How do you start a design project? How can you generate ideas and concepts in response to a design brief? How do other designers do it? This book will answer all these questions and more. Now in its second edition, the highly popular Design Thinking for Visual Communication identifies methods and thought processes used by designers in order to start the process that eventually leads to a finished piece of work. Step-by-step guidance for each part of the process is highlighted by real-life case studies, enabling the student to see teaching in practice. This focus on ideas and methods eschews an abstract, academic approach in favour of a useable approach to design as a problem-solving activity. The new edition now includes contributions from a broader international range of design practices and adds depth to existing case studies by looking in greater detail at some of the processes used.

In this book, the author presents the perspectives of several authors and designers on how to achieve an emotional graphic design. Even though they are not absolute truths and there is no guarantee that if a designer follows those principles people will be emotional attached to the work, they will certainly bring them closer to that. Emotional design is a design that reflects on the crucial role emotions have in the human ability to understand the world, promising to enhance the quality of life of its audience. A successful emotion-driven design improves the relationship between the audience and the 'product', creating deep emotional bounds between the two. There are already many theories talking about emotional design in product design, industrial design, and even web design. But what about graphic design? This book aims to bring the graphic designer closer to delivering an emotion-driven design.

A stunning and thought-provoking round-up of today's most interesting visual communication projects, Graphic Design Sourcebook surveys the work of one hundred of the world's most exciting and groundbreaking practitioners. This informative guide to contemporary graphic design is illustrated with a wide variety of projects, from websites, apps, banner ads, packaging and infographics to exhibition design, social issue posters, corporate branding campaigns and interactive media design. Each designer's entry also includes detailed biographic information and a short precis on the designer's approach, written by the designers themselves. Graphic Design Sourcebook is an essential guide for anyone interested in the power of visual communication, and is an absolute must-have publication for students and professional practitioners alike.

Twenty years in print, The Thames & Hudson Dictionary of Graphic Design and Designers contains around 750 entries offering detailed information on every important graphic designer, movement, agency, practice and publication from 1840 up to the present day. The dictionary gives clear and accessible definitions, from technical minutiae of typography to computer-aided design and printing. Cross-references make navigating between entries simple. The endmatter contains a handy bibliography of key texts and recommended reading, as well as a timeline that puts the most influential individuals, developments and movements in chronological order. This third edition contains over 200 new, updated or expanded entries (as well as 45 new illustrations, 22 in colour) on the latest designers, terms and influences; content that ranges from Adobe InDesign to Manga, and from Chip Kidd to Marian Bantjes. Redesigned and re-typeset throughout, the book remains an indispensable reference tool to all students and practitioners of graphic design.

The Evolution of Type takes the reader on a journey through the development of type design and typographic style from the mid-15th century to the present day, by way of 100 typefaces. Chosen to represent the key elements of style and form used by the punch cutters, calligraphers and designers of their day, and presented in chronological order according to release date, each typeface is discussed in terms of its origins and its impact on the design and print industry, and latterly the additional considerations for screen use. Versions released in metal-foundry type for hand-setting, as hot-metal type for the monotype and linotype machines, as phototype, and as digital revivals or originals, are covered in detail alongside information about the people responsible for the design and development of each adaptation of the typeface. Key glyphs from each face are annotated to indicate the specific features that mark out how typeface design has evolved over the last 500 or so years, and visual comparisons illustrate how typefaces created years ago have influenced the design of many contemporary releases. For the general reader, this book offers a thorough history of the typefaces we have been reading for decades; for typographers and designers, it is a valuable resource that will help to inform their choice of the most appropriate typeface for a project.

Graphis Journal Take a deep dive into the minds of some of today's renowned designers, photographers, art directors, and more inside the Graphis Journal A quarterly print and digital magazine we hope inspires your creativity -- The Journal is filled with thought-provoking, intimate, meaningful interviews and stories that take you inside the minds, work, and spaces of top designers, agencies, photographers, artists, and other outstanding creatives around the globe. Each Journal issue is beautifully printed and features 12 lead stories and Q&As from creatives in their own words plus images of some of their finest work. You'll learn the celebrations, challenges, and what inspired them along the way Featuring fine art quality print, full-page images of Platinum and Gold Award-winning work, Silver Award-winning work and Honorable Mentions are also presented.

