profoundly changed the production, mediation and consumption of design.

"Once one understands the nature and magnitude of defuturing as the negation of world futures, how one has to account for the history and making of the material world - including design - dramatically changes. Defuturing as our condition forces the generation of a new philosophy of design." With these thoughts this book presents a radically new understanding of the history, context and futures of designing. First published in 1999, now reissued with a new preface by the author, Defuturing: A New Design Philosophy is a prescient and powerful account of what it means to comprehend that we live in world that is taking away futures for ourselves and non-human others. Arguing that designing is doubly implicated in this process, first in its roles in helping to create the unsustainable, but second, re-thought through the lens of defuturing, as a mode of acting in the world that can help contest the negation of the world, Defuturing transforms our comprehension of designing and of how futures can be constituted. Working not through abstract theorizing but through the analysis of concrete examples, the book uses historical material on design to expose the archaeology of defuturing. Shattering the illusion that the future simply "is", Defuturing confronts designing with the challenge of remaking while offering the elements of a new practical reasoning of design acting.

An unprecedented package that gives readers the content of three important references by one of today's most influential design writers. This is a master class in the principles and practical fundamentals of design that will appeal to a broad audience of graphic artists and designers.

Globalism is often discussed using abstract terms, such as 'networks' or 'flows' and usually in relation to recent history. Global Design History moves us past this limited view of globalism, broadening our sense of this key term in history and theory. Individual chapters focus our attention on objects, and the stories they can tell us about cultural interactions on a global scale. They place these concrete things into contexts, such as trade, empire, mediation, and various forms of design practice. Among the varied topics included are: the global underpinnings of Renaissance material culture the trade of Indian cottons in the eighteenth-century the Japanese tea ceremony as a case of 'import substitution' German design in the context of empire handcrafted modernist furniture in Turkey Australian fashions employing 'ethnic' motifs an experimental UK-Ghanaian design partnership Chinese social networking websites the international circulation of contemporary architects. Featuring work from leading design historians, each chapter is paired with a 'response', designed to expand the discussion and test the methodologies on offer. An extensive bibliography and resource guide will also aid further research, providing students with a user friendly model for approaches to global design. Global Design History will be useful for upper-level undergraduate and postgraduate students, academics and researchers in design history and art history, and related subjects such as anthropology, craft studies and cultural geography.

This sixth volume of ABHB (Annual bibliography of the history of the printed book and libraries) contains about 2500 entries and added entries, selected from some 4000 periodicals, the list of which follows this introduction. They have been compiled by the National Committees of the following countries: Australia Ireland (Republic of) Austria Italy Belgium Luxembourg Bulgaria The Netherlands Poland Canada Denmark Portugal Finland Rumania France South Africa German Democratic Republic Switzerland German Federal Republic USA Great Britain USSR Hungary Yugoslavia From next volume on, there is some expectation that Spain can be covered by this bibliography and that a committee responsible for Latin America can begin to work. Benevolent readers are requested to signal the names of bibliographers and historians from countries not mentioned above, who would be willing to co-operate to this scheme of international bibliographic collaboration. The editor will greatly appreciate any communication on this matter. VIII INTRODUCTION Subject As has been said in the introduction to the previous volumes, this bibli ography aims at recording all books and articles of scholarly value which relate to the history of the printed book, to the history of the arts, crafts, techniques and equipment, and of the economic, social and cultural environment, involved in its production, distribution, conservation, and description."

German architect Ludwig Mies van der Rohe (1886-1969) is without doubt one of the pioneering masters of Modern architecture: The contemporary cityscape betrays his influence at every turn. Equally significant, though smaller in scale, are his adventures in furniture design. Like any good architect, Mies knew that architecture and furniture inevitably slip into dialogue and affect one another (he brought his knowledge of recent industrial technologies to bear on many of the chairs and tables he produced) and consequently, his earliest designs, beginning in the mid-1920s, were conceived for specific interiors. At first furniture design seemed more daunting than architecture: "There are endless possibilities and many problems--the chair has to be light, it has to be strong, it has to be comfortable. It is almost easier to build a skyscraper than a chair," he once declared. But Mies soon found novel ways to marry traditional luxurious fabrics and leathers with contemporary chrome frames, while effecting a distinct separation between the supporting structure and the supported surfaces. Today his Modern furniture pieces like the Barcelona chair, table, ottoman and day bed and the Bruno chair are acclaimed popular classics.

