Graphic design Books

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Book SynopsisInformation Design provides citizens, business and government with a means of presenting and interacting with complex information. It embraces applications from wayfinding and map reading to forms design; from website and screen layout to instruction. Done well it can communicate across languages and cultures, convey complicated instructions, even change behaviours. Information Design offers an authoritative guide to this important multidisciplinary subject. The book weaves design theory and methods with case studies of professional practice from leading information designers across the world. The heavily illustrated text is rigorous yet readable and offers a single, must-have, reference to anyone interested in information design or any of its related disciplines such as interaction design and information architecture, information graphics, document design, universal design, service design, map-making and wayfinding.Trade Review"The collection is an exhaustive encyclopedia of information design, with much to offer a diverse array of audiences...Overall, most readers interested in information design should find something valuable within Information Design, whether that be as a general reference, a teaching guide, or a research guide."Guiseppe Getto, faculty member at East Carolina University and President & Co-Founder of Content Garden, Inc.Table of ContentsPart 1 Chapter 1. Early visualizations of historical time Chapter 2. Images of time Chapter 3. William Playfair and the invention of statistical graphs Chapter 4. Ship navigation Chapter 5. Technical and scientific illustration Chapter 6. The lessons of Isotype for information design Chapter 7. Marie Neurath: designing information books for young people Chapter 8. Future, Fortune, and the graphic design of information Chapter 9. Some documents for a history of information design Chapter 10. Moral visualizations Part 2 Chapter 11. Graphic literacies for a digital age Chapter 12. Visual rhetoric in information design Chapter 13. Multimodality and genre Chapter 14. Interactive information graphics Chapter 15. Social and cultural aspects of visual conventions in information Chapter 16. Textual reading on paper and screens Chapter 17. Applying science to design Part 3 Chapter 18. Does my symbol sign work? Chapter 19. Icons as carriers of information Chapter 20. Warning design Chapter 21. Diagrams Chapter 22. Designing static and animated diagrams for modern learning materials Chapter 23. Designing auditory alarms Chapter 24. Design challenges in helping older adults use digital tablets Chapter 25. On-screen colour contrast for visually impaired readers Chapter 26. Contrast set labelling Chapter 27. Gestalt principles Chapter 28. Information design research methods Chapter 29. Methods for evaluating information design Chapter 30. Public information documents Part 4 Chapter 31. Choosing type for information design Chapter 32. Indexing and information design Chapter 33. When to use numeric tables and why Chapter 34. Wayfinding perspectives Chapter 35. Designing for wayfinding Chapter 36. The problem of ‘straight ahead’ signage Chapter 37. Park at your peril Chapter 38. Indoor digital wayfinding Chapter 39. Visualizing storyworlds Chapter 40. Exhibitions for learning Chapter 41. Form follows user follows form Chapter 42. Information design & value Chapter 43. The LUNAtic approach to information design Chapter 44. Information design as a (r)evolutionary educational tool Chapter 45. Design + medical collaboration Chapter 46. Developing persuasive health campaign messages Chapter 47. Information design in medicine package leaflets Chapter 48. Using animation to help communication in e-PILs in Brazil Chapter 49. Medical information design and its legislation

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Book SynopsisSo you''ve graduated. What now? Where do you live? Can you afford to live? How can you make money doing design? How do you get a job? Who do you want to work for and are you good enough? This book is a comprehensive and insightful guide to anything and everything that is of use to those looking to break into the creative industries,sharing experiences, ideas, advice, criticism, and encouragement. With sections covering education, portfolios, jobs/freelancing, working process, and personal development, this straight-talking, funny, and frequently irreverent guide is a must-read for all creative arts students.

