This book is a tool kit to create new forms. It deals with grid-based design and gives the reader techniques to develop new forms, fonts, logos, and patterns. The concept represents a design process in which individual decisions follow much larger and deeper principles than immediate and spontaneous-intuitive actions. Using a wide variety of examples, each chapter contains a detailed description of the procedure from form analysis to setting up design rules and their application. Both a workbook and a source of inspiration, this publication provides designers and architects with the tool they need to find analytical forms-analog, algorithm-based, exploratory but never of arbitrary origin. The procedures described allow an almost infinite number of possibilities. The designer is thus transformed from inventor to interpreter or curator, who assesses individual forms for logos, fonts or patterns on the fly and ensures that the design process is always efficient and goal-oriented.

Brush pens are perfect for creating stylized lettering! Hand lettering adds a personal touch to everything you make, and now you do not need to have specialized calligraphy pens to make your writing stand out. Brush pens are widely available and make it easy for anyone to create beautiful lettering, from traditional calligraphy styles to modern cursive fonts and beyond. With the step-by-step instructions in this book, you'll learn how to use these pens to make professional-looking letters and numbers. Each letter and number for five styles of modern calligraphy is taught stroke by stroke. Once you have mastered the basics, try suggestions for personalizing your fonts and designs, and try more advanced techniques combining lettering and illustrations. When you are ready, turn to the many project ideas for cards, invitations, signs, and more for inspiration galore!

This book is the perfect gift for all design students who embark on their most stressful year in design education: graduation year.

This guide helps the student to graduate as a designer by giving practical advice, design advice, and by suggesting ways to make graduation less stressful and more enjoyable. The advice is always very much on point and presented as double-page spread posters with smart and funny illustrations and short handwritten texts. You would want many of the spreads to hang on the door of your student room or studio.

The dust jacket is a fold-out poster that you can actually put on your wall. It is maybe the most important advice for the final exam student: "Work Hard, Have Fun & Nooo Drama "

After over two years of COVID-19, there is now a bright light at the end of the tunnel: most events can take place again. New formats and digital approaches have become established and professionalised and the industry has gathered a wealth of valuable experience. But despite the waning pandemic and the tangible delight about every event, the restart is not proving easy, due to a lack of personnel, and a war, along with many still unanswered questions surrounding digital and hybrid experiences. Previous developments and many of the 45 projects in this edition show new approaches, but in some respects still no overall ideal answers. And that is quite alright - because we are in the middle of a learning process! Text in English and German.

The changing realities of our time - especially the unprecedented situation in 2020 - calls for leadership that moves beyond outdated models or frameworks that are driven by the tired rhetoric of management, business or patriarchal notions of commandment. There is a need for new forms of leadership that are more empathetic and expansive, conversational and communal, and above all, creative. This informative and accessible book examines whether designers can actually be leaders and, if so, whether they can be better leaders because of their creative capability. It then examines how the tools of design, particularly in its most human-centred and collaborative form, might actually hold the key for the next generation of leadership. Creative leadership is based on three values that give everyone leadership potential: creativity, clarity and empathy. Creativity is a universal ability to develop solutions that positively impact ourselves and others; empathy is the hallmark of a 21st century leader; and clarity is the missing link in aligning vision, direction, and communication. Whilst the term 'Creative Leadership' has existed on the sidelines for decades, the articulation of it in this book is unique. The ideas grew from the author's experience in leading over 100 design projects with government, business and the third sector - from small, medium enterprises, to large multinationals. They have been tested out internationally through workshops and research conducted with individuals and organisations.

Draping for Apparel Design, Fourth Edition is the fully updated and revised edition of the seminal book pioneered by fashion education luminary Helen Joseph-Armstrong. This comprehensive guide provides step-by-step instruction for the beginning patternmaker and advanced techniques for the more experienced. Maintaining the vast array of examples and the book’s easy-to-read style, revising author Susan Ashdown reflects current industry standards, both metric and imperial measurements, images of diverse body types, and information about half scale forms. New material on jackets, coats, and loose-fitted knitwear add to this book’s breadth of knowledge. STUDIO Features: - Study smarter with self-quizzes featuring scored results and personalized study tips - Review concepts with flashcards of essential vocabulary - Watch videos that bring chapter topics and concepts to life - Expand your knowledge with draping instructions for additional designs and downloadable templates Instructor’s Resources: - PowerPoint® slides featuring key concepts from each chapter - Instructor’s Guide to help instructors integrate the text into their courses

Brandlife examines immersive brand experience across a variety of consumer or service related businesses in the fields of hospitality, retail and dining. Each volume explores a distinct business type and how the standouts work to build a cohesive brand strategy through the integration of graphic identity with space design. This volume looks at cafes and features projects by multidisciplinary studios as well as collaborative teams of graphic designers, makers, and architects, alongside interviews revealing how they work together to realize their unique visions.

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.