In May 1970 the 25th anniversary of the liberation of the Netherlands was celebrated in the King's Library of the British Museum with an ex hibition of Dutch clandestine printing. The books shown were part of the considerable collection assembled in the intervening years by Miss Anna Simoni in the course of her official duties in the Department. It has been decided that the size and quality of this collection justify the publication of a catalogue. For this, and the full indexes which have been provided, credit is also due to Miss Simoni. The British Library Board wishes to express its deep appreciation of the generosity of the donors and helpers whose names are mentioned in the introduction. K. B. Gardner Principal Keeper Department of Printed Books INTRODUCTION The Second World War saw German rule extended over many countries where most of the people were fundamentally opposed to the Nazi ide ology. In all these enslaved nations Resistance movements sprang up and they took various forms, one of the most important of which was the work of the illegal press. In the Netherlands, as elsewhere, under ground newspapers were of the greatest political importance. At the same time a large number of pamphlets helped to strengthen the peo ple's will to continue the struggle and to form public opinion on future developments."

This book contains everything you need to know about suits, from the traditional designs of the early 1900s, to innovative contemporary variations. It was awarded Financial Times' Fashion Book of the Year. Clothes maketh the man. For millions of men across the world the common denominator that identifies them is the suit. Just three and a half metres of fabric, some internal shaping elements, lining, buttons and several metres of thread are all it takes to produce the jacket-and-trouser combination that can be seen from boardrooms to bars, wherever men gather. In Sharp Suits we examine the fascinating history and evolution of the modern suit from the late seventeenth century to date. From eighteenth-century bespoke to the mass industrialization of the twentieth century, we see how the uniform of the ruling classes became the utilitarian outfit of the worker. A series of thematic chapters also illustrate how the universal staple of a man's wardrobe can play many different roles and, chameleon-like, can mean different things in different situations. From the Duke of Windsor to The Thin White Duke, David Bowie; from James Brown to The Jamel from Guys and Dolls to The Godfather, movie stars, rock stars, heroes and villains, philanthropists, presidents and gangsters - all these men and many more have dressed to impress in a matching jacket and trousers and have found that a suit will suit them very well. `Clothes can `do a job'. A well-cut suit can make you slimmer, taller, sexier, more elegant or business-like.' Sir Paul Smith Chapters include: Convention or Fashion? The single-breasted suit A Question of Balance the Double-breasted suit Princes Among Men The striped suit The Italian Job The checked suit US Male The white suit Passion from Paris The Dormeuil suits Lost in Music The Bowie suits The Magic of the Movies

How does design convince us? What explains its impact? How aware are designers of the rules they employ - to some extent unknowingly? To an increasing degree, contemporary design research manifests a growing interest in the rhetorical mechanisms of design practice. This anthology reinterprets the classical communication skills of rhetoric as a new and encompassing metatheory for design. It is relevant to all areas of contemporary design - from graphic design to architecture to interface design. Design as Rhetoric joins three realms. By defining positions, it presents the historically relevant texts and outlines the contemporary discussion and its controversies. In case studies, it also assembles contributions on the most important areas of research, for example "Interactive Rhetoric," "The Rhetoric of Design and Gender," and "Rhetoric and the World Wide Web."

This book investigates how international air terminals organize passenger movement and generate spending. It offers a new understanding of how their architecture and artworks operate visually to guide people through the space and affect their behaviour. Menno Hubregtse's research draws upon numerous airport visits and interviews with architects and planners, as well as documents and articles that address these terminals' development, construction, and renovations. The book establishes the main concerns of architects with respect to wayfinding strategies and analyzes how air terminal architecture, artworks, and interior design contribute to the airport's operations. The book will be of interest to art historians, architectural historians, practising architects, urban planners, airport specialists, and geographers.

"I loved the 70s - and that's both the 1970s and the 1870s. There's obviously always something about a decade that starts with a seven that means the design dial is turned to 11; colours get bolder, shapes get badder and style flies its freak flag. So, thank goodness resplendent 70s temptress Estelle Bilson has committed pen to paper so that the world can enjoy her take on the era of soft squares, teak, shag and Artex." - Laurence Llewelyn-Bowen "[Estelle Bilson] gives people the courage to use [her] products without fear - [she is] brilliant - I think [she] is the most important creative look since Conran." Barbara Hulanicki OBE From disco and glam to space age and psychedelic, there's no denying the huge impact the 70s had on style and design. But how do you bring the era's maximalism to your interior without it looking like a cluttered junk shop or a period pastiche? Estelle Bilson aka @70shousemanchester transformed her unremarkable 3-bedroom terraced home into a 70s wonderland, using a thrifty eye and vintage know-how. In her first book, she shows you how to bring the same creative magic to your home with her expert advice, tips and tricks on choosing colour, pattern, shapes and materials - whether you're after a few nods to the era, or the full 70s fantasy. 70s House is the definitive guide to the most daring decade in design, covering everything from shag carpets and supergraphics, to Hornsea ceramics and G Plan furniture. The book is split into three sections: 70s influences - what shaped the era?; How to bring the 70s to your interior design; and At home with 70s House Manchester. And of course, it wouldn't be the 70s without a good old-fashioned shindig - Estelle also reveals her secrets to throwing the grooviest get-together, complete with vintage recipes and record selections to match. Part interiors guide, part manual for living, this loud-and-proud book will bring not only 70s colour and kitsch to the modern day, but also the rebellious spirit, pure joy and freewheeling energy epitomised by the era. Because the 70s is so much more than the decade that taste forgot.

