This book digs into chaotic art heritage in human history, and features the most exciting graphic designs distinguished with chaotic styles, which have been broken down into four different approaches: distortion, redundancy, diversity, and randomness. As a tribute to the chaotic art refined by the courageous predecessors, as well as an applause to the chaotic visuals nourished by our contemporary designers, it serves as a bridge between artistic ideals and graphic communication, between puzzled readers and expressive designers.

A concise, visually based introduction to graphic design methodologies

Graphic design has emerged as a discipline complete with a body of scholarly literature devoted to its underlying theory. "Introduction to Graphic Design Methodologies and Processes" contributes to this expanding discourse by illustrating the value of qualitative and quantitative methodologies in guiding conceptual development in ways beyond those based on taste, style, and personal preference. "Introduction to Graphic Design Methodologies and Processes" Introduces a range of practical methodologies pertinent to the interpreting, targeting, and creating of forms and messagesFurthers the ability of designers by showing them how to design creatively, collaboratively, and strategically, and as a result, helps them move from form-makers to cultural participants--a transformative trend for design professionalsIncludes case studies with questions and answers contributed by a diverse group, including Second Story and Sol Sender

As professional designers play more strategic roles, the need for material on design methodologies is growing. This concise, visually based introduction to the topic is the designer's definitive resource for defining their purpose, and producing work that is original, appropriate, responsible--and inspiring.

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!

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.