"Like a cuddly Trojan horse, Chueh's work is pretty on the outside, but nice and macabre on the inside": so says "Entertainment Weekly" of LA-based artist Luke Chueh. Employing minimal color schemes, simple animal characters, and a seemingly endless list of ill-fated situations, Chueh has enjoyed cult acclaim and sell-out shows, making this, his first book, an eagerly awaited one.

Perspective Drawing: A Designer's Method balances the need for detail with the need for spontaneity by establishing a connection between constructed perspective and freehand sketching. The techniques illustrated and discussed in this text enable students to design a space as they are drawing it. One of the author's students described the effectiveness of this approach as making it "1,000,000 times easier to draw freehand after learning these perspective techniques." After studying the methods for constructing linear perspective, students produce a number of freehand sketches. They test each one with an overlay grid to verify the location of horizon lines, vanishing points and other key elements. With practice, they develop the ability to find these key points intuitively while sketching, so that they can draw freely and confidently.Features- Includes coverage of color application- Teaches foundation skills in linear perspective - Develops self-confidence to pursue freehand drawing- Instructor's Guide provides suggestions for planning the course and using the text in the classroom

Opera performances are often radically inventive. Composers' revisions, singers' improvisations, and stage directors' re-imaginings continually challenge our visions of canonical works. But do they go far enough? This elegantly written, beautifully concise book, spanning almost the entire history of opera, reexamines attitudes toward some of our best-loved musical works. It looks at opera's history of multiple visions and revisions and asks a simple question: what exactly is opera? "Remaking the Song", rich in imaginative answers, considers works by Handel, Mozart, Donizetti, Verdi, Wagner, Puccini, and Berio in order to challenge what many regard as sacroscant: the opera's musical text. Scholarly tradition favors the idea of great operatic texts permanently inscribed in the canon. Roger Parker, considering examples ranging from Cecilia Bartoli's much-criticized insistence on using Mozart's alternative arias in the "Marriage of Figaro" to Luciano Berio's new ending to Puccini's unfinished "Turandot", argues that opera is an inherently mutable form, and that all of us - performers, listeners, scholars - should celebrate operatic revisions as a way of opening works to contemporary needs and new pleasures.

The Bare Bones of Advertising Print Design is an ideal handbook for beginning designers and students of advertising design/layout and desktop publishing. Robyn Blakeman dissects the creative process one piece at a time, giving a step-by-step guide to the use and design of advertising in both magazines and newspapers. This friendly, concise, and well-illustrated book is an invaluable resource that new designers and ad design students will refer to time and again for tips on creative and effective print ads.

The British Museum holds the world's largest collection of bookplates, but only the British and American ex-libris have so far been published. This catalogue, written in German, describes for the first time the outstanding collection of sixteenth-century German and Austrian bookplates in the Museum, mainly from the bequests of A.W. Franks and M. Rosenheim. Over five hundred ex-libris are listed and reproduced, including many that can be attributed to artists like Albrecht Dyrer, Hans Burgkmair, Lucas Cranach, Jost Amman, Hans Sibmacher and Matthias Zyndt. The different types of bookplate, including copies, reproductions using later printing techniques and new works in the style of earlier artists, are discussed in detail. The nineteenth-century fashion of collecting bookplates as works of art is also considered.

If visuals could scream, wail or attack, what would they be like? Maybe you can find the answers in this book. Since a long time ago, there has always been some artists who resort to a fierce visual language to release their emotional powder kegs. These visuals are shocking, stinging, terrifying, or even depressing. Unsettling as they are, we believe that such visual fierceness offers unique aesthetic value and can inspire generations. In this book, we will look into this extreme visual language, and try to find out how our early predecessors as well as our contemporary visual artists created the most striking images.

Text in English and German. Gunter Rambow (b.1938) is one of the most prominent designers in the area of visual communication and cultural advertising. He produced numerous photo books and outstanding posters at the Rambow & Lienemeyer graphic design studio (1961-86), and is now carrying on his work at the Rambow, van de Sand studio. Particularly with his posters for the Schauspiel Frankfurt under the direction of Peter Palitzsch, Rambow succeeded in creating symbols for theatre's claim to political involvement and effectively introducing them into the urban environment. From 1974 to 2003 Gunter Rambow taught at the Universitat Kassel and the Staatliche Hochschule fur Gestaltung Karlsruhe as a professor of visual communication. In 2007, the Museum fur Angewandte Kunst Frankfurt is following the example of the Bibliotheque Nationale in Paris, the Shanghai Art Museum and many other institutions and dedicating a major solo exhibition to his work. The show is an encounter between more than one hundred posters by Gunter Rambow -- dating from 1962 to the present -- and Richard Meier's museum architecture. The publication appearing in conjunction with this exhibition documents the dialogue between Rambow's poster art and Meier's museum building. Authors Eva Linhart, Anita Kuhnel and Volker Fischer acquaint readers with Rambow's poster oeuvre -- far beyond the limited number on exhibit -- and his aesthetic strategies. Not only is light shed on the latter from the art-historical perspective, but a sense is conveyed of Rambow's innovative achievement in using the medium of the poster to create unmistakable corporate designs for a spectrum of widely differing institutions. The catalogue moreover provides an analytical appraisal of Rambow's ability to trigger insights about the environment and human relationships in those who view his posters.

