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Books > Arts & Architecture > Industrial / commercial art & design > Graphic design
Minimalism emphasizes extreme simplicity of form. By reducing the
number of graphic elements, the strength of each element is
enhanced. Or, as Mies van der Rohe famously said, "Less is more."
Known for their simple and unassuming rules, the Nordic and
Japanese design schools are the most outstanding representatives of
this trend, which is being embraced by more and more graphic
designers in their fields, be it branding, editorial, communication
or packaging. Simplicity collects over a hundred works by graphic
designers from all over the world who apply minimalism in their
works to infuse them with an elegant simplicity and a clean style.
This volume aims to be an indispensable guidebook for designers who
are looking for new modes of expression, and an enjoyable and
engaging read for those who wish to learn more about the beauty of
all things simple.
Risography, named after the Japanese firm Riso, is a digital
printing process based on screen printing techniques that was
developed in the transition phase from mechanical to digital
printing. Although the printer looks like a copying machine, the
colors are transferred onto the paper without the use of heat or
chemicals, saving energy and making the process ecologically
friendly. The Risograph printer is at the forefront of a new
creative explosion. More and more artists and designers all over
the world are rediscovering this stencil duplicator for themselves,
sparking a unique and unexpected renaissance in analogue printing.
And Risography is just the most prominent technique in a new wave
of cutting-edge contemporary design, one that is also recuperating
forgotten technologies such as the Gestetner and the mimeograph. A
comprehensive introduction that addresses past, present and future
is followed by an essay about the key pioneers in the contemporary
risography scene. In the chapter Risoworld notable
risography-oriented publishers, printers and design studies from
around the world are presented. At the heart of the volume are
fabulous, hugely diverse examples of Riso-printing, including
postcards, magazines, posters, flyers, and experimental printed
products, all of which inspire through vivacity of colour, unique
textures and, above all, the perfectly imperfect authenticity of
Risography.
"Editorial design is the art of storytelling, and DJ's brand of it
is uniquely American. Western American. It starts out slow and
builds. It wins you with a bit of humility (almost
'shucks-gee-whiz') and then comes back at you with a surprise
punch. The pacing and analogies feel like a Will Rogers narrative.
. . . When he first began presenting his work to his London
Pentagram partners, they thought he could have just as easily been
from the moon. But the storytelling was so strong, so funny, so
completely designed but guileless at the same time that the
Londoners, and the rest of us, found ourselves confronted with
something real, authoritative, and probably definable only as pure
American Graphic Design." -Paula Scher, from the introduction An
internationally renowned graphic designer and partner in Pentagram,
the world's most famous graphic design firm, DJ Stout is a
fifth-generation Texan whose strong sense of place has inspired his
design work for over thirty-five years. His contributions to Texas
Monthly, where he was art director for thirteen years, helped the
magazine win three National Magazine Awards. American Photo
magazine named Stout one of its "100 Most Important People in
Photography," and I.D. (International Design) magazine selected him
for "The I.D. Fifty," its annual listing of design innovators. The
Society of Illustrators honored Stout with the national Richard
Gangel Art Director Award, and he was made a Fellow of the Austin
chapter of the AIGA (American Institute of Graphic Arts) for his
lifetime achievements. Variations on a Rectangle presents both a
career retrospective of DJ Stout's work and his inimitable, often
humorous perspectives on publication design. Using nearly eight
hundred images to illustrate more than two hundred fifty major
design projects, Stout describes the inspiration and creative
process behind his highly innovative designs for magazines, books,
brochures, posters, and even a fiberglass "batcow." He tells
fascinating, behind-the-scenes stories of Texas personalities such
as Tommy Lee Jones, Sissy Spacek, and Ann Richards, who figured
prominently in Texas Monthly's pages, while also discussing how his
Texas heritage has influenced his more recent design work US and
international clients. An essential primer for younger graphic
designers and a revelation for everyone who values exceptional
design, Variations on a Rectangle proves Stout's maxim, "A
publication without style is just a document, and documents don't
do well on the newsstand. And that's why you need editorial art
directors. Amen."
Structural Packaging Art has it all wrapped up, literally!
Presenting the most innovative and imaginative graphic designs and
technical constructions using paper and cardboard to promote a
range of products from snacks to stationery, to teabags and
truffles. All are designed to create a unique identity and brand
within a highly competitive consumer market, colourful and
eye-catching, quirky and desirable these wrappings are about first
impressions with the focus on presenting each item as a 'gift' to
be purchased, then savoured and enjoyed as an essential feature of
the whole product experience.
