Nearly 100 patterns (kingfishers, toucans, butterflies, etc.) add vibrancy to stained glass projects-lightcatchers, windows, mobiles, etc. Accessible to intermediate/advanced glassworkers, careful beginners. Original Dover (1984) publication. Publisher's Note with Sources of Supply. 94 designs.

Learn the skills you must master to assume leadership roles-creative directors, art directors, and advertising managers-on creative teams and in integrated branding campaigns for corporate clients. This book compares and contrasts the skill sets and responsibilities of creatives with those of managers who direct creative teams. Technical competence in the creative arts is a necessary but not sufficient prerequisite for promotion to and success in positions directing creative teams. Business, management, and communication skills are equally necessary. Leading Creative Teams reviews the business metrics that the manager of a creative team must be able to manipulate and present persuasively to the organization to prove that the team's creative excellence delivers superior ROI. Award-winning designer and veteran creative director Eleazar Hernandez walks you through the creative manager's skill sets-technical, business, management, and communication. He covers the techniques and tools common to the direction of creative teams in all industries: brainstorming, creative exploration and visual communication tools, internal and client presentations, critiquing, mentoring, and copywriting. Hernandez shows how creative directors can apply management and leadership skill sets to different kinds of creative teams found across interactive, graphic design and advertising industries and how they orchestrate methods among team members. He details how creative teams vary in their concepts and principles, composition, objectives, and processes according to their specific industries and project requirements. And he shows you how to shape your career trajectories toward creative management roles in your chosen field. Leading Creative Teams features information on the processes and best practices for ideating, developing, and directing advertising campaigns, graphic design projects, :30 TV spot and :30 radio spots. Drawing on interviews with top creative directors, art directors, and advertising managers, the author explores how the roles of creative team managers are evolving in response to changing technologies and business models. What You'll Learn Learn the technical, business, and management skill sets of creative management Lead and orchestrate teams of creatives Discover tips, tricks, and techniques for creative direction of web, broadcast, and print projects Shape your career trajectory toward creative management Learn the dos and don'ts of creative presentations Who This Book Is For Mid-level and junior creatives-graphic designers, web designers, copywriters, and artists-and ad students who seek information on the specific skills, experience, and credentials they need to qualify for promotion to creative management. The secondary readership is creative directors, art directors, and advertising managers who lead web interactive, design, and advertising creative teams and who develop and direct integrated branding campaigns for corporate clients.

This book provides the readers with a timely guide to the application of biomimetic principles in architecture and engineering design. As a result of a combined effort by two internationally recognized authorities, the biologist Werner Nachtigall and the architect Goeran Pohl, the book describes the principles which can be used to compare nature and technology, and at the same time it presents detailed explanations and examples showing how biology can be used as a source of inspiration and "translated" in building and architectural solutions (biomimicry). Even though nature cannot be directly copied, the living world can provide architects and engineers with a wealth of analogues and inspirations for their own creative designs. But how can analysis of natural entities give rise to advanced and sustainable design? By reporting on the latest bionic design methods and using extensive artwork, the book guides readers through the field of nature-inspired architecture, offering an extraordinary resource for professional architects, engineers, designers and urban planners, as well as for university teachers, researchers and students. Natural evolution is seen throughout the book as a powerful resource that can serve architecture and design by providing innovative, optimal and sustainable solutions.

This book examines the interaction between art, design, technology and the social sciences. It features 56 papers that were presented at the International Symposium on Research of Arts, Design and Humanities, ISRADH 2014, held at Sutera Harbour Resort, Kota Kinabalu, Malaysia. Complete with helpful diagrams and tables, the papers cover such topics as artificial reef development, racial discourse in the social media, stoneware as a replacement material for modern ventilation walls, and factors contributing to internet abuse in the workplace. Overall, the coverage focuses on global design trends and demands with an emphasis on people, business and technology. Inside, readers will find information on art and science in industrial applications; art management and entrepreneurship; cognitive, psychological and behavioral science; design technology and sustainable development; humanities and social applications in quality of life; social implications of technology; and visual communication and technologies. Taking a multi-disciplinary approach, the book features insightful discussions among academicians and industrial practitioners on the evolution of design that will appeal to researchers, designers and students.

What would an anatomy of the book look like? There is the main text, of course, the file that the author proudly submits to their publisher. But around this, hemming it in on the page or enclosing it at the front and back of the book, there are dozens of other texts-page numbers and running heads, copyright statements and errata lists-each possessed of particular conventions, each with their own lively histories. To consider these paratexts-recalling them from the margins, letting them take centre stage-is to be reminded that no book is the sole work of the author whose name appears on the cover; rather, every book is the sum of a series of collaborations. It is to be reminded, also, that not everything is intended for us, the readers. There are sections that are solely directed at others-binders, librarians, lawyers-parts of the book that, if they are working well, are working discreetly, like a theatrical prompt, whispering out of the audience's ear-shot Book Parts is a bold and imaginative intervention in the fast growing field of book history: it pulls the book apart. Over twenty-two chapters, Book Parts tells the story of the components of the book: from title pages to endleaves; from dust jackets to indexes-and just about everything in between. Book Parts covers a broad historical range that runs from the pre-print era to the digital, bringing together the expertise of some of the most exciting scholars working on book history today in order to shine a new light on these elements hiding in plain sight in the books we all read.