Enhance your knowledge of motion graphic design aesthetics and history with this authoritative look at the evolution of the art form. Motion Graphic Design, Third Edition provides a historical and critical overview of how the language of traditional graphic design is combined with the dynamic visual language of cinema in film, television, and interactive media. It features works from highly acclaimed animators and motion graphics studios from across the globe. This new edition has been updated to include: Thorough analysis of motion graphics designed for websites, informational kiosks, desktop and mobile touchscreen applications, DVD menus, and games Inspiring examples of how motion graphics continue to shape our visual landscape by transforming interior and exterior spaces into more engaging, immersive environments Coverage of conventional frame-by-frame animation techniques including stop-motion, cutout, and freehand by contemporary animators and motion design studios Instruction in how to create continuity or discontinuity and maintain the interest of viewers with frame mobility and rhythmic editing Discussion of pictorial and sequential aspects of motion graphics compositions and how they are choreographed to enhance messages and enrich stories downloadable resources featuring new professional and student work from around the globe, as well as figures from the textbook This is a must-have whether you are a student who is learning the principles of motion graphics or a professional in need of inspiration and new ways to impress your clients. Anyone working in or aspiring to work in the motion media industry will benefit greatly from this valuable resource.

Fiesta: Branding and Identity of Festivals is a compilation of remarkable branding designs and campaigns for a variety of renowned festivals from around the world. The festivals examined span the worlds of music, cinema, design, gastronomy, culture, and art. These topics, and the freedom of creativity that come with them, allow to explore the limits of design, without the restraints that come with commercial projects. The identity and communication campaign strategies deployed by festivals encompass an endless array of design techniques, from graphic elements such as logos, posters, web pages, advertisements, mobile apps, tickets, and wristbands to collectible items like T- shirts, bags, and cups. This volume will inspire and serve as a useful tool for graphic designers and branding agencies that seek to handle challenging and wide-ranging festival projects with the highest degree of creativity and imagination, as well as for festival organizers and anyone interested in visual culture in general and eager to learn about new trends. The events featured show that the success of a festival has a close connection to its tailor- made branding and design and that no matter what the subject of the festival is, it is essential to have a coherent identity strategy.

There are lots of ways to be active - and for each of those ways, there are design products to enhance your experience that little bit more. Doing 2019/2020 compiles the best design innovations and new design developments from the area of activity. In these roughly 400 pages, you can find award-winning products for your garden, leisure, sport and play, but also for children and babies. In addition the book will introduce you to fashion and lifestyle products with design value. The Doing 2018/2019 manual provides all those interested in design with a fascinating overview of current products and future innovations. As a result, this book is not only compulsory reading for designers, design students, marketing experts and product managers, but also an unparalleled pleasure for design enthusiasts. Text in English and German.

From the Los Angeles riots to the Columbine High School massacre, Americans witnessed events and purchased items that reflected the best and worst of the decade. Bill Clinton's presidency was in jeopardy, the digital age had erupted, and Silicon Valley was affecting everyone on the planet. Meanwhile nudity and sex ruled the pages of magazines, selling everything from haute couture to fragrances and microwave ovens. Nirvana entertained Generation X while the "Greatest Generation" considered purchasing a Probe and something called a Hummer. Super Soakers and the game consoles Game Boy and PlayStation were the new toys, as Super Mario World, Gran Turismo, and Sonic the Hedgehog were warping the minds of young people everywhere. Luxury brands were in demand: shoppers coveted a Gucci bag, a Louis Vuitton tote, a Hermes scarf, or a Prada frock. TWA and Continental Airlines still flew the airways and Volkswagen reimagined the Beetle. It was a decade that seemed safely benign, but was jammed with events and consumption on a grand scale, setting the stage for the 21st century. Featuring six chapters that cover a range of advertising, from food and fashion to entertainment and cars, a Desert Storm's worth of advertising highlights makes All-American Ads of the '90s a must-have compendium for every Beanie Babies-collecting, Simpsons-watching, pog-hoarding, and Harry Potter-loving citizen of 1990s consumerism.

A revered classic of American design delights anew with the freshness and ingenuity of its approach Bradbury Thompson (1911-1995) remains one of the most admired and influential graphic designers of the twentieth century, having trained a generation of design students while on the faculty of the Yale School of Art for more than thirty years. The art director of Mademoiselle and design director of Art News and Art News Annual in the decades after World War II, Thompson was also a distinguished designer of limited-edition books, postage stamps, rationalized alphabets, corporate identification programs, trademarks, and sacred works (most notably the Washburn College Bible). Thompson also designed more than sixty issues of Westvaco Inspirations, a magazine that was published by the Westvaco Corporation and distributed to thousands of printers, designers, and teachers to show the range and versatility of printing papers. Thompson was especially revered for his ability to adapt classic typography for the modern world. Bradbury Thompson: The Art of Graphic Design is a landmark in the history of fine bookmaking. First published by Yale University Press in 1988 and designed by Thompson himself, it was praised by the New York Times as a book in which "art and design are gloriously and daringly mixed." Original texts by the author and other notable designers, critics, and art historians, including J. Carter Brown, Alvin Eisenman, and Steven Heller, explore Thompson's methods and design philosophy, and a newly commissioned afterword by Jessica Helfand attests to the enduring importance of his work. Both a retrospective and a manifesto, the book surveys Thompson's timeless contributions to American graphic design, including his experimental work and his work in magazines, typography, books, simplified alphabets, and contemporary postage stamps. Published for the first time in paperback, this classic text is now available for a new generation of designers and students.