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Book SynopsisFrom whimsical to elegant, and old-school influences to new school—Goodtype’s The Art of Lettering showcases dynamic hand lettering from today’s young and sought-after typographers and calligraphers, stoking creative inspiration for graphic designers, artists, and type enthusiasts alike. Hand lettering is making a comeback, bursting out of its graphic-design bubble and finding a mainstream via collecting social media sites like Instagram and Pinterest. The avid interest in hand lettering seemingly goes hand in hand with the weariness audiences feel with constant slick digital presentation of the information they consume. The Art of Lettering collects myriad new and established graphic designers for whom hand lettering is a time-honored art that has modern applications. Showcasing more than 100 artists from all over the world, the book displays their typographic takes and illustrates their perfectly imperfect handcraftedTrade Review"Goodtype: The Art of Lettering is noisy, eclectic and glorious. It’s more than 280 pages of lettering samples, with a foreword by Ken Barber and brief interviews with Jessica Hische, Lauren Hom and Gemma O’Brien. The foreword is insightful. The interviews are fresh, lively and provide a peek at what drives these three remarkable women. But it’s the examples of lettering that make this book grand. The motivation behind Goodtype is Brooke Robinson’s insatiable love of lettering. She collected examples by the bushel—and stored them all on her phone. When she got to the point where she would have to delete samples to gather more, it hit her: she could upload all of the images to an Instagram account dedicated to her lettering and type finds. This was in 2013, and Robinson never looked back. But there’s more to Goodtype than its collection of drop-to-your-knees lettering. In a world of bits and bytes, we seldom see design projects in their evolutionary stages. Goodtype, however, gives us a look over the designer’s shoulder as the lettering evolves. We’re treated to the rough pencil sketches (complete with editing notes) and predigital renderings that lead to the final art. Buy Goodtype. Keep it close to where you work. If your typographic mojo falls flat, pick up the book. If you’re not sure how to handle a bit of display typography, pick up the book. If you’re looking for a young and talented lettering artist, pick up the book." —Communication Arts

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Book SynopsisNatalia Ilyin is Professor of Design at Cornish College of the Arts in Seattle, USA, where she teaches design history and criticism, design for social activism, and transition design. In 2012- and again in 2015 - she earned Cornish's Award for Teaching Excellence. Natalia is also Founding Faculty for the MFA in Graphic Design at Vermont College of Fine Arts, has taught at Rhode Island School of Design, Yale University, The Cooper Union and the University of Washington, and has acted as Critic for the MFA in Graphic Design at Yale University and at Rhode Island School of Design.Trade ReviewEvery designer will have to write in her career. Some will find it more painful than others. Funny, direct, wise and clear, design educator Natalia Ilyin has come to the rescue. * Communication Arts Magazine *I would make this book required reading for any writing intensive course within an Art & Design department. * Gary Rozanc, University of Maryland, Baltimore County, USA *A hugely engaging and inspiring read - the tone is perfect for students. * Neil Leonard, University of the West of England, UK and author of Becoming A Successful Graphic Designer *[M]any tutors out there ... would enjoy reading this book as much as I did, densely packed as it is with excellent counsel, communicated in an engagingly informal, second-person mode of address and peppered with personal anecdotes and often laugh-out-loud humorous asides. Readers might feel as though they are one of Ilyin’s fortunate students, sitting with her in her office for a tutorial. * Design Issues *Table of ContentsPreface Acknowledgements Introduction 1: Sitting Down to Write Beware the Journaling Roommate Ten Things About Writing How to Begin 2: The Writer’s Matériel Making Marks Marks into Signs Signs into Sign Bundles Bundling Bundles Alphabets Are Systems Letters into Type Coding and Decoding 3: Words Denotation and Connotation Focusing In Exercise 1—Seven Beautiful Words 4: Phrase to Clause to Sentence First, Phrases Now, Clauses Exercise 2—Seven Beautiful Clauses Finally, Sentences Stop the Wandering Three Sentence Writers Exercise 3—Seven Beautiful Sentences 5: A Dash Through Punctuation Altering Meaning with Dots and Lines The Art of the Pause: Paragraphing Exercise 4—Building a Paragraph Brush Up on Your Use of Articles 6: Thinking in Diagrams A Third Way of Communicating Imitate the Way Your Brain Thinks: Nodal Mapping