This book connects the different topics and professions involved in information technology approaches to architectural design, ranging from computer-aided design, building information modeling and programming to simulation, digital representation, augmented and virtual reality, digital fabrication and physical computation. The contributions include experts' academic and practical experiences and findings in research and advanced applications, covering the fields of architecture, engineering, design and mathematics. What are the conditions, constraints and opportunities of this digital revolution for architecture? How do processes change and influence the result? What does it mean for the collaboration and roles of the partners involved. And last but not least: how does academia reflect and shape this development and what does the future hold? Following the sequence of architectural production - from design to fabrication and construction up to the operation of buildings - the book discusses the impact of computational methods and technologies and its consequences for the education of future architects and designers. It offers detailed insights into the processes involved and considers them in the context of our technical, historical, social and cultural environment. Intended mainly for academic researchers, the book is also of interest to master's level students.

For almost three decades eminent computer graphicist Jim Blinn has coupled his scientific knowledge and artistic abilities to foster the growth of the computer graphics field. His many contributions include the Voyager Fly-by animations of space missions to Jupiter, Saturn, and Uranus; "The Mechanical Universe," a 52-part telecourse of animated physics; and the computer animation of Carl Sagan's PBS series "Cosmos." In addition, Blinn, the recipient of the first SIGGRAPH Computer Graphics Achievement Award, has developed many widely used graphics techniques, including bump mapping, environment mapping, and blobby modeling.
Blinn shares his insight and experience in "Jim Blinn's Corner," an award-winning column in the technical magazine "IEEE Computer Graphics and Applications" in which he unveils his most useful graphics methods and observations. This book, a compendium of 20 of the column's articles, leads you through the "graphics pipeline" offering a wealth of tips and tricks. It explores common graphics problems, many of which have never before been addressed.
An invaluable resource for any graphics professional
In his entertaining and inspirational style, Blinn examines a variety of topics to help computer graphics software and application developers recognize and solve graphics programming problems. Focusing on geometry and the graphics pipeline, he shares:
easy to understand explanations of difficult concepts gleaned from years of teaching
interesting examples of tricky special cases that cause conventional algorithms to fail
highly refined algorithms for clipping, viewing, lighting, and rendering
easy to understand explanations of difficult concepts gleaned from years of teaching
interesting examples of tricky special cases that cause conventional algorithms to fail
highly refined algorithms for clipping, viewing, lighting, and rendering

The London Transport bar and circle - also known as the bulls-eye or roundel - is an icon of commercial design. Over the last century it has come to represent not only London's transport network but also the city itself. Rare for the logo of a large organization, the symbol is often perceived as being 'cool', and its influence has extended into many other fields, including fashion, pop music and counter-culture. This fascinating book charts the history and development of the symbol from the early 20th century to the present day, and explores its use across the company's many activities, as well as its wide-ranging cultural influence. Richly illustrated with poster artworks, photographs and other graphic material from the London Transport Museum archives, the book features numerous inventive uses of the bar and circle, many of them previously unpublished.

This book provides unique step-by-step guidance to producing a high quality, effective poster for display at a scientific meeting. It aims to give young or inexperienced scientists the extra confidence and encouragement to start contributing poster presentations to scientific meetings, and enthuse experienced poster presenters to continue to improve upon their presentations, and benefit more from the overall experience. Chapters 1-4 are concerned with the purpose of posters: the pros and cons of poster presentations and how to take advantage of the opportunities they present. Chapters 5-9 cover aspects of what to include: how best to present text and data, and the use of colour in the overall format and design of the poster. Chapters 10-11 deal with actual construction: how to produce posters in a variety of styles and formats, as well as general advice on paper characteristics, drawing aids, adhesives, and cutting equipment. Chapters 12-13 are a guide to transporting the poster to the meeting, and presenting it at the poster session, and should take some of the mystique out of creating the right' image to the people that matter. Chapter 14 gives guidance on hosting poster sessions and avoiding the various pitfalls. Chapter 15 provides an opportunity to critically review some examples of posters presented at international scientific meetings. This book provides concise, practical guidance on all aspects of production and presentation of scientific posters. It alerts the poster presenter to the various pitfalls and how best to avoid them, and to the many opportunities that may be capitalised upon.

Taking as its point of departure Roland Barthes' classic series of essays, Mythologies, Rebecca Houze presents an exploration of signs and symbols in the visual landscape of postmodernity. In nine chapters Houze considers a range of contemporary phenomena, from the history of sustainability to the meaning of sports and children's building toys. Among the ubiquitous global trademarks she examines are BP, McDonald's, and Nike. What do these icons say to us today? What political and ideological messages are hidden beneath their surfaces? Taking the idea of myth in its broadest sense, the individual case studies employ a variety of analytic methods derived from linguistics, psychoanalysis, anthropology, sociology, and art history. In their eclecticism of approach they demonstrate the interdisciplinarity of design history and design studies. Just as Barthes' meditations on culture concentrated on his native France, New Mythologies is rooted in the author's experience of living and teaching in the United States. Houze's reflections encompass both contemporary American popular culture and the history of American industry, with reference to such foundational figures as Thomas Jefferson and Walt Disney. The collection provides a point of entry into today's complex postmodern or post-postmodern world, and suggests some ways of thinking about its meanings, and the lessons we might learn from it.

This is a collection of maps that tread off the beaten path of mapmaking and redefine exactly what a map can do. Some incorporate strategies from infographics, such as one that uses abstract depictions of public transportation lines to display riders travel patterns, while others use traditional strategies to explore contemporary subjects such as maps of countries in video games, gentrification in Brooklyn, or the geology of Great Britain. With hundreds of innovative maps from cartographers around the world, in which innovation, observation, and artistic vision are linked as one.

