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.

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.

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.

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.

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!

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.

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.

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.

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.

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.

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.

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.

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.

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).

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.

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.

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.