Exercise 5—Trying Out Mapping 7: Writing Is Argument What “Expository” Means If You Missed Learning How to Write a Five-Paragraph Essay The Rooted Tree A Five-Paragraph Essay, Line by Line Exercise 6—Master the Five-Paragraph Essay How to Move Past Five Paragraphs Exercise 7—Flip the Tree On to the Semilattice Deploying the Semilattice: Rooms Make the House Exercise 8—Eight Paragraphs of House A Tiny House Caravan Exercise 9—Structure the Caravan Essay Exercise 10—Write the Caravan Essay A Note On Conclusions 8: Convincing Ethos: Convincing by Inspiring Trust Pathos: Convincing by Appealing to Emotion Logos: Convincing by Appealing to Logic 9: Tone & Voice Tone The Differences Between Formal and Informal Writing A Personal Tone Exercise 11—Tone Warm-Up A Professional Tone Exercise 12—A Short Professional Piece The Traditional Academic Voice Voice 10: Academic Writing What is an Academic Critique? Exercise 13—An Eight-Page Academic Critique Structuring the Complex Think Piece Various and Oppositional Arguments Exercise 14—Balancing Opposing Arguments What Academic Research Is and Is Not How to Begin Your Research A Note on Research Databases The Rules of Fair Use Plagiarism What Design Research Is and Is Not Structuring Design Research Documentation What is the Peer Review Process? 11: Writing Long Bibliographies, Research Papers, BFA Documents, Master’s Theses Invisible Argument: The Art of the Annotated Bibliography If You’ve Just Been Assigned an Annotated Bibliography Exercise 15—Build an Annotated Bibliography In Defense of the Term Paper Structuring and Writing Research Papers Exercise 16—Create a “Process Machine” The Design Master’s Thesis: I Hear a Symphony Exercise 17—Three Basic Questions Exercise 18—Getting to a Thesis Statement 12: Writing to People In Admiration Exercise 19—Write a Note Because You Want Something—Like a Job Exercise 20—Write a Convincing Email Because You Don’t Want Something—Like a Client exercise 21—Write a Client-Firing Email Letters on Paper 13: Business Proposals & Reports A Word on Business-Speak A Simple Proposal for Getting New Business Exercise 22—Map, Diagram, & Write a Simple Proposal Responding to the RFP Exercise 23—Map, Diagram, & Write a Response to an RFP 14: Copywriting What Kind of Copy Is It? First, Targets Brush Off Your Poetry Hat Be Wise About Copy Okays Write Alone Exercise 24—Exercise Your Inner Colette 15: Writing for Social Media Writing for Websites Is Its Own Thing Creating a Cohesive Identity Online Keep the Music Playing Exercise 25—Create a Social Media Plan Writing Tips Eleven Errors of Death How to Get It All Read Last Thoughts Illustration Notes

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Book SynopsisEveryone is a typographer. This is the inevitable conclusion when looking at the way in which today’s computer users are forced to make decisions about fonts and layout for their day-to-day communication. Writing, typesetting and printing have become part of almost everyone’s experience. However, many users are clueless about how fonts work, what constitutes a functional layout and how to communicate best with readers. There has even been a decline in basic typographic knowledge among young design professionals. And yet, a thoughtful and purpose-driven shaping of text lies at the basic of effective, powerful graphic communication. Shaping Text takes a practical and broad approach to typography. It is aimed at design students and graphic designers, and also at those who are concerned with content: writers, editors and publishers. Showing a wide range of examples from first-rate designers across the world, the book examines why and how typographic designs work well in a given context. Particular attention is given to the team play between the text itself - written language - and the design - the shaping of the text - to form a new, multi-level visual message with a complex content. Many textbooks on typography look at the details of type and lettering first, often taking a historical approach, then zoom out to gradually reveal a larger whole. Shaping Text works the other way around. It starts by looking at graphic products - in print, on the screen and in the environment - and then examines the constituting elements, including type, image, ornament, layout, and colour. Historical examples are used as references for most genres of text-shaping; a chronological overview of type design and printing techniques forms a lengthy appendix rather than the core of the book. Finally Shaping Text is firmly rooted in contemporary design praxis. It discusses the state of the art in type design and technology, and tackles problems and questions that font users may be struggling with. Besides being a typographic writer and consultant for leading companies such as FontShop and MyFonts, the author has worked as a graphic designer and teacher; Shaping Text reflects this broad experience with typographic form and content.

