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Gleaned from thousands of images, this book offers the best of
American print advertising in the age of the “Big Idea.” From
the height of American consumerism, bold and colorful campaigns
paint a fascinating portrait of the 1950s and ’60s, as concerns
about the Cold War gave way to the carefree booze-and-cigarettes
capitalism of the Mad Men era.Digitally remastered for optimum
reproduction quality, the ads burst with crisp fonts and colors, as
well as a sexy sense of possibility, beguiling their audience to
buy everything from guns to girdles, cars to toothpaste, air travel
to home appliances. At turns startling, amusing and inspiring, this
panorama of midcentury marketing is at once an evocative period
piece and a showcase of design innovation and advertising wit.
Designed specifically for the graphic designers out there, this is
the perfect jumping off point for the best ways properly write for
clients, other designers, and those new to design.
The first survey of Leo Lionni’s protean career as a graphic
designer, children’s book creator, and fine artist. Between
Worlds: The Art and Design of Leo Lionni opens at the Norman
Rockwell Museum in Stockbridge, MA, on 18 November 2023. Leo Lionni
(1910–1999) was a key figure of postwar visual culture, who
believed that a smart, pithy design language could unite people
across generations and cultural boundaries. He first achieved
success in the field of graphic design, serving as the influential
art director of Fortune magazine from 1948 to 1960 and personally
executing such innovative designs as the catalogue for the Museum
of Modern Art’s seminal photo exhibition The Family of Man. Then,
in the 1960s, he embarked on an equally groundbreaking career in
picture books, using torn-paper collages to illustrate modern
animal fables such as Frederick and Swimmy, which are still beloved
today. But even as his books won multiple Caldecott Honors, Lionni
— who had begun as a painter — also maintained a fine art
practice centered on his Parallel Botany, a richly imagined world
of fanciful plants. This volume, the catalogue of a major
exhibition at the Norman Rockwell Museum, is the first to present
Lionni’s extraordinary career in the round. Written by leading
scholars and with an introduction by the artist’s granddaughter,
it is illustrated with abundant examples of his work, including
many little-seen items from the Lionni family archives. Leo Lionni:
Storyteller, Artist, Designer will be an important, and
eye-opening, contribution to the history of art and design.
Both eclipsed and influenced by television, American print ads of
the 1970s departed from the bold, graphic forms and subtle messages
that were typical of their sixties counterparts. More literal, more
in-your-face, 70s ads sought to capture the attention of a public
accustomed to blaring, to-the-point TV commercials. All was not
lost, though; as ads are a sign of the times, racial and ecological
awareness crept into everything from cigarette to car
advertisements, reminding Americans that everyday products were hip
to the modern age. In an attempt to discover how best to
communicate with a mass audience, marketing specialists studied
focus groups with furious determination, thus producing such
dumbed-down gems as "sisters are different from brothers," the
slogan used for an African-American hair product. By the end of the
decade, however, print ads had begun to recoup, gaining in
originality and creativity as they focused on target audiences
through carefully chosen placement in smaller publications. A
fascinating study of mass culture dissemination in a post-hippie,
television-obsessed nation, this weighty volume delivers an
exhaustive and nostalgic overview of 70s advertising.
Published to coincide with the 150th anniversary of Beatrix
Potter's birth, this magnificent collection celebrates the artist
behind The Tale of Peter Rabbit and numerous other beloved
children's books. Brimming with famous images and rarely seen
gems-ranging from character sketches and notebook pages to
watercolour landscapes and natural history illustrations-this
monograph explores Potter's artistic process and reveals the places
that inspired her timeless work. Organised geographically and
featuring more than 200 images from the artist's oeuvre, The Art of
Beatrix Potter includes illuminating essays by Potter scholar Linda
Lear, illustration historian Steven Heller, and children's book
illustrator Eleanor Taylor. A definitive volume on one of the
world's most influential authors, a woman whose artistry deserves
to be fully celebrated.
Terrorist groups are no different from other organizations in their
use of branding to promote their ideas and to distinguish
themselves from groups that share similar aims. The branding they
employ may contain complex systems of meaning and emotion; it
conveys the group's beliefs and capabilities. Branding Terror is
the first comprehensive survey of the visual identity of the
world's major terrorist organizations, from al-Qaeda and the
Popular Front for the Liberation of Palestine to the Tamil Tigers.
