In 1975 Abram Games, one of Britain's greatest graphic designers, was commissioned to make a fund-raising poster for the Royal Shakespeare Company. His brilliant solution was to become iconic: the face of Shakespeare built up from the titles of all the plays as they appear in the First Folio. The poster has been seen all over the world; but Abram Games intended much more. After his death, his daughter Naomi discovered a mock up he had made of a flick book. As the reader flicked the pages, Games planned to make Shakespeare's face gradually emerge. Now at last Games' original project is coming to life. All 37 plays are included, in the order they are printed in the First Folio of 1623, ending with Pericles, Prince of Tyre, added to the collection in the Third Folio of 1664. At the end, the playwright makes a graceful exit, marked by the poems and the lost or doubtful plays. The book is completed with some favourite quotations, and the date of each work. Naomi Games has written a brief introduction about the history of Games' image. Pallas Athene is excited to be producing this little monument in the history of design.

The book contains writings by Seamus Heaney, Frances Ruane, Carlos Garcia-Monzon, Eva Bourke, Frankie Gavin, Rosemarie Noone, James McKenna, Desmond Egan, Patrick Murphy & Frank McGuinness. It is lavishly illustrated & surveys the entire career of this distinguished artist.

Contemporary African Design offers a refreshing challenge to rigid perceptions of what African design looks like. Focusing primarily on interior decoration, the book presents fifty designers, artisans, and cooperatives based on the continent or part of the diaspora who are creating sophisticated and innovative products and interiors. An introductory section surveys the history, vitality, and diversity in African design, followed by profiles of contemporary designers grouped by craft, from textiles, ceramics, and basketry to furniture, lighting, and beyond. Some of these designers reinterpret traditional methods and styles in beautiful and highly individual ways, such as the award-winning South African organization Zenzulu, which replicates techniques of Zulu master bead makers. Sustainability and recycling are another important focus for many: Cheick Diallo, the founder of the African Designers Association, creates stunning furniture made from discarded materials. Others, like Nigerian textile designer Banke Kuku, fuse African and Western styles in colorful, visually dynamic ways. Complete with references for sourcing African products, as well as a glossary and bibliography, Contemporary African Design reveals the rich possibilities being explored by a new generation of African creators.

uring the 1920s and 1930s, Phyllis Barron (1890-1964) and Dorothy Larcher (1882-1952) were at the forefront of a revival in hand block-printing in Britain. As designer-makers they formed a unique partnership, producing innovative textiles and seeing the entire process through from beginning to end. Using whatever materials they could muster - fabric ranging from balloon cotton to prison sheets and velvet, and everyday items such as combs and car mats for printing - and pushing the boundaries of what could be achieved with predominantly natural dyes, these two remarkable women ran a successful business that lasted from 1923 until the outbreak of World War II. Nearly one hundred years on, another special collaboration between the Craft Studies Centre in Farnham, Christopher Farr Cloth and Ivo Prints, has brought a selection of Barron and Larcher's work back into production. The warm welcome they have received across the globe is a testament to the timeless quality of great design.

It is interdisciplinary teams with complex compositions that develop and realise exhibitions. Groenlandbasel directs a network of specialists and with Spaces and Stories enables an insight into the cooperation and the dedicated efforts of a wide range of involved parties. Exhibition thinkers and exhibition makers express themselves alongside each other in essays, shorter highlights and interviews. The texts are accompanied by a diverse selection of projects by Groenlandbasel: museum developments, special and permanent exhibitions, architecture, as well as indoor and outdoor installations. With text contributions from: Dominic Huber, Director Rimini Protokoll, Zurich; Nina Gorgus, Curator Historical Museum Frankfurt; Ramon De Marco, Sound Designer Idee und Klang, Basel; Daniel Tyradellis, freelance curator, Berlin; Beat Hachler, Director Alpine Museum of Switzerland, Bern; Sibylle Lichtensteiger, Director Stapferhaus Lenzburg. Text in English and German.