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Book SynopsisAs the world becomes increasingly complex and complicated, simplicity becomes increasingly in demand. We all seek simplicity in small or large measure. We strive to create simplicity at work and at home. While the lives of our early ancestors may appear simple to us, it would not be simple for us to live those lives. This takes us to the root of simplicity: Simplicity is not an absolute quality. It depends on our experience, knowledge, understanding, and skills. Simplicity: A Matter of Design offers a set of terms that will allow us to discuss simplicity in design with precision. It looks into the basics of simplicity and researches more in depth three aspects of design: functionality (simplicity for comfort), aesthetics (simplicity for pleasure) and ethics (simplicity for conscience). There is an extra chapter on simplicity in communication. If there is one quality all designers are seeking it is simplicity. Nevertheless, very little is written on the subject. Simplicity: A matter of design is a very clearly written and illustrated must read for students and practitioners who are intrigued by the concept of simplicity.

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Book SynopsisThe book is a comprehensive guide for students and practitioners who want to take a collaborative approach in their design practice. Authors Marty Maxwell Lane and Rebecca Tegtmeyer introduce a range of case study collaborations, both face-to-face and remote, and between individuals and groups. The book addresses the basics of getting started, planning ahead and reflecting on outcomes, alongside the issues that come up in collaborative work, e.g. cross-cultural exchange, or managing roles within a diverse team. Editorial commentary runs throughout the chapter introductions and case studies, with informatics illustrating key concepts and expanded call out' points in the martin. More complex case studies offer a deep dive' section to explain and share further details of the featured projects.Trade ReviewLane and Tegtmeyer explore both the power and the struggle of collaboration in design. Through a series of case studies they pull the reader into a range of projects, providing a wealth of inspiration for designers operating in academia and industry. Ultimately, they address a crucial, contemporary question: how can we work together to take on the complex problems of our age. -- Helen Armstrong, Associate Professor of Graphic Design, North Carolina State University, USAThis book supports the call to reimagine, redirect and refocus graphic design education as a collaborative, improvisational and less outcome-based practice in the 21st Century. It doesn’t pretend to have all the answers but instead presents a trove of case studies from US schools, illustrating the insights and pitfalls of collaborative work in trans-disciplinary, socially-engaged and politically aware design curricula. -- Peter A. Hall, Central Saint Martins, University of the Arts London, UKTable of ContentsForeword, Meredith Davis (NC State University, USA) Acknowledgements Preface Introduction Chapter 1: Community Collaborations with Students Introduction 1.1 ThinkTank 2020, Tyler Galloway (Kansas City Art Institute, USA) 1.2 Growing NearWest, Pamela Napier (Indiana University, USA) and Starla Hart (16 Tech Community Corporation, USA) 1.3 Wicked Problems in Your Community, Liese Zahabi (University of New Hampshire, USA) 1.4 Farm-to-Market, Meta Newhouse and Caroline Graham Austin (Montana State University, USA) Chapter 2: Faculty Sharing Knowledge to Broaden Student Experience Introduction 2.1 Type/Image/Structure, Julie Spivey, Eileen Wallace, and Marni Shindelman (University of Georgia, USA) 2.2 Making an Exhibit, Jessica Hawkins and Jessica Alexander (Centenary College of Louisiana, USA) Chapter 3: Peer-to-Peer Learning Across Disciplines Introduction 3.1 SCULPTYPE, Arzu