We're all familiar with smart TVs making suggestions on our future watching, real-world exercise data being transferred into stats and infographics on our workout apps and turning up our home heating before we start our commute - but how does this world of technological interfaces affect our actions and perceptions of self?When society relies on computer models and their interfaces to explain and predict everything from love to geopolitical conflicts, our own behaviour and choices are artificially changed. Zachary Kaiser explores the harmful social consequences of this idea - balanced against speed and ease for the user - and how design practice and education can respond positively. - Concepts of freedom vs convenience - Smart objects and manipulation - Real world information transformed into data - Technology's decisions made on our behalf

This major practical handbook bridges the gap between strategy and design, presenting a step-by-step design process with a strategic approach and extensive methods for innovation, strategy development, design methodology and problem solving. It is an effective guide to planning and implementing design projects to ensure strategic anchoring of the process and outcome. Built around a six-part phase structure that represents the design process, covering initial preparations and project briefing, research and analysis, targets and strategy, concept development, prototyping and modelling, production and delivery, it is a must-have resource for professionals and students. Readers can easily dip in and out of sections, using the phase structure as a navigation tool. Unlike other books on the market, Design and Strategy addresses the design process from the perspective of both the company and the designer. For businesses, it highlights the value of design as a strategic tool for positioning, competition and innovation. For the designer, it teaches how to create solutions that are strategically anchored and deliver successful outcomes for businesses, resulting in appreciative clients. It includes over 250 illustrations and diagrams, tables, and text boxes showing how to move through each stage with clear visualisation and explanation. This book encourages all designers in product design and manufacturing, service design, communication design, branding, and advertising, to think beyond shape and colour to see design through the lens of strategy, process and problem solving, and all business managers, innovators and developers, to see the value in strategic design outcomes.

Jost Hochuli has been working as a freelance graphic designer since 1959. Although book design forms only a small part of his activity, he has become well-known particularly through this work. Besides his book designs, several of his commercial artwork pieces and typefaces are pictured in this volume. The book is thus the ultimate synthesis of Hochuli's works. It is structured in three thematic blocks "Commercial Graphic Design", "Typefaces Cut in Wood and Linoleum" and "Books" which are accompanied by theoretical texts while generously documented by numerous examples from Hochuli's work.

This book offers step-by-step details on how to plan and execute library workshops and programs to inspire creativity in teens. Music, movies, graphic novels, and magazines for teens are now commonplace in libraries, and librarians are in a unique position to go beyond simply providing teens with access to them; they can engage teens in creating and sharing their own original content. Written in a light, accessible manner, this book empowers youth services librarians to do just that. Murder Mystery, Graphic Novels, and More provides instruction on hosting creative workshops dedicated to creating and publishing graphic novels; writing and performing interactive murder mystery events; creating animation films; and more-all within a reasonable budget. The chapter on creating graphic novels is itself an original graphic novel drawn by the author, who is also a comic book artist, and a portion of the book lists and explains different "creativity games" both short and long that may be used as everything from icebreakers to exercises to programs in their own right. Empowers librarians to teach graphic novel creation, create murder mystery events, make animated films, and offer other creative programs on a shoestring budget Provides exercises and games librarians can use to kick-start creativity in teens Includes other fun elements such as further information offered in word bubbles in the graphic novel section and a built-in flip book

A continuation of Silvana Editoriale's Posters series, this volume presents the most significant examples of advertising graphics produced by Italian shipping companies between 1885 and 1965. The graphics range from the advertising produced for the first steam ships of the 1880s to those for the ocean liners of the 1920s, cruise liners of the 1930s and, finally, those for the last transatlantic lines in the 1960s. Posters: The Sea Voyage collects placards, posters, announcements, advertising leaflets, brochures and pamphlets produced to promote passenger ships, cruises, sea journeys and Atlantic crossings. In addition to identifying these graphics, text by architect and scholar Pablo Piccione contextualises and historicises the development of Italian graphic styles and tastes. Text in English and Italian.

This book will lead readers to explore the distinctive style of "void" in graphic design world, to look closely at its history and development and to discuss its characteristics. The rich coverage of graphic designs of this style by outstanding designers worldwide in this book provide valuable perspectives and inspirations for anyone interested in this unique style.