This fourth volume of our Annual bibliography of the history of the printed books and libraries contains more than 3400 entries and added entries, i.e. some six hundred more than the preceding volume. This increase is due mainly to the collaboration of the new members, Portugal, USA and Yugo slavia. The items recorded in this volume have been selected by the National Committees of the following countries: Austria J.Juxembourg Belgium The Netherlands Bulgaria Norway Denmark Poland Finland Portugal France Rumania German Democratic Republic South Africa German Federal Republic Switzerland Great Britain USA Hungary USSR Ireland (Republic of) Yugoslavia Italy From next volume on, there is some reasonable expectation that Canada and Australia will collaborate to this bibliography. Benevolent readers are requested to signal the names of bibliographers and historians from countries not mentioned above, who would be willing to co-operate to this scheme of international bibliographic collaboration. The editor will greatly appreciate any communication on this matter. VIII INTRODUCTION Subject As has been said in the introduction to the previous volumes, this bibli ography aims at recording all books and articles of scholarly value which relate to the history of the printed book, to the history of the arts, crafts, techniques and equipment, and of the economic, social and cultural environment, involved in its production, distribution, conservation, and description. Of course, this ideal of a complete coverage is impossible to attain."

A new wave of entrepreneurs is leading a global paradigm shift towards values-driven business. This book empowers you to challenge the status quo and create value through its unique and adaptive approach to venture-building by design. Authored by a multidisciplinary team of practicing design strategists, business leaders, academics, and entrepreneurs, this hands-on guide models strategic design as a mindset for starting up: framing problems, applying methods, identifying opportunities, and creating pathways forward through futures and systems thinking. Carefully curated case studies of young impact-driven entrepreneurs along with resources, including action-based frameworks, diagrams, and templates for founders to replicate, and a reader's checklist to enable the transformation of daily practice (and a company), will open new dimensions that amplify the global shift towards a more regenerative world and a multiverse of possibilities. Are you ready to journey to places where ideas for products, services, and experiences transform how we live and work? Then this guide is for you: the Design-driven Entrepreneur.

A beautifully illustrated retrospective of Art Nouveau architect and designer Hector Guimard, positioning him at the forefront of the modernist movement The aesthetic of architect Hector Guimard (1867-1942) has long characterized French Art Nouveau in the popular imagination. This groundbreaking book showcases all aspects of his artistry and recognizes the fundamental modernity of his work. Known for, among other things, the decorative entrances to the Paris Metro and the associated lettering, he often looked to nature for inspiration, and combined materials such as stone and cast iron in unique ways to create designs composed of curves and waves that evoked movement. Guimard broke away from his classical Beaux-Arts training to advocate a modern, abstract style; he also pioneered the use of standardized models for his design objects and experimented with prefabricated designs in his social housing commissions, advancing the technology of the time. With copious, beautifully reproduced illustrations of his architectural drawings as well as his furniture, jewelry, and textile designs, this volume explores Guimard's full oeuvre and elucidates the significance of his work to the history of modern art. Essays by an international group of scholars present Guimard as a visionary architect, a shrewd entrepreneur, an industrialist, and a social activist. Published in association with the Richard H. Driehaus Museum Exhibition Schedule: Cooper Hewitt, Smithsonian Design Museum, New York (November 17, 2022-May 21, 2023) The Richard H. Driehaus Museum, Chicago (June 22, 2023-January 7, 2024)

The history of printing, books, and libraries, is confined only to a limited extent within the boundaries of individual countries. There are, indeed, few historical developments which have played a more universal role, in reaction against all kinds of particularism, than type design, printing, book production, publishing, illustration, binding, librarianship, journal ism, and related subjects. Their history should be assessed and studied primarily in an international, not in a local, context. The bibliographical resources, however, which the historian of these sub jects has at his disposal correspond hardly at all to the essentially inter national character of the object of his studies. Since the appearance of the retrospective bibliography of BIG MORE and WYMAN, covering the subject comprehensively up to 1880, the only current bibliography has been the lnternatwnale Bibliographie des Buch-und Bi bliothekswesens. Covering a representative part of newly published liter ature, it appeared from 1928, but did not survive the Second World War. More recently, several useful, but limited, bibliographies have appeared."