Each of the 60-plus entries contains a concise description of the
group's ideology, leadership and modus operandi, and a brief
timeline of events. The group's branding - the symbolism, colours
and typography of its logo and flag - is then analysed in detail.
Branding Terror does not seek to make any political statements;
rather, it offers insight into an understudied area of
counter-intelligence, and provides an original and provocative
source of inspiration for graphic designers.
Vices or virtues: drinking and smoking provided marketers with
products to be forged into visual feasts. In this lush compendium
of advertisements, we explore how depictions of these commodities
spanned from the elegant to the offbeat, revealing how
manufacturers prodded their customers throughout the 20th century
to imbibe and inhale. Each era's alcohol and tobacco trends are
exuberantly captured page after page, with brand images woven into
American popular culture so effectively that almost anyone could
identify such icons as the Marlboro Man or Spuds MacKenzie, figures
so familiar they could appear in ads without the product itself.
Other advertisers devised clever and subliminal approaches to
selling their wares, as the wildly successful Absolut campaign
confirmed. Even doctors contributed to a perverse version of
propaganda, testifying that smoking could calm your nerves and
soothe your throat, while hailing liquor as an elixir capable of
bringing social success. Whether you savor these visual delights,
or enjoy inhaling and wallowing in forbidden pleasures, you will
certainly be thrilled by this exploration of a decidedly
vibrant-and sometimes controversial-chapter of advertising history.
About the series TASCHEN is 40! Since we started our work as
cultural archaeologists in 1980, TASCHEN has become synonymous with
accessible publishing, helping bookworms around the world curate
their own library of art, anthropology, and aphrodisia at an
unbeatable price. Today we celebrate 40 years of incredible books
by staying true to our company credo. The 40 series presents new
editions of some of the stars of our program-now more compact,
friendly in price, and still realized with the same commitment to
impeccable production.
A descent into discovering different versions of hell and its
realms of torture around the world across literature, religions,
culture, and folklore, gorgeously illustrated and accompanied by
writing on the origins and details of each hell. Whether it's a
real place, a human construct, an idea, or a superstition, hell is
a grotesque demimonde in literature, cultures, religions, and
folklore throughout the ages. There are many different hells to be
found, each one distressing in its own way. But they all share the
same essence: they are terrible places guarded by one or more evil
spirits, where punishment is split into various levels of
damnation. Those who wish to venture on this dangerous journey
beyond the gates of the underworld will find their guide in two
extraordinary authors and graphic designers: Steven Heller and
Seymour Chwast. And like Dante in the footsteps of Virgil, they
will be able to navigate their way through the burning (or icy!)
dark realms that lurk in the heart of the human imagination-the
Jewish Gehenna, the Sunni Jahannam, the Swahili hell, the Mayan
myth of Xibalba, and many others-as well as all the characters who
have created hell, visited it, or been involved in more or less
fortunate descents into it. Equally appealing to fans of the
literary hellscape of Dante's Inferno, the bright utopia of The
Good Place, and the dark humor of Edward Gorey, Hell offers a feast
of chillingly hilarious graphic art and illuminating content that
comprehensively plumbs the multiple depths of the underworld.
The long-awaited third monograph on the work of the most important
British designer of his generation, showcasing projects from the
last thirty years of his career. Neville Brody’s work sits at the
intersections between graphic design, communication design and
graphic art, pushing boundaries and blurring lines between them as
he fuses influences from art, design, fashion, music, low and high
cultures. Brody has been one of the most consistently innovative
and shapeshifting graphic designers of the past fifty years. He has
produced a body of commercial work covering editorial, brand
identity, typography, systems, information and interface design of
unparalleled boldness and sophistication for global clients that
include Shiseido, Coca-Cola, Samsung, Nikon, LVMH, Nike and Dom
Perignon, and UK clients such as the BBC, Channel 4, Tate Modern
and The Times. The Graphic Language of Neville Brody 3 also
captures a body of one-off creative works and site-specific
collaborations that are motivated by creativity, political and
cultural viewpoints, provocation, and expression. The Graphic
Language of Neville Brody 3 brings almost thirty years of work
together in thematic sections that address the key fields of his
vibrant design projects, including typographic experimentation,
cultural subversion, and design systems. Richly illustrated, each
project is explored in detail, revealing the work that has defined
Brody’s recent practise across six chapters, from major brands to
magazine editorials and features, revealing how Brody’s design
language has been informed, evolved and remarkably stayed true to
key themes and ideas throughout his career to date. Brody has
produced a rich, dynamic and surprising body of new work that will
attract a new generation of designers and art directors. This
inspirational volume will be essential reading for anyone
interested in the evolution of graphic design over the past three
decades.