Italian-born American artist Harry Bertoia (1915-1978) was one of the most prolific, innovative artists of the post-war period. Trained at the Cranbrook Academy of Art, where he met future colleagues and collaborators Charles and Ray Eames, Florence Knoll, and Eero Saarinen, he went on to make one-of-a kind jewellery, design iconic chairs, create thousands of unique sculptures including large-scale commissions for significant buildings, and advance the use of sound as sculptural material. His work speaks to the confluence of numerous fields of endeavour, but is united throughout by a sculptural approach to making and an experimental embrace of metal. Harry Bertoia: Sculpting Mid-Century Modern Life accompanies the first U.S. museum retrospective of the artist's career to examine the full scope of his broad, interdisciplinary practice, and feature important examples of his furniture, jewellery, monotypes, and diverse sculptural output. Lavishly illustrated, the book offers new scholarly essays as well as a catalogue of the artists numerous large-scale commissions. It questions how and why we distinguish between a chair, a necklace, a screen, and a freestanding sculpture and what Bertoia's sculptural things, when taken together, say about the fluidity of visual language across culture, both at mid-century and now.

This fascinating publication presents the roles two men have played in turning a small workshop in nineteenth-century Paris into one of the most successful and recognized brands in the world. Known for both craftsmanship and must-have high design, Louis Vuitton the luxury house was started by its eponymous founder in 1854. The first half of this publication traces the innovations by Vuitton, who turned the little-known guild profession of emballeur (packer) into the foremost luxury trunk maker in Paris, with a clientele that included in his lifetime the French nobility as well as the elite of a prosperous empire. Prime and never-before-seen examples of Vuitton's craftsmanship, along with the fashion that went into them, are the highlights of these chapters. The second half of the book examines the role of Marc Jacobs as Louis Vuitton's creative director (since 1997), who took the Louis Vuitton house into a new era with a series of collaborations with artists and designers-such as Takashi Murakami, Richard Prince, and Stephen Sprouse-as well as designing a line of highly successful and desired clothing for the company. By examining two divergent but often similar careers one hundred years apart, Louis Vuitton / Marc Jacobs is not only a layered study of the evolution of a luxury brand in the past 150 years but also a celebration of technical and design innovations in the new century.

Christopher Dresser (1834-1904) is one of the most influential British designers of all time and he is widely regarded as Britain's first independent industrial designer. His works still look remarkably modern more than a century later. Like his contemporary William Morris, Dresser advocated for an 'honesty of materials', but unlike Morris he fully embraced industrial techniques, designing for the growing consumer market. Dresser's fascination with the arts of Japan and his advocacy of Owen Jones's principle that ornament should be geometrical in form resulted in a range of designs that look surprisingly minimal for their time. Affordable, well-designed, functional and commercially successful, the objects that Dresser designed - wallpapers, textiles, carpets, ceramics, furniture and, most famously, metalwork - were industrially produced by manufacturers across the UK, the US and continental Europe. This compact, beautifully produced book on the work of Christopher Dresser begins with a brief introduction to his life and work before presenting 75 of his most important pieces, each accompanied by a narrative-style caption. It will appeal to anyone interested in modern design. With 117 illustrations in colour

"Picture the moment, in the run-up to a Christian Dior haute couture show. John Galliano is working silently in the Paris studio with his friend and ally, the master milliner Stephen Jones. The designer is looking at the arc of a silhouette, the drape of a skirt and the tilt of a hat: 'I often work through a mirror for most of my decisions and I always see Stephen's reflection,' says Galliano. 'He is reading my every nuance. He is studying my face. I don't need to say anything - he can read my mind'." - From the essay by Suzy Menkes. Stephen Jones is one of the world's most talented and distinguished milliners. This exquisitely illustrated monograph is the first to examine his illustrious career and famous collaborations. Including photographs from private collections and museums, the book focuses on a variety of aspects of his work, from his collaborations with Boy George, John Galliano and Thierry Mugler to his work with photographers Bruce Weber and Nick Knight. Recent collections include: Marc Jacobs, L'Wren Scott, Giles Deacon, Gareth Pugh, Loewe, Christian Dior Haute Couture, Pret-a-porter, Ski & Baby collections, John Galliano, Comme des Garcons. His recent commissions include: Dita von Teese/Crazy Horse, Bryan Adams, Immodesty Blaize, Take That, Sex and the City 2, Perrier Jouet, Printemps, Ascot, Disneyland, Kylie Minogue, Kate Moss/Met Ball. "With her moulded felt cloche shadowing an eye and pinned with a tremblant diamond cow-parsley sprig, Nadja Auermann, slinking down the stairs of a crumbling Hotel Particulier in Paris for the John Galliano show, defined the fashion moment. Once again, Stephen Jones, millinery magician, had summoned up the spirit of the day. Jones is a deft conjurer, who can draw whimsy from a hat. Steeped in couture lore and craft, he nevertheless propels his art into the future with his ceaseless invention and thistledown touch. His genius is to enhance the mystery, allure, wit of the wearer - although a Jones hat might be a dramatic statement in itself, it will never overpower." - Hamish Bowles, Style Editor, Vogue USA