This second volume of our Annual bibliography of the history of the printed books and libraries contains about 2600 entries, i. e. some one hundred more than the preceding volume. by the National Committees of the They have been selected and recorded following countries: Austria Hungary Belgium Luxembourg Bulgaria The Netherlands Denmark Norway Finland Poland France Rumania Germany (Democratic Republic) South Africa Germany (Federal Republic) Switzerland Great Britain USSR is a reasonable expectation that beginning with the next volume, There the literature published in following countries will also be included: Czechoslovakia Spain Iceland Sweden Italy USA Portugal Yugoslavia The editor will, of course, continue his endeavours to persuade other countries than those mentioned above, to enter in this joint venture of international scientific collaboration. VIII INTRODUCTION Subject As has been said in the introduction to the previous volume, this bibli ography aims at recording all books and articles of scholarly value which relate to the history of the printed book, to the history of the arts, crafts, techniques and equipment, and of the economic, social and cultural environment, involved in its production, distribution, conservation, and description. Excluded are books and articles on modern technical processes. The history of techniques not primarily connected with book production is only admitted if the publication in question has a bearing on the history of the book, e. g. engraving is only admitted in its book-illustration context. Only items of a scholarly nature are recorded."

Design impacts every part of our lives. The design of products and services influences the way we go about our daily activities and it is hard to imagine any activity in our daily lives that is not dependent on design in some capacity. Clothing, mobile phones, computers, cars, tools and kitchenware all enable and hold in place everyday practices. Despite design's omnipresence, the understanding of how design may facilitate desirable behaviours is still fragmented, with limited frameworks and examples of how design can effect change in professional and public contexts. This text presents an overview of current approaches dedicated to understanding how design may be used intentionally to make changes to improve a range of problematic social and environmental issues. It offers a cross-disciplinary and cross-sectoral overview of different academic theories adopted and applied to design for behaviour change. The aim of the volume is twofold: firstly, to provide an overview of existing design models that integrate theories of change from differing scientific backgrounds; secondly, to offer an overview of application of key design for behaviour change approaches as used across case studies in different sectors, such as design for health and wellbeing, sustainability, safety, design against crime and social design. Design for Behaviour Change will appeal to designers, design students and practitioners of behavioural change.

Bridging theory and practice, this accessible text considers fashion from both cultural studies and fashion studies perspectives, and addresses the growing interaction between the two fields. Kaiser and Green use a wide range of cross-cultural case studies to explore how race, ethnicity, class, gender and other identities intersect and are produced through embodied fashion. Drawing on intersectionality in feminist theory and cultural studies, Fashion and Cultural Studies is essential reading for students and scholars. This revised edition includes updated case studies and two new chapters. The first new chapter explores religion, spirituality, and faith in relation to style, fashion, and dress. The second offers a critique of “beauty” and considers dressed embodiment inclusive of diverse sizes, shapes and dis/abilities. Throughout the text, Kaiser and Green use a range of examples to interrogate the complex entanglements of production, regulation, distribution, consumption, and subject formation within and through fashion.

Design for Policy is the first publication to chart the emergence of collaborative design approaches to innovation in public policy. Drawing on contributions from a range of the world's leading academics, design practitioners and public managers, it provides a rich, detailed analysis of design as a tool for addressing public problems and capturing opportunities for achieving better and more efficient societal outcomes. In his introduction, Christian Bason suggests that design may offer a fundamental reinvention of the art and craft of policy making for the twenty-first century. From challenging current problem spaces to driving the creative quest for new solutions and shaping the physical and virtual artefacts of policy implementation, design holds a significant yet largely unexplored potential. The book is structured in three main sections, covering the global context of the rise of design for policy, in-depth case studies of the application of design to policy making, and a guide to concrete design tools for policy intent, insight, ideation and implementation. The summary chapter lays out a future agenda for design in government, suggesting how to position design more firmly on the public policy stage. Design for Policy is intended as a resource for leaders and scholars in government departments, public service organizations and institutions, schools of design and public management, think tanks and consultancies that wish to understand and use design as a tool for public sector reform and innovation.