Type Tells Tales focuses on typography that is integral to the
message or story it is expressing. This is type that speaks - that
is literally the voice of the narrator. And the narrator is the
typographer. This can be quite literal, for example when letters
come from the mouth of a person or thing, as in a comics balloon.
It can be hand lettering, drawn with its own distinctive
peculiarities that convey personality and mood. Precedents for
contemporary work might be in Apollinaire's calligram `Il pleut' or
Kurt Schwitters' children's picture book `The Scarecrow', or in
Concrete Poetry, Futurist `Words in Freedom' or Dadaist collage.
Seeking out examples in the furthest reaches of graphic design,
Steven Heller and Gail Anderson uncover work that reveals how type
can be used to render a particular voice or multiple conversations,
how letters can be used in various shapes and sizes to create a
kind of typographic pantomime, and how type can become both content
and illustration as in, for example Paul Rand's `ROARRRRR'. Letters
take the shape and form of other things, such as people, faces,
animals, cars or planes. There are examples of how typographic
blocks, paragraphs, sentences and blurbs can be used to guide the
eye through dense information. This exciting, fresh take on
typography goes far beyond the letter and word, exploding the
boundaries of typographic expression. It will enthral designers and
illustrators, wordsmiths and literati: anyone, in short, who loves
the medium of the message.
Prolific author and co-chair of the MFA Design School of Visual
Arts Steven Heller shares his love of design with the world through
essays, interviews, and profiles. Design is a living. But to live
passion is essential. For the Love of Design is an anthology of
Steven Heller's essays that are underscored by the essence that
makes designers do what they do, Whether it is to make the environ
a better place or communicate important messages or simply enliven
the quotidian world, design is everywhere and everything. It is a
life force made and appreciated with love. The focus of the
anthology is graphic design and typography but these disciplines
impact so many other forms of design that it is impossible to
ignore them. Through essays, interviews and profiles, Heller
captures the essence of what makes artists into designers and what
makes design and its makers tick. From the design director of the
New York Times discussing how during the pandemic he created the
most effective front pages to a collage artist talking about why
cutting and pasting scraps of material into dynamic compositions,
each story and narrative brings to light ambitions and aspirations
they are couched in love for the thinking, making, and doing of
design. For the Love of Design is here to show that graphic and
other design activities are not just ways of making a living, but
living a life.
This accessible book demonstrates how ideas influenced and defined
graphic design. Lavishly illustrated, it is both a great source of
inspiration and a provocative record of some of the best examples
of graphic design from the last hundred years. The entries,
arranged broadly in chronological order, range from technical
(overprinting, rub-on designs, split fountain); to stylistic
(swashes on caps, loud typography, and white space); to objects
(dust jackets, design handbooks); and methods (paper cut-outs,
pixelation).
An essential resource to using contemporary typefaces for effective
communication Type is the handwriting of the 21st century,
lending its expressive voice to the language of all written
communication. Type Speaks is the first book to explore type as a
medium that conveys emotions, concepts, and ideas, filled with
hundreds of new fonts available through digital foundries. Some
exude joy, radiate serenity, or jangle the nerves; some sell or
persuade or command or seduce. More than ever before, a great range
of type choices, both conventional and unconventional, is available
to graphic design professionals and nonprofessionals alike. In this
new world, Type Speaks will be an essential reference for anyone
crafting messages in words.
With the cold war ebbing, crime and inflation at record levels, and
movie star-turned-President Ronald Reagan launching a Star Wars of
his own, the 1980s did not seem likely to become one of the most
outrageous, flamboyant, and prosperous decades of the 20th century.