Propaganda is thousands of years old. But it came of age in the 20th century, when the development of mass media (and later multimedia communications) offered a fertile ground for its dissemination, and the century's global conflicts provided the impetus needed for its growth. Put simply, propaganda is the dissemination of ideas intended to convince people to think and act in a particular way and for a particular persuasive purpose. But it takes many forms, is fluid and indeed is constantly developing, most fervently in our own digital era. Terms such as 'fake news', 'post-truth', 'gate-keepers' and 'asymmetrical warfare' were unknown a decade ago yet today are now commonplace, and often cynically derided, in daily media communications. In this timely and fully international book, David Welch has selected fifty images to highlight the continuities and dis-continuities of mass-communication throughout history, be they via images, events, films or by 'propaganda by deed'. Such an approach demonstrates how changing technological innovations (such as television and the internet) have continued to shape the propaganda narrative but also demonstrate how tried and trusted forms of propaganda - such as the humble leaflet - can still prove highly effective. The fifty images included are not all necessarily the most striking - rather they have been chosen because they illustrate recurring themes and devices (such as humour) and different mediums employed by propagandists - from early Egyptian coins eulogizing Alexander the Great to the psychological warfare used in the war against terrorism following the destruction of the Twin Towers in New York, and the use of social media employed so widely in the current Covid pandemic.

person to prepare illustration copy at a pre-professional level-copy that is, however, often usable for routine purposes-and/or to communicate better with graphics spe cialists who will prepare the final illustrations. The skills necessary to take the final step of producing finished camera-ready illustrations are, unfortunately, based very much on actual hands-on experience and are thus beyond the ability of this or any other book to instill satisfactory competence in. Illustrations should also prove to be a highly useful reference work for professional illustrators. The wide variety of train ing and work experiences by which they have acquired their skills may not have provided full acquaintance with all of the exceptionally diverse kinds of information to be found here. There are, moreover, few disciplines whose practition ers cannot profit from an invigorating refresher course. After nearly seven years of work, then, I am pleased to put forward a book with many answers pertaining to the proper selection and preparation of informational illustrations. All such questions and their actual solutions, however, must re main up to you, the inquiring and attentive reader."

Colour is one of the essential elements of many branding designs. It can help give an identity personality and warmth, express emotion, communicate messages in an unconscious and subtle way and it can keep or navigate the viewer's interest, drawing the eye and making elements stand out. This book explores colour palettes in graphic design that surprise, engage, challenge and grab our attention - the combinations that maybe shouldn't work but just do. These are palettes that break the established rules and laws we have been taught about colour theory and remind us that colour can be fun as well as meaningful.

Explorations in Art and Technology is about the creative process in action through the eyes of practitioners and researchers. The book explores the fascinating relationship between artist and technologist through studies of innovative projects that push the boundaries of digital art. The research sheds new light on the nature of interaction between people and computers and provides insight into the characteristics of environments in which creativity can be enhanced. In doing so, it presents a case for organisations to develop strategies for offering environments in which collaborative, sustainable partnerships can thrive. What emerges is a compelling story of new visions and new forms in a field that is set to transform traditional norms in both art and technology as we move through the 21st Century. Additional information and links are available at: http://www.creativityandcognition.com

Exploring the ways in which painting, applied design and illustration intertwined over the course of the accomplished career of Paul Nash (1889-1946), this book provides a new perspective on one of the most gifted and celebrated English artists of the twentieth century. Skilfully navigating the diversity of Nash's design output, which drew in illustration, book jackets, posters, set design, pattern papers, fabrics, glass, ceramics and photography, in the context of Nash's painting and wider pre-occupations, James King presents an artist who strove to resolve his artistic vision. With Nash's work informed by seismic shifts within the visual arts during his lifetime - from the influence of the Arts and Crafts Movement on the one hand, to Surrealism and Abstraction on the other - this fascinating book reveals the considerable gifts that allowed Nash to create a wholly original vision in turn.

In the late 1960s, IBM was one of the world's pre-eminent corporations, employing over 250,000 people in 100 countries and producing some of the most advanced products on earth. IBM President Thomas J. Watson Jnr. sought to elevate the company's image by hiring world-renowned design consultants, including Eliot Noyes and Paul Rand. As well as developing the iconic IBM logo and a corporate design guide, Rand also brought together a remarkable team of internal staff designers. One of the designers he hand-picked was Ken White, who, along with John Anderson and Tom Bluhm, headed up the design team at the IBM Design Center in Boulder, Colorado. Together, they initiated a poster program as a platform for elevating internal communications and initiatives within the company. These posters were displayed in hallways, conferences rooms and cafeterias throughout IBM campuses, with subject matter including everything from encouraging equal opportunity policies to reminders on best security practices to promoting a family fun day. Designers often incorporated figurative typography, dry humor, visual puns, and photography to craft memorable and compelling messages. Many of the posters won Type Directors Club awards and a large number were 're-appropriated' from walls by enthusiastic IBM employees. While Paul Rand's creative genius has been well documented, the work of the IBM staff designers who executed his intent outlined in the IBM Design Guide has often gone unnoticed. The poster designs by White, Anderson, and Bluhm included in this book represent some of the most creative examples of mid-century corporate graphic design, while offering a unique commentary into corporate employee communications of the period. They also embody the full extent to which Thomas J. Watson Jr.'s mantra, "Good Design is Good Business" permeated every facet of the IBM organization, and created a lasting influence on curated corporate design in America.