In the ambitious dream of a futurist reconstruction of the universe pursued by the movement founded by Filippo Tommaso Marinetti, which ranged from the arts to the most diverse aspects of life, the renewal of postal communication methods also found its place, with proposals that covered the entire sector, from postcards to letterheads and envelopes, from stamps to interpersonal correspondence. Futurism, in fact, has not limited itself to using the post office network to spread its ideas in every part of the world, but also created a new postal style, conceiving many solutions of modern graphics and even post-postal correspondence via computer and cell phone, made up of synthesis, laconicity, conventional symbolism and abbreviations. The book explores this little-known chapter of Futurism through the material of the Echaurren Salaris Collection, the richest in the world with regard to magazines, posters, books and futurist documents, as well as an indispensable reference for the knowledge of this movement. Text in English and Italian.

A wonderfully visual and imaginative collection of graphic design, featuring the work of individual designers, design projects, printing technology and the creation of brand identity using a variety of mediums. Original and unique, this volume presents a range of contemporary designs and provides ideas and inspiration for anyone looking to stand out in an increasingly competitive global market where creating an instantly recognizable brand identity is key.

Since 2007, Switzerland’s Federal Office of Culture has honoured the work of renowned designers who exemplify the quality and relevance of Swiss design practice both nationally and internationally. Simply put, the yearly awarded Swiss Grand Prix of Design reflects the best that Switzerland has to offer in this field. The roll call of winners illustrates the country’s multifaceted spectrum of design production. In their many and varied ways, they have infused the cultural landscape with fresh ideas and continue to inspire new generations of designers, influencing current design as well as Swiss design history. The 2021 laureates of the Swiss Grand Prix of Design are the graphic designer Julia Born, photographer and art director Peter Knapp, and researcher and lecturer Sarah Owens. This book introduces them through texts, a conversation, a short biography and images from their archives. Text in English, French, German and Italian

This book focuses on the three key types of drawing, explanatory sketches, notational sketches and visual narratives that help designers think through and communicate their ideas. Through these three fundamentals, Drawing Ideas provides a thorough course in creating clear graphic layouts and diagrams, including expressive human forms, thumbnailing a process, adding effective colour and text and more. In addition, a drawing boot camp provides a refesher course in accurately drawing geometric forms. By getting back to the basics, readers will not only benefit from updated freehand drawing skills, but will also succeed in presenting and explaining their drawings and designs to others.

Brand Identity Essentials, Revised and Expanded outlines and demonstrates basic logo and branding design guidelines and rules through 100 principles. These include the elements of a successful graphic identity, identity programs and brand identity, and all the various strategies and elements involved. A company's identity encompasses far more than just its logo. Identity is crucial to establishing the public's perception of a company, its products, and its effectiveness-and it's the designer's job to envision the brand and create what the public sees. Brand Identity Essentials, a classic design reference now updated and expanded, lays a foundation for brand building, illustrating the construction of strong brands through examples of world-class design. Topics include: A Sense of Place, Cultural Symbols, Logos as Storytellers, What is "On Brand?", Brand Psychology, Building an Online Identity, Managing Multiple Brands, Owning an Aesthetic, Logo Lifecycles, Programs That Stand Out, Promising Something, and Honesty is Sustainable The new, revised edition expands each of the categories, descriptions, and selections of images, and incorporates emergent themes in digital design and delivery that have developed since the book first appeared. Brand Identity Essentials is a must-have reference for budding design professionals and established designers alike.

This beautifully illustrated book is the first complete handbook to visual information. Lucidly written and carefully indexed, it describes the full range of charts, graphs, maps, diagrams, and tables used daily to manage, analyse, and communicate information. It features over 3,000 illustrations, making it an ideal source for ideas on how to present information. It is an invaluable tool for anyone who writes or designs reports, whether for scientific journals, annual reports, or magazines and newspapers.

When presenting projects in competitive design environments, how you say something is as important as what you're actually saying. Projects are increasingly complex and designers are working from more sources, and many designers are familiar with the struggle to harness this information and craft a meaningful and engaging story from it. Telling the Design Story: Effective and Engaging Communication teaches designers to craft cohesive and innovative presentations through storytelling. From the various stages of the creative process to the nuts and bolts of writing for impact, speaking skills, and creating visuals, Amy Huber provides a comprehensive approach for designers creating presentations for clients. Including chapter by chapter exercises, project briefs, and forms, this is an essential resource for students and practicing designers alike.

Interdisciplinary and intercultural experience coupled with sophisticated knowledge and skills are required for devising appropriate, differentiated design solutions for the global context. Ruedi Baur and his research team investigate and analyse visual graphics from different cultures and identify their specific principles of depiction. The research was preceded by a comprehensive case study on the coexistence of Chinese and Latin as well as Arabic and Latin writing. The study culminates in an examination of the conditions under which the coexistence of diverse writing systems can enhance intercultural visual communication. This theme occupies designers in all cultures whose goal it is to promote global understanding while preserving the diversity of languages and writing systems.