Weaving Europe, Crafting the Museum delves into the history and the changing material culture in Europe through the stories of a basket, a carpet, a waistcoat, a uniform, and a dress. The focus on the objects from the collection of the Museum of European Cultures in Berlin offers an innovative and challenging way of understanding textile culture and museums. The book shows that textiles can be simultaneously used as the material object of research, and as a lens through which we can view museums. In doing so, the book fills a major gap by placing textile knowledge back into the museum. Each chapter focuses on one object story and can be read individually. Swooping from 19th-century wax figure cabinets, Nazi-era collections, Cold War exhibitions in East and West Berlin, and institutional reshuffling after German unification, it reveals the dramatically changing story of the museum and its collection. Based on research with museum curators, makers and users of the textiles in Italy and Germany, Poland and Romania, the book provides intimate insights into how objects are mobilised to very different social and political effects. It sheds new light on movements across borders, political uses of textiles by fascist and communist regimes, the objects’ fall into oblivion, as well as their heritage and tourist afterlives. Addressing this complex museum legacy, the book suggests new pathways to prefigure the future. Featuring new archival and ethnographic research, evocative examples and images, it is an essential read for students of textile and material culture, museum and curatorial studies as well as anyone interested in history, heritage and craft.

Soviet Critical Design is the first book to explore the socialist design practice of 'artistic projecteering', which was developed by the USSR's Senezh Experimental Studio in the 1960s. Tom Cubbin examines the studio as a site for the development of the design discipline in the optimistic environment of the 1960s Soviet Thaw. He also explores how designers adapted to the fast-changing Soviet Union of the 1970s and 1980s, considering their approach to critical projects highlighting the Soviet state's treatment of citizens, urban heritage and public spaces. Drawing on previously unpublished visual material from private archives and also extensive interviews, this book presents a new history of the late socialist period in the USSR, which gives insight into the creative strategies of designers who engaged their practice as a contribution to broader discussions on alternative models for socialist existence. Cubbin shows how artistic projecteering must be read as a utopian activity which privileged the political and ideological over the functional.

From 2016-2018, teachers and students at the State University of Rio de Janeiro in Brazil found themselves at the center of a crisis. A new right-wing government suspended payment of staff salaries and student scholarships and stopped funding basic maintenance. Everyday Acts of Design tells the story of how the university’s design school reacted to the crisis: not with despondency or despair, but by promoting a series of radical teaching experiments. Working together, students, alumni, teachers, and staff embraced hope as a method, demonstrating that it is possible to find positive answers even in a situation of imminent collapse. The case histories narrated in the book provide alternatives to conventional forms of design teaching, but also prove that education can be a site for democracy and the practice of freedom. Deprived of the activity of creating for an imagined future, design can still assert a way forward through practices of making and experimenting. Drawing on their personal experience of designing and teaching design at a time of crisis, the authors assert the value of a design attitude which, in refusing to be delimited by the forethought of designing, insists on a radical, experimental practice as a means of survival. Although a multitude of voices, both assenting and dissenting, are present in the text, the authors do not hide their own position, making it clear that their stories are not a balanced mosaic of polyphonic positions. The contemporary attack on free public education, fueled by the growth of far-right regimes all over the globe, relies on a totalizing univocal conception of ‘truth’ as a means to shut down a plurality of thinking. Against this, this book adopts the partiality of historical and cultural truths as an urgent and explicit counter-attack. Adopting a consciously international approach,the authors connect and compare their own story with those of similar design teaching movements in the Global South, such as the Barefoot School in India, and ZIVA, founded by Saki Mafunkikwa in Zimbabwe.

What does it mean to live in a material world, and how do materials of the past and present hold the keys to our future? This book tackles these questions by focusing on various issues that human beings face and by discussing potential materials-related solutions. Through the lens of intriguing projects by designers, artists, makers, and scientists, it presents a colorful panoply of ideas, technologies, and creative efforts that focus on the earth's most basic elements, while also showing how these elements can be transformed into entirely new materials. It explores, for example, how ancient practices such as dyeing fabric and making glue may hold the secret to renewable and earth-friendly consumer products, as well as how recycling plastics can tackle food waste, and how a type of light metal being developed may one day make air travel less fuel-reliant. This book also investigates the potential of the digital experience, suggesting how this most ephemeral type of matter can be used to improve our world. Eye-catching and provocative, Why Materials Matter serves as both a stimulating catalog of possibilities and a timely manifesto on how to consume, manufacture, and design for a better future.

Magic of Lines II returns to the rich source of inspiration found in the most basic of illustrative forms lines themselves. Works from a multitude of artists from all around the world explore how a talented illustrator can guide a viewer's eye with the most simple of expressions and create movement and vivid depth with only a few strokes of a pen. The human body, impressionistic images, natural forms, and overwhelmingly detailed patterns are all accompanied by interviews with the artists, offering insight into their own inspirations and methods as well as suggestions for artists aspiring to reach new heights in their own art.