Fully updated, the third edition of Grids for Graphic Designers
explores this important tool which is part of every designer's
practice- whether it involves digital or print-based media. With
over 200 illustrations plus six new interviews with design
practitioners such as Second Story, Brody Associates and Peter
Dawson, the student is introduced to the creative use of grids in
contemporary practice as well as the basic principles that underlie
their effective use. Written and designed by best-selling authors
Gavin Ambrose and Paul Harris, this clear and concise introduction
to the use of grids in design covers all the basics and the
expanded section of activities and exercises allows students to
implement what they have learned.
The Architecture of Cinematic Spaces by Interiors is a graphic
exploration of architectural spaces in cinema that provides a new
perspective on the relationship between architecture and film.
Combining critical essays with original architectural floor plan
drawings, the book discusses production design in key films from
the twentieth and twenty-first centuries, including The Cabinet of
Dr. Caligari, Rope, Le mepris, Playtime, 2001: A Space Odyssey,
Home Alone, Panic Room, A Single Man, Her and Columbus. Each
chapter is accompanied by an original floor plan of a key scene,
bridging the gap between film criticism and architectural practice.
The book, written by the editors of the critically acclaimed online
journal Interiors, will appeal to both film and architecture
communities, and everyone in between. A must-read for fans and
scholars alike, this volume prompts us to reconsider the spaces our
favourite characters occupy and to listen to the stories those
spaces can tell.
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Arabic script remains one of the most widely employed writing
systems in the world, for Arabic and non-Arabic languages alike.
Focusing on naskh-the style most commonly used across the Middle
East-Letters of Light traces the evolution of Arabic script from
its earliest inscriptions to digital fonts, from calligraphy to
print and beyond. J. R. Osborn narrates this storied past for
historians of the Islamic and Arab worlds, for students of
communication and technology, and for contemporary practitioners.
The partnership of reed pen and paper during the tenth century
inaugurated a golden age of Arabic writing. The shape and
proportions of classical calligraphy known as al-khatt al-mansub
were formalized, and variations emerged to suit different types of
content. The rise of movable type quickly led to European
experiments in printing Arabic texts. Ottoman Turkish printers,
more sensitive than their European counterparts to the script's
nuances, adopted movable type more cautiously. Debates about
"reforming" Arabic script for print technology persisted into the
twentieth century. Arabic script continues to evolve in the digital
age. Programmers have adapted it to the international Unicode
standard, greatly facilitating Arabic presence online and in word
processing. Technology companies are investing considerable
resources to facilitate support of Arabic in their products.
Professional designers around the world are bringing about a
renaissance in the Arabic script community as they reinterpret
classical aesthetics and push new boundaries in digital form.
How Life Unfolds provides an insight into the approach, methods,
and processes of the popular design studio atelier oi based in La
Neuveville, Switzerland. atelier oi pushes the boundaries of
architecture, product design, and scenography, and experiments with
various textures and dimensions. The troika-Aurel Aebi, Armand
Louis, and Patrick Reymond-presents surprising design solutions
that are remembered by the public as icons-be it the "Arteplage" at
Expo 2002 in Neuchatel, a precious perfume bottle or oating paper
installations. The publication features archive material as well as
descriptions of current projects and photo essays. Statements of
designers and partners, friends and critiques, customers and
producers let the readers delve further into the world of the
multi-awarded design studio. The book also offers an insight into
its immense material archive, which has grown over the decades. How
Life Unfolds is published on the occasion of the exhibition
"Oiphorie" at the Museum fur Gestaltung Zurich. The exhibition is
on display from March 3 to September 30, 2018.
Reading Graphic Design History uses a series of key artifacts from
the history of print culture in light of their specific historical
contexts. It encourages the reader to look carefully and critically
at print advertising, illustration, posters, magazine art direction
and typography, often addressing issues of class, race and gender.
David Raizman’s innovative approach intentionally challenges the
canon of graphic design history and various traditional
understandings of graphic design. He re-examines ‘icons’ of
graphic design in light of their local contexts, avoiding
generalisation to explore underlying attitudes about various social
issues. He encourages new ways of reading graphic design that take
into account a broader context for graphic design activity, rather
than broad views that discourage the understanding of difference
and the means by which graphic design communicates cultural values.
With a foreword by Steven Heller.
Deals with a little-known, short-lived, tradition of imaginative
geometry that flourished in 16th century Germany, during the
Northern Renaissance. The key figure in this movement was the
goldsmith Wenzel Jamnitzer, whose graphic fantasies were an
imaginative response to the newly rediscovered geometrical theories
associated with such important figures as Pythagoras, Plato,
Archimedes and Euclid - all part of the great revival of interest
in Classical knowledge that characterised the Renaissance.
'Fantastic Geometry' provides a fairly comprehensive overview of
the work of this group (with many illustrations), together with an
account of the historical background and the sources of their
inspiration. David Wade is a sculptor and photographer.
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