Layout for graphic design concerns the arrangement of text and images on a page. How these elements are positioned, both in relation to one another, and within the overall design scheme, will affect how content is viewed and received. Whether in print or online, it is key to powerful visual communication. Layout for Graphic Designers provides visual arts students with a theoretical and practical underpinning of this design subject. Packed with over 200 examples from key contemporary practices, and fully illustrated with clear diagrams and inspiring imagery, it offers an essential exploration of the subject. This third edition has been updated to include 25 new images and 6 new case studies from Lundgren + Lindqvist, TwoPoints.Net, Bruce Mau Design, Non-Format, Mind Design and Plau.

Videogames explores the design and culture of videogames since the mid-2000s, investigating the ground-breaking contemporary design work, creative and rebellious player communities and the political conversations that contribute to the defining genre of our time. A star-studded cast of contributors consider the wide spectrum of gaming life, from blockbusters The Last of Us and Overwatch through to cultural phenomena such as Minecraft, and alongside less mainstream productions like Consume Me.

You're browsing through some albums or CDs and all of a sudden one crops up which causes a moment of recognition and a "haven't I seen this cover before somewhere?" The answer is that you might well have done. For just as popular music of the present day seems to rifle the albums and bands of earlier generations, so the sleeve designers also often lean on the past for inspiration. Sometimes this is done by way of a deliberate reference point. In other cases the band might be wanting to pay homage to their influences, or peers. It might simply be that they have just seen an old cover which they like so much they want to borrow it. On other occasions the similarities are less well intended, designed to mimic or (dare we say it) even poke fun at classic designs and bands. Sometimes the new covers are simply a deliberate spoof of a well-known piece of artwork, done for subversive or mischievous reasons. So you get Ian Gillan of Deep Purple, just kicked out of the group and understandably angry at them, referencing one of his former band's classic covers, but highlighting himself and blurring away the rest of the group on purpose. Then there is comedian Barry Humphries commissioning a very clever pastiche of the familiar Sound Of Music album cover, only with himself in a frock dancing up the hill instead of Julie Andrews. Paul Weller's former band The Jam did an album called Sound Affects, and wanted a cover which recalled the pioneering series of BBC Radio sound effects albums of the sixties, a knowing design which only older fans would have even been aware of. Perhaps one of the most famous examples is that of the Clash single London Calling, which brought together a photograph of the arch Punks trashing their guitars and lettering lifted from an early iconic Elvis Presley sleeve. The list goes on. For this fascinating book, Belgian based collector Jan Bellekens has scoured the second hand stores and record fairs of Europe and assembled an amazing collection, of which this book contains a selection of over 650 sleeves. The original covers are shown alongside their newer cousins, with explanatory notes for music fans and designers.

Graphic Design in Urban Environments introduces the idea of a category of designed graphic objects that significantly contribute to the functioning of urban systems. These elements, smaller than buildings, are generally understood by urban designers to comprise such phenomena as sculpture, clock towers, banners, signs, large screens, the portrayal of images on buildings through "smart screens," and other examples of what urban designers call "urban objects."The graphic object as it is defined here also refers to a range of familiar things invariably named in the literature as maps, street numbers, route signs, bus placards, signs, architectural communication, commercial vernacular, outdoor publicity, lettering, banners, screens, traffic and direction signs and street furniture. One can also add markings of a sports pitch, lighting, bollards, even red carpets or well dressings. By looking at the environment, and design and deconstructing form and context relationships, the defining properties and configurational patterns that make up graphic objects are shown in this book to link the smallest graphic detail (e.g. the number 16) to larger symbolic statements (e.g. the Empire State Building). From a professional design practice perspective, a cross section through type, typographic, graphic and urban design will provide a framework for considering the design transition between alphabets, writing systems, images (in the broadest sense) and environments.

Everybody is a designer! But why? Why do we color, organize, and form the world around us - and why do we call that a profession? In this book, Thonik, an Amsterdam-based studio led by lauded designers Nikki Gonnissen and Thomas Widdershoven, researches eleven personal reasons why they design - from the need to create impact to a constant search for independence; from the benefits of systems to the urgency of play. Why We Design looks back on twenty-five years of design practice and speculates on the future of graphic design.

Based on motifs that flourished in ancient Greece and Rome, neo-classical design dominated European architecture and decorative style from the late 1700s onward. This collection of clip art features scenes from mythological, historical, and biblical sources as well as vines and leaves.

Creativity is more than an inborn talent. It is a hard-earned skill that, like all skills, improves with practice. Graphic Design Thinking explores a variety of techniques-from quick, seat-of-the-pants approaches to more formal research methods-for stimulating fresh thinking and solving design problems. Brainstorming techniques are grouped around the three main phases of the design process: defining problems, getting ideas and creating form. Visual demonstrations and case studies show the design processes and solutions at work.