Celebrated world-wide for his modern romantic jewels that push the boundaries of contemporary design, Shaun Leane has been responsible for creating a new genre of jewellery; precious, poetic, with a sense of eternity, yet relevant to today's world. Illustrated with a breath-taking combination of high fashion shots and detailed close-ups of the pieces themselves. Captured by photographers Nick Knight, Robert Fairer and Chris Moore, along with a dedicated photo essay of unseen backstage images recorded by Leane's close friend Ann Ray. Shaun Leane is introduced by the jeweller himself, then divided into three distinct parts: His heritage and training, by Joanna Hardy; reflections on Leane's famous collaboration with Alexander McQueen, by Claire Wilcox; and his modern classic commercial jewellery style, by Vivienne Becker. Altogether, this book provides a vital overview of an artist that will be of interest to anyone who follows the contemporary jewellery and fashion scene. This special edition is limited to just 250 copies. Enclosed in a slipcase, the book is accompanied by a print by photographer Rob Busling, signed by Shaun Leane.

There are many successful and famous graphic designers in the history of Austrian graphic design, but closer examination shows that women are generally not involved in it or only along the fringes. This publication traces the work of women in applied graphics and puts them, their lives and their creations in center stage. Based in a selection of 14 female graphic designers who were based and worked in Vienna from 1920 to 2000, this book offers an overview of female work in applied graphics. The main objective was to highlight the incredible design and technical acumen as well as the great breadth of female work. This volume is dedicated to the female designers who were and are of great relevance to Austrian design today.

Celebrated world-wide for his modern romantic jewels that push the boundaries of contemporary design, Shaun Leane has been responsible for creating a new genre of jewellery; precious, poetic, with a sense of eternity, yet relevant to today's world. Illustrated with a breath-taking combination of high fashion shots and detailed close-ups of the pieces themselves. Captured by photographers Nick Knight, Robert Fairer and Chris Moore, along with a dedicated photo essay of unseen backstage images recorded by Leane's close friend Ann Ray. Shaun Leane is introduced by the jeweller himself, then divided into three distinct parts: His heritage and training, by Joanna Hardy; reflections on Leane's famous collaboration with Alexander McQueen, by Claire Wilcox; and his modern classic commercial jewellery style, by Vivienne Becker. Altogether, this book provides a vital overview of an artist that will be of interest to anyone who follows the contemporary jewellery and fashion scene.

What do the work processes of a neurosurgeon and a painter have in common? Applying the notions of "Design", "Gestaltung", and "Formativita", this book sheds new light on processes of formation and transformation in the material world we live in. Scholars from the fields of history, philosophy, psychology, media, and cultural studies question established processes of giving form, while artists, designers, engineers, and scientists describe their creative processes. This book provides its readers with an overview of the spectrum of "philosophies of making" and invites them to reflect on their own creative process, its possibilities, and associated responsibilities to the environment, and ultimately to express these in action. There has never been a more urgent need to develop a new relationship between matter and form. * Discussing and expanding the definitions of "Design", "Gestaltung", and "Formativita" * Leading international theorists write about the relationship between matter and form * A collection of new texts and first English translation of key texts