The "greed is good" mantra on Wall Street spawned the
power-dressing, exercise-obsessed "Me Generation" of Yuppies. The
art world enjoyed the influx of capital; computers and video games
ruled in the office and at home; and the Rubik's cube craze swept
the nation. Leg warmers were big, shoulder pads were bigger and
hair was biggest of all. Whether your heart warms nostalgically at
the memory of E.T. and marathon Trivial Pursuit sessions; if you
think Ghostbusters and break dancing are totally awesome, this
book's for you. To all those who still hear the echoes of "I want
my MTV": All-American Ads of the 80s will leave you ready to reach
out and touch someone. So just do it!
With the consumerist euphoria of the fifties still going strong and
the race to the moon at its height, the mood of advertising in the
sixties was cheerful, optimistic, and at times, revolutionary. The
decade's ads touted perceived progress-such as tang and instant
omelets - "just add water"-while striving to reinforce good old
American values. Stars like Sean Connery, Woody Allen, Salvador
Dali, and Sammy Davis Jr. endorsed everything from bourbon to
handmade suits in an attempt by Madison Avenue to urge Americans to
open their wallets and participate in one giant consumer binge.
Social change at the end of the era brought psychedelic swirls and
liberated women and minorities to a newly conscious public. Keep an
eye out for some of the more surprising and controversial ads-such
as Tupperware billing its storage container as a "wifesaver." From
forgotten cars, to cigarettes to food and much more, this colorful
collection of print ads explores the wide, wonderful world of 60s
Americana.
Drawn from TASCHEN's Illustration Now! series, this go-to catalog
brings together 100 of the most successful and important
illustrators around the globe. With featured artists including
Istvan Banyai, Gary Baseman, Seymour Chwast, Paul Davis, Brad
Holland, Mirko Ilic, Anita Kunz, and Christoph Niemann, the
international overview provides an invigorating record of the
dynamism and diversity of the illustration scene. Each illustrator
is featured with a self-portrait, samples from their portfolio, and
a succinct description by Steven Heller, with a supplementary list
of selected exhibitions and publications. In his introduction,
Steven Heller describes the dynamic realm of illustration today and
the challenging process of selection within this highly competitive
and ever-moving genre. About the series Bibliotheca Universalis -
Compact cultural companions celebrating the eclectic TASCHEN
universe!
An overview of the work of illustrator and designer Milton Glaser
during the 1960s and 70s From 1954, when he co-founded the
legendary Push Pin Studios, to the late '70s, Milton Glaser was one
of the most celebrated graphic designers of his day, whose work
graced countless book and album covers, posters, magazine covers,
and advertisements, both famous and little-known. Glaser largely
defined the international visual style for illustration,
advertising, and typeface design and interest in his legacy
continues unabated, with modern creatives acknowledging his
influence; for example, in 2014 Mad Men creator Matthew Weiner
enlisted Glaser to design the ad campaign and branding for the
show's final season. His renowned work garnered solo exhibitions at
the Centre Georges Pompidou in Paris and the Museum of Modern Art
in New York. Creator of the iconic 'I love NY' logo (featuring a
heart symbol in place of the word 'love') and cofounder of New York
magazine, Glaser received numerous accolades and lifetime
achievement awards. Across thousands of works across all print
media, he invented a graphic language of bright, flat color,
drawing and collage, imbued with wit. This collection of work from
Glaser's Pop period features hundreds of examples of his design
that have not been seen since their original publication,
demonstrating the graphic revolution that transformed design and
popular culture.
Mysteries and folkways of New York City revealed in an entertaining
collection of graphic art The life and legend of New York
City, from the size of its skyscrapers to the ways of its
inhabitants, is vividly captured in this lively collection of more
than 250 maps, cross sections, flowcharts, tables, board
games, cartoons and infographics, and other unique diagrams
spanning 150 years. Superstars such as Saul Steinberg, Maira
Kalman, Christoph Niemann, Roz Chast, and Milton Glaser butt up
against the unsung heroes of the popular press in a book that is
made not only for lovers of New York but also for anyone who enjoys
or works with information design.
The projects in this book began as a list Stefan Sagmeister found
in his diary under the title "Things I have learned in my life so
far." Given an incredible amount of freedom by some of his clients,
he began transforming these aphorisms into typographic works; they
have since appeared as French and Portuguese billboards, a Japanese
annual report, on German television, in an Austrian magazine, as a
New York direct mailer and as an American poster campaign. Taken
together, the collection is part design project, part work of art,
part examination of the pursuit of happiness. To this end, noted
designer Steven Heller, art critic and curator Nancy Spector and
psychologist and Happiness: The Science Behind Your Smile author
Daniel Nettle contribute essays to the book. The new edition
contains three additional signatures (48 pages) covering new works,
such as the Dietch Gallery exhibition in SOHO that coincided with
the book's opening and The Happy Film, a documentary that Stefan is
launching next autumn.