Graphic design is the creation of visual contents in various media, whose presentation conveys information to other people. The field is interdisciplinary and subject to constantly changing conditions and different interpretations. This unusual book presents 100 young designers as well as established graphic companies, each on a double page designed by him, her or them. All artists were given the same sample page and the same specified font sizes and number of key strokes. They were free to design the contents of the pages themselves, arrange the text and individual pictures. Minimalist pages are juxtaposed to seemingly overloaded compositions, limited colors to expressive shapes and colors. This resulted in a comprehensive cornucopia of graphic possibilities and trends of the early second decade of the 21st century.

A vibrant companion to Victionary's recent Palette No. 1: Black & White, PALETTE NO. 2: MULTICOLOUR looks at the most engaging use of colour in design, packaging, fashion and architecture today. Shunning the use of singular colour, the harmonious use of multiple hues are displayed and discussed, presenting a veritable rainbow of striking images that catch people's eyes from near and afar. Colours are increasingly being used as a powerful communication tool, and their striking presence conveys a variety of meanings which MULTICOLOUR displays in full.

Norman Rockwell and Andy Warhol, J. C. Leyendecker and Georgia O'Keeffe, the Metropolitan Museum of Art and Pepsi-Cola, the avant garde and the Famous Artists Schools, Inc.: these are some of the unexpected pairings encountered in "Artists, Advertising, and the Borders of Art," In the first interdisciplinary study of the imagery and practices of commercial artists, Michele H. Bogart explores, in unprecedented detail, the world of commercial art--its illustrators, publishers, art directors, photographers, and painters. She maps out the long, permeable border between art and commerce and expands our picture of artistic culture in the twentieth century.
From the turn of the century through the 1950s, the explosive growth of popular magazines and national advertising offered artists new sources of income and new opportunities for reaching huge audiences. Bogart shows how, at the same time, this change in the marketplace also forced a rethinking of the purpose of the artistic enterprise itself. She examines how illustrators such as Howard Pyle, Charles Dana Gibson, and Norman Rockwell claimed their identities as artists within a market-oriented framework. She looks at billboard production and the growing schism between "art" posters and billboard advertisements; at the new roles of the art director; at the emergence of photography as the dominant advertising medium; and at the success of painters in producing "fine art" for advertising during the 1930s and 1940s.

Beauty celebrates design objects and practices that are exuberant, ethereal, atmospheric, experiential, exceptional or sublime. Objects of beauty provoke immediate reactions and demand judgment - asking us to redefine what is lovely or grotesque, formed or malformed, virtuous or subversive. They exalt experience as a living, unfolding exchange between people and things. Beauty honours the voices of designers from 26 countries around the world by conducting original interviews about their works and processes - showing that aesthetic innovation can drive change, whether materially, structurally or ethically. Beauty is an object to be touched, smelled and savoured. Each of the book's seven sections is printed on a luxurious Japanese matte paper with its own fifth accent colour. A smaller signature of pages - printed on its own creamy pink paper at the centre of the book - is called the heart. It contains front and back matter and the responses from designers to the questions: What comes to mind when you hear the word beauty? What is the most beautiful time of day? What is the most beautiful place you've visited? The authors/edited selected the designers for the book and exhibition with a group of international curatorial advisors: Adelia Borges (Brazil), Claire Catterall (England), Kenya Hara (Japan), Mugendi M'Rithaa (South Africa), Sarah Scaturro (United States), Annemartine van Kesteren (Netherlands) and Suvi Saloniemi (Finland).

Ellen Lupton and Jennifer Cole Phillips's celebrated introduction to graphic design, available in a revised and updated edition.

Graphic Design: The New Basics explains the key concepts of visual language that inform any work of design. A foundational graphic design book for students, Lupton and Phillips explore the formal elements of design through visual demonstrations and concise commentary. From logos to letterhead to complex website design, this is a graphic design book for everyone, no matter your design project or focus.

Topics include:

• Color
• Texture
• Rhythm and balance
• Hierarchy
• Layers
• Grids
• Visualizing data
• Typography
• Modes of representation
• Gestalt principles

Sixteen new pages of student and professional work covering such topics as working with grids and designing with color make this a course adoption favorite in any graphic design program and graphic design school. Graphic Design: The New Basics is an invaluable introduction to the field of graphic design from two accomplished designers and design educators.

Illustrates hundreds of brands from designers and design firms from all over the world. This book reflects the appreciation and study of details.

Graphic Arts Fundamentals features expanded coverage of desktop publishing and its relationship to traditional processes and practices in the industry. Content introduces the design and production of products using many graphic processes. The text includes a chapter on careers in graphic communications and a chapter on safety.