An unprecedented publication showcasing Gucci as never before, including thought-provoking essays, commentaries, and authoritative anecdotes along with previously unpublished contemporary and archival photographs. Published in conjunction with the opening of the new Gucci Museum in Florence, Gucci is the ultimate celebration of the world-renowned fashion house. Told through a loose grouping of words, concepts, shapes, and moods, the book tells its story through new conceptual forms and the free links between images, symbols, and objects. Edited by Gucci Creative Director Frida Giannini, with essays and inserts by contributors including Katie Grand, Peter Arnell, Rula Jebreal, Christopher Breward and Stefano Micelli, Gucci: The Making Of is a dynamic record of a much-coveted brand that will be a must this season for anyone with a love of fashion and an interest in contemporary culture. This comprehensive volume showcases the genius of the fashion house through an exclusive lens with inside looks into the inspirations behind the design. This gorgeous book designed by Arnell offers an in-depth look into Gucci's origins, identity, influence, and innovation, including fabrication methods and appropriation of signature materials, past and present, and its influence among high society and Hollywood. The book is a heartfelt and personalized tribute to the heritage and influence of this iconic, multifaceted brand. In recognition of its ongoing partnership with UNICEF and the release of this luxury edition, Gucci will make a donation of US $250,000 to support UNICEF's Schools for Africa initiative.

Milton Glaser's posters-more than 450 since 1965-combine conceptual rigor and originality with a mastery of visual language and a high level of artistic expression. Some, like his 1967 Bob Dylan poster for Columbia Records, are icons; others, like his series celebrating "I Love New York," evoke his best-known work. Milton Glaser Posters includes them all, with Glaser's own commentary describing his thought process and inspiration. The book is a delight for the art lover, an education in visual expression, and an entertaining journey through the cultural life of half a century, all rolled into a single compact, intense volume.

Two essays and a set of original diagrams consider the parameters of the something beyond in James Carpenter s projects. Architectural historian Mark Linder offers a long view of Carpenter s work, placing his early career as an installation artist and experimental filmmaker in the context of contemporary art practices. Linder draws out the continuities between this early work and Carpenter s current practice as a glass designer, demonstrating a consistent focus on literalism materiality, spatial perception, and inhabitation as opposed to phenomenological effect, expression, and representation. Architectural critic Sarah Whiting examines the sensibilities and constituencies that emerge from Carpenter s practice. Rather than succumbing to the technique of Brechtian estrangement (which has become a default strategy for avant-garde practices in all domains), Carpenter gently eases his viewers into new constituencies. Perceptions and publics are altered, although these alterations are never dictated. Carpenter s new worlds are not avant-garde but are more like dreams that embed themselves in the back of one s mind, opening new possibilities without choreographing what those might be. Finally, Lucia Allais s diagrams offer a visual means of reading Carpenter s combination of technique and effect his means of making light material and making material present. Photographs and extended captions from Carpenter complete this book s documentation of key projects.

Hardy Amies epitomized understated British couture, emphasizing the cut of fine materials by tailored construction. Untrained in dress-making, he achieved headlines in Vogue in 1937 with his 'Panic' suit, a reconstructed design of a staple in every woman's wardrobe, wittily named to reflect current events. Evoking the glamour of pre-war London while meeting the demands of contemporary society's activities - town to country, morning to night - Amies designs drew a star-studded clientele. His war-time 'utility' designs revealed his design philosophy (and partly concealed his role as head of the Belgian Section of SOE), unveiling a needle-sharp intelligence and intuition for the changing world of fashion, his elegant execution of which was rewarded through the influential seal of approval by HM Queen Elizabeth II, as Princess Elizabeth, in 1950. The first post-war international designer to visit the USA, Amies' luxurious style produced lucrative global business opportunities, including ready-to-wear, menswear shown as couture, and wide-ranging merchandising options.

