From 1958 to 1973 the Young Art Circle of Fulda (JUKU) was intensively engaged with post-war modernist art. With its mentor Karlfried Staubach almost a hundred exhibitions were carried out that not only enriched the cultural life of the German city of Fulda but shook it up on many occasions. This volume deals not with the reconstruction of regional art and cultural history but rather with the rediscovery of an episode in German post-war art. By way of example are Franz Erhard Walther and Verena Pfisterer, who continued their artistic genesis in JUKU as contemporaries of Beuys, Richter and others at the Dusseldorf Art Academy. The graphic prints published to finance the JUKU gallery, and the exhibition catalogues, designed too with the group's own print works, are shown in full for the very first time. Artists include: Karl-Oskar Aha, Rudolf Benz, Karin Boese, Manfred Buse, Dieter Ebert, Erich Fischer, Gertraut Fuchs, Ellinor Giebel, Pedro Herzig, Erhard Imhof, Egon Knapp, Helmut Kopetzky, Jean-Luc Mercie, Oswald Pejas, Verena Pfisterer, Thomas Rucker, Thomas-Peter Schardt, Gisbert Seng, Karlfried Staubach, Robert Sturm, Franz Erhard Walther and Barbel Zielke. Text in German, with full English translations in the appendix.

Following up on the best-selling Bibliotheca Universalis logo manual, this second volume focuses on corporate identity. In a globalized world, more and more symbols convey values such as trust, quality, or reliability. This catalog comprehensively breaks down how texts, images, and ideas are condensed into distinctive brands. From airlines and groceries, sportswear and computers, museums, and magazines, to car brands, music labels, pharmaceuticals, and internet portals, this band offers around 4,500 brand logos including complete background information about designers, year of origin, and country, as well as brands and companies. A great reference book for anyone interested in the ideas and concepts that branding is based on. About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

You asked, we listened. Hot on the heels of our best-selling flat-display bookstand, we've worked with our bookbinder to develop the next must-have. These stands display your book upright, whether closed or open to leaf through, allowing you to proudly showcase your favorite tome without damaging or straining its spine. Made of solid glass-like acrylic, these are available in three sizes custom-made to carry our entire catalogue. Whether it's a big-and-bold Collector's Edition or one of our Basic Art volumes, an XXL-sized monograph or a compact Bibliotheca Universalis: all TASCHEN books deserve the royal treatment. Size XL: For all of our XXL-sized giants, including Collector's Editions (even enclosed in their clamshell box!) Also available: Size M: Fit for Bibliotheca Universalis, Basic Art series, and all regular titles Size L: Can accommodate up to our XL series

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Over the past half century, computing has profoundly altered the ways stories are imagined and told. Immersive, narrative, and database technologies transform creative practices and hybrid spaces revealing and concealing the most fundamental acts of human invention: making stories. The Digital Imaginary illuminates these changes by bringing leading North American and European writers, artists and scholars, like Sharon Daniel, Stuart Moulthrop, Nick Montfort, Kate Pullinger and Geof Bowker, to engage in discussion about how new forms and structures change the creative process. Through interviews, commentaries and meta-commentaries, this book brings fresh insight into the creative process from differing, disciplinary perspectives, provoking questions for makers and readers about meaning, interpretation and utterance. The Digital Imaginary will be an indispensable volume for anyone seeking to understand the impact of digital technology on contemporary culture, including storymakers, educators, curators, critics, readers and artists, alike.

Die Schriftmischung ist eine der grossen Herausforderungen und gleichzeitig ein steter Reiz fur Typografen und Gestalter: Soll sie opulent, nur begrenzt oder am besten gar nicht stattfinden? Welche Schriften harmonieren miteinander, welche nicht? Welche erganzen sich, lassen sich gar gegenseitig steigern? Die Fachliteratur bietet da wenig Hilfestellung. Dieses Handbuch zeigt, dass sich fur das Mischen von Schriften Kriterien bestimmen lassen. Es vermittelt durch das detaillierte Betrachten der Schriftgestalt und eine erneuerte Schriftklassifikation ein vertieftes Verstandnis fur die Vielfalt an Schriftformen und erarbeitet durch die systematische Analyse von Analogie und Kontrast die dringend benoetigten Erkenntnisse zum Kombinieren von Schriften. Ein unverzichtbares Standardwerk fur Typografen und Grafikdesigner.