Good information gives designers a competitive advantage. Understanding the wishes of a client and the needs and preferences of their audience drives innovation. The ability to gather research, analyze findings, and apply them to project goals is as important to successful design teams as their conceptual and aesthetic skills. This essential handbook will help readers understand what design research is and why it is necessary, outline proven techniques and methods, and explain how to incorporate them into any creative process. A Designer's Research Manual was one of the first books to apply research practices to the benefit of visual communication designers. This long awaited second edition follows more than a decade of active use by practitioners, design educators, and students around the world. Comprehensively updated, A Designer's Research Manual second edition includes: Over 25 proven research strategies and tactics Added content about planning research, analyzing results, and integrating research into the design process Suggestions for scaling research for any project, timeline, or budget All new in-depth case studies from industry leaders, outlining strategy and impact Updated images, illustrations, and visualizations Quick Tips for rapid integration of research concepts into your practice

From traditional print to digital formats for mobile phones and tablets, this book provides a clear introduction to the creative use of format in graphic design. Using 200 inspirational examples from contemporary international designers, Format for Graphic Designers guides the student through the role of format in both the purpose and the narrative of a design. The authors look at the physical aspects of formats - traditional and experimental, print and digital - to explore innovative solutions and, through case studies, explore how and why professional designers choose particular formats for a job. Covering everything from books and magazines, point-of-purchase displays, packaging, direct mail, brochures, and screen-based formats, the new edition illuminates this critical element of design practice for students, and provides them with a solid foundation on which to build their own designs.

Established in Paris in 1928, VU combined stunning photography with dynamic layouts and first-rate reporting, creating a revolution in journalism and setting the stage for future photo magazines like Life, Stern, and Paris Match. VU covered a wide and eclectic range of subjects including politics, world affairs, social issues, discoveries, exploration, the arts, sports, and entertainment. It intended to be an illustrated journal of the week s events a movie newsreel on paper and published work by some of the most important photographers of the time: Robert Capa, Andre Kertesz, Henri Cartier-Bresson, Brassai, Man Ray, and more. This book gathers some of the best work from more than 600 issues of VU covers, double-page spreads, and complete reports. It provides both a record of the prewar world of the twenties and thirties, and an unparalleled history of photojournalism in the early twentieth century.

Part design history, part trip down musical memory lane, this anthology of jazz album artwork is above all a treasure trove of creative and cultural inspiration. Spanning half a century, it assembles the most daring and dynamic jazz cover designs that helped make and shape not only a musical genre but also a particular way of experiencing life. From the 1940s through to the decline of LP production in the early 1990s, each chosen cover design is distinct in the way it complements the energy of the album's music with its own visual rhythms of frame, line, text, and form. To satisfy even the most demanding of music geeks, each record cover is accompanied by a fact sheet listing performer and album name, art director, photographer, illustrator, year, label, and more.

The success of a piece of communication has always been dependent on the connection between content, form, audience and context - what the message is, who it's aimed at, what it looks like, and how and where it's communicated. In recent years the balance between these elements has shifted. Graphic and communication designers have traditionally offered style and packaging solutions for brands and products. However, as the nature and complexity of brands has changed within our economy, a designer's ability to analyse, understand and clarify has become ever more important. In this world, the thinking behind a communication outcome is much more significant to the income of a creative agency, and designers are often employed to help a client understand what sort of design they need, rather than simply to style up what a client thinks they want. It is this shift in the designer's role that this book examines, through themes of brand, experience, conversation, participation, navigation, advocacy and critique.Providing educators, students and design practitioners with an overview of the most important and exciting developments in contemporary communication design, "Communication Design" identifies a series of emerging modes of creative practice to help clarify the mind and skill-sets that are inherent to successful working practice.

Meet some of the finest digital 2D and 3D artists working in the industry today, and discover how they create some of the most innovative art in the world. More than just a gallery book - in Digital Arts Masters each artist has written a breakdown overview, with supporting imagery of how they made their piece of work.
With Digital Arts Masters you'll understand the artists' thought process and discover the tips, tricks and techniques that really work.
Key Features:
* 50+ artists and 900 stunning color images show the best in today's digital art
* More than just a gallery - each artist offers insight into how their image was created
* From the team at 3Dtotal.com - cutting edge imagery and techniqes

onedotzero is a cross-media production company that runs an acclaimed international network of events. The onedotzero festival has become a global phenomenon, reaching over 60 cities worldwide and thousands of people. In "Screen International"'s 25th anniversary issue, onedotzero was named as one of the top ten visionaries of the UK film industry alongside Ridley Scott and Lynne Ramsey.

With its pioneering vision, onedotzero champions new forms of moving image, and this book celebrates the next generation of creators who are accelerating the medium into the 21st century, following the success of the first "Motion Blur." It features 27 international filmmakers who are exploring the evolving possibilities of motion graphics, broadcast design, digital film effects, and animation. Their work is illustrated by screen grabs, storyboards, and sketches, and the groundbreaking nature of their work is highlighted in exclusive interviews and short texts accompanying every production.