This new title in the highly-successful "Design Series" features the design work of the acclaimed artist Peter Blake. Best known of the British pop artists, Peter Blake came to fame in the late 1950s and early 1960s with iconic works like "On the Balcony" and "First Real Target" both now in the Tate Gallery. Tate held an exhibition of his works in 1983 as well as a more recent retrospective at Tate Liverpool in 2007. His famous works for album covers, such as "The Beatles Sgt. Pepper's Lonely Hearts Club Band", the Band Aid single "Do They Know Its Christmas", the Oasis greatest hits album "Stop the Clocks" and Paul Weller's "Stanley Road" brought him to a wider audience. This stunningly designed book celebrates the brilliant creative talent of a unique British artist. "The Design Series" is the winner of the Brand/Series Identity Category at the British Book Design and Production Awards 2009, judges said: 'A series of books about design, they had to be good and these are. The branding is consistent, there is a good use of typography and the covers are superb'.

Karl Fritsch (b. 1963), master of extravagant rings, returns with a publication that lures us deep into his world. Ruby Gold is a "no-frills" pared-back book, without pagination, without essays. Instead it comprises 81 rings from the past 20 years featuring embedded gemstones and such memorable slogans as "Fuck Off" and "Nudelsuppe" (Noodle Soup). The jewellery artist's unmatched mastery of material and expression is apparent in every single ring, and every piece possesses tremendous energy as a result of the delicate yet archaic handling of the precious metals: Karl Fritsch carves in silver, shapes in gold, sets rubies and zirconias as a child would decorate a cake - with self-confidence and with no regard for waste. In between the detailed illustrations, Fritsch brings the rings and fingers into ironic dialogues with each other: "Ring: I am art. / Finger: Oh come on..." And: "Ring: I am a ring. / Finger: You are unwearable." Text in English and German. Published to accompany an exhibition at Galerie Zink, Waldkirchen, Germany, 12 September - 20 December 2020.

Karin Bergoeoe Larsson (1859-1928) was a mother of eight and wife to Sweden's beloved painter, Carl Larsson. She was herself a well-regarded artist but gave it up when she married, at the request of her husband. Replacing paintbrushes and canvas with needles and cloth, she turned a somewhat ugly cottage-Lilla Hyttnas in the tiny village of Sundborn, Sweden-into a designer showcase. Inspired by the Swedish countryside, she filled the home with handcrafted wall hangings, bed coverings, tablecloths and pillow covers, while she greatly influencing her husband's work by encouraging him to move away from dark oils to more illuminating and light-filled watercolors. The National Museum of Women in the Arts in Washington, D.C., considers Karin "the first designer of what would become known as Swedish Modern." Her influence continues to inform the concepts of retail giant IKEA.

A new title in ACC Art Books' celebrated Design series, presenting and reviving the work of illustrator Wyndham Payne (1884-1974). Wyndham Payne's career as an illustrator began in the early 1920s, gathering momentum with a series of book illustrations for renowned Charing Cross publisher Cyril Beaumont. Working in the tradition of Claud Lovat Fraser - and others - Payne nurtured a reputation for freedom of line, illustrating books, calendars, greetings cards and advertisements, often with toys - soldiers, model theatres, trains - as a subject. Aside from creating illustrations for the Beaumont Press, Payne was also commissioned by Oxford University Press and Hodder & Stoughton, among others. For The Bodley Head, he designed covers for Agatha Christie titles, whilst his celebrated jacket for The Wind in the Willows was produced for Methuen. Wyndham Payne presents a detailed survey of the artist's work: lino cuts, woodcuts, drawings in pen, watercolours, silhouette painting on glass, and later, when his health became too poor for commercial work, models - including automata - for his children and grandchildren. The book also includes a fulsome biography of the artist, covering his life and work.

The creative process of those who make picture books come alive is explored in this collection of 30 interviews with children's book illustrators.

The interviewees (Allan and Janet Ahlberg, Molly Bang, Nicola Bayley, Gavin Bishop, Quentin Blake, Anthony Browne, Ashley Bryan, John Burningham, Babette Cole, Peter Collington, Roy Gerrard, M.B. Goffstein, Diane Goode, Shirley Hughes, Pat Hutchins, Ann Jonas, Errol Lloyd, Deborah Niland, Graham Oakley, Jan Ormerod, Helen Oxenbury, Ken Robbins, Tony Ross, Amy Schwartz, Peter Sis, Ralph Steadman, Ed Young, and Paul Zelinsky) discuss their craft, methods, and philosophies.