Mad movie ad collector Michael Gingold returns with Ad Nauseam II, a deep dive into his personal collection of horror movie newsprint notices from the 1990s and 2000s. Feast your nostalgic eyes on more than 500 striking ads for the big-budget Gothics of the early and mid-'90s (Bram Stoker's Dracula, Interview with the Vampire), the slasher-film revival (Scream, I Know What You Did Last Summer, Halloween: H20), gruesome franchises (Saw, Final Destination), remakes (The Texas Chainsaw Massacre, Dawn of the Dead, The Ring), found footage films (The Blair Witch Project, Paranormal Activity) and more. Plus, unforgettable critic quotes of the time, fascinating facts about the films' releases, and Michael's always insightful commentary! Also available: Ad Nauseam: Newsprint Nightmares from the '70s and '80s and Ad Astra: 20 Years of Newspaper Ads For Sci-Fi & Fantasy Films (the 1980s and 1990s).

Graphic design increasingly emphasizes a user-oriented approach that is based around communication and interaction between users and the work itself. Non-digital interactive graphics can be found in books, brochures, posters, packaging, and albums. Playful Graphics presents a selection of outstanding interactive projects produced by designers from all over the world; these works present users with rich visual experiences and enable readers to take action. Through exploring distinct techniques and forms, Playful Graphics demonstrates how this exciting area of design can influence user experiences and bring fun to life. It is a celebration of great design ideas that convey their messages through hands-on play.

The Social Design Reader explores the ways in which design can be a catalyst for social change. Bringing together key texts of the last fifty years, editor Elizabeth Resnick traces the emergence of the notion of socially responsible design. This volume represents the authentic voices of the thinkers, writers and designers who are helping to build a 'canon' of informed literature which documents the development of the discipline. The Social Design Reader is divided into three parts. Section 1: Making a Stand includes an introduction to the term 'social design' and features papers which explore its historical underpinnings. Section 2: Creating the Future documents the emergence of social design as a concept, as a nascent field of study, and subsequently as a rapidly developing professional discipline, and Section 3: A Sea Change is made up of papers acknowledging social design as a firmly established practice. Contextualising section introductions are provided to aid readers in understanding the original source material, while summary boxes clearly articulate how each text fits with the larger milieu of social design theory, methods, and practice.

A visual survey of the public myths and collective symbols used in the making of the Islamic Revolution in Iran and the subsequent war with Iraq. The book traces a remarkable period of history in which the power of words and images successfully challenged the military might of an established state, setting forth an avalanche of public sentiment that led to revolution.

Through the turbulent passage of time, graphic design-with its vivid, neat synthesis of image and idea-has distilled the spirit of each age. Surrounding us every minute of every day, from minimalist packaging to colorful adverts, smart environmental graphics to sleek interfaces: graphic design is as much about transmitting information as it is about reflecting society's cultural aspirations and values. This second volume rounds off our in-depth exploration of graphic design, spanning from the 1960s until today. About 3,500 seminal designs from across the globe guide us in this visual map through contemporary history, from the establishment of the International Style to the rise of the groundbreaking digital age. Around 80 key pieces go under the microscope in detailed analyses besides 118 biographies of the era's most important designers, including Massimo Vignelli (New York subway wayfinding system), Otl Aicher (Lufthansa identity), Paula Scher (Citibank brand identity), Neville Brody (The Face magazine), Kashiwa Sato (Uniqlo brand identity), and Stefan Sagmeister (handwriting posters). With his sweeping knowledge of the field, author Jens Muller curates the standout designs for each year alongside a running sequence of design milestones. Organized chronologically, each decade is prefaced by a succinct overview as well as a stunning visual timeline, offering a vivid display of the variety of graphic production in each decade as well as the global landscape which it at once described and defined. This collection of important graphic works represents a long-overdue reflection on the development of a creative field constantly changing and challenging itself. These key pieces act as coordinates through contemporary history, helping us trace the sheer influence of graphic design on our daily lives. Combined with Volume One-which spans from the field's very beginnings until 1959-the tomes offer the most comprehensive exploration of graphic design to date.

This compelling book takes the reader on a journey showing how each logo has come into being and the process revealing best practices for extending a logo into a complete brand identity system. Logos are becoming increasingly simple, to the point where you might wonder just how much simpler they can get. A subtle tweak to a logotype is starting to feel like too much design. The appeal of a simple logo is that it feels more honest. Using client case studies from renowned designers, this is a must-have book for any graphic designer, student or logo fanatic in a fully revised, updated edition containing interviews with graphic designers in which they share their creative processes and thoughts on how a successful logo should be developed.