Jim Heimann's new book on Menu Design in Europe is a mouthwatering
feast for the eyes, featuring hundreds of European menus from the
early 19th century to the end of the millennium. At once a history
of continental cuisine and a sprawling survey of graphic styles,
Menu Design in Europe satisfies the craving for foodies and design
enthusiasts alike. The dominance of French cuisine provided the
template for the culinary delights that spread throughout (and
beyond) the continent. As restaurants and dining experiences
increased in the 19th century, the need for a more formal
presentation of available items resulted in a range of printed
menus that could be both extravagant and simple. The 1891 menu from
Paris's Le Grand Vefour, with its intricate die-cut design, evokes
a bustling Belle Epoque bistro, while the 1932 menu from London's
Royal Palace Hotel transports you to the bar at a spirited, Jazz
Age nightspot. On the opposite side of the design spectrum, the
menu for the mid-century Lasserre restaurant expresses a
surrealistic simplicity. A range of stylistic decades is
represented, from masterpieces of Art Nouveau and Art Deco to the
graphic appropriations of the German Democratic Republic. Also
showcased are the Michelin awarded restaurants of the celebrity
chef-era and rarities such as a German military menu from World War
II. More than just bills of fare, these menus often represent a
memorable dining experience, at times being presented with as much
care and attention to detail as the meal itself. So, although one
cannot sit in La Tour D'Argent in 1952 and sample its famous duck
dish Le Caneton Tour d'Argent, we can surely imagine what it was
like when looking at the waterfowl-themed illustration displaying
the night's offerings. Featuring an essay by graphic design
historian Steven Heller and captions by leading ephemerist and
antiquarian book dealer Marc Selvaggio, Menu Design In Europe
features menus from leading collectors and institutions, providing
a sumptuous visual banquet and historical document of two centuries
of culinary traditions.
Until restaurants became commonplace in the late 1800s, printed
menus for meals were rare commodities reserved for special
occasions. As restaurants proliferated, the menu became more than
just a culinary listing. The design of the menu became an integral
part of eating out and as such menus became a marketing tool and a
favored keepsake.Menu Design is an omnibus showcasing the best
examples of this graphic art. With nearly 800 examples, illustrated
in vibrant color, this deluxe volume not only showcases this
extraordinary collection of paper ephemera but serves as a history
of restaurants and dining out in America. In addition to the menu
covers, many menu interiors are featured providing an epicurean
tour and insight into more than a hundred years of dining out. An
introduction on the history of menu design by graphic design writer
Steven Heller and extended captions by culinary historian John
Mariani accompany the menus throughout the book. Various
photographs of restaurants round out this compendium that will
appeal to anyone who enjoys graphic and gastronomic history.
Award-winning designer and writer Steven Heller comes of age at the
center of New York's youth culture in the mid-1960s to the
mid-1970s. Steven Heller has written a memoir. This is no
chronological trek through the hills and valleys of his
comparatively "normal" life, but instead, a coming of age tale
whereby with luck and circumstance, he found himself in certain
curious places at critical times during the early to late 1960s and
later throughout the 80s in New York City. This story is both
entertaining and enlightening and follows Heller between the ages
of 16 and 23 as he solidified his work as art director, graphic
designer, cartoonist and writer, through stints at the New York
Review of Books, Sex, Screw, and The New York Free Press, until
becoming the youngest art director (and occasional illustrator) for
The New York Times OpEd page at age 23.
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Art Young's Inferno (Hardcover)
Art Young; Introduction by Steven Heller; Foreword by Glenn Bray
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R956
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This book serves as an introduction to the key elements of good
illustration. The Illustration Idea Book presents 50 of the most
inspiring approaches used by masters of the field from across the
world. Themes covered include creating characters, symbol and
metaphor, illustrated lettering, inventing worlds and caricature.
The result is an instantly accessible, inspiring and easy to
understand guide to illustration using professional techniques.
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