Özkal and Richard Keely (San Diego State University, USA) 3.2 Speak Music Speak Design, Pascal Glissmann and Alexis Cuadrado (The New School, USA) 3.3 Creative Mapping, Cheryl Beckett and Peter Turchi (University of Houston, USA) 3.4 Teachers as Play Facilitators, Derek Ham (North Carolina State University, USA) Chapter 4: Confronting Bias in Cultural Exchanges Introduction 4.1 Expanding Worldviews Through Poster Design, Eileen MacAvery Kane (SUNY Rockland Community College, USA) and Hendali Steynberg (Tshwane University of Technology, South Africa) 4.2 Opportunities for Cultural Contrast and Comparisons, Stacy Asher (University Nebraska-Lincoln, USA) and Joshua Singer (San Francisco State University, USA) 4.3 Sustainability & Interactive Experiences, Denielle Emans (Virginia Commonwealth University, Qatar) and Kelly Murdoch-Kitt (University of Michigan, USA) Chapter 5: Intradisciplinary Faculty Collaboration Introduction 5.1 Pass the Pixel, Özlem Özkal (Özyegin University, Turkey), Canan Akoglu (Design School Kolding, Denmark), Ben Van Dyke (Michigan State University, USA) and Arzu Özkal (San Diego State University, USA) 5.2 Sweat Workshop, Amy Fidler and Jenn Stucker (Bowling Green State University, USA) 5.3 Vertical Studio, Bradley Tober (Publicis Media/Publicis Spince, USA) and Matthew Peterson (North Carolina State University, USA) Chapter 6: Industry Interviews Introduction 6.1 Shrinking the Distance for a Curious Exchange, Rick Valicenti (Thirst/3st, USA) and Jenn Stucker (Bowling Green State University, USA) 6.2 The Coterie Theater Promotion, Kuhn & Wittenborn (Kansas City, USA) and Andrea Herstowski and Jeremy Shellhorn (University of Kansas, USA) 6.3 Brand Research, Story, and Positioning Visual Identity, Matthew Muñoz (New Kind, USA) and Denise Gonzales Crisp (North Carolina State University, USA) Conclusion Resources Bibliography About the Authors Index

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Book SynopsisLaura Fish is a modern designer focusing on strategic product vision that can shape big change for the better. Drawing on fifteen years embedded in digital product programs and user experience teams, she can now speak to hard lessons learned and expertise gained that have led her to redefine her professional purpose and make the changes needed to level herself up. She is now dedicated to helping fellow designers do the same, acting as a visioneering sherpa to guide the journey. Scott Kiekbusch is a digital product strategist and designer with nearly 20 years of industry experience. Scott has built & led digital product design teams, participated in the design and delivery of websites & applications enjoyed by millions of users, and helped mature the product design practices of several organizations. In his free time he enjoys playing & listening to music, traveling, photography, and periodically posting hot takes Trade Review"This book is fantastic. This is a must-read for designers who want to fulfill their potential -- treated equally to their peers in technology and business -- and ultimately secure a seat at the table with business managers and developers. If you're a designer who thinks getting ahead means you have to go back to school for an MBA, read this book first. Pulling from agile methods in design, Fish and Kiekbusch provide a concrete step-by-step product vision process. The book proves while correcting lack of business acumen is important, vision is the designer's way forward. It's essentially a playbook that sets the stage towards successful product validation—outlining a workflow for any designer who wishes to 'level up' from being a tactical designer to a strategic designer. I highly recommend this book for anyone interested in design leadership." -- Heather Shaw, Professor, Department Chair of Design, Lesley Art + DesignTable of Contents Part I: The Calling 1. The State of the Designer 2. Re-Design School 3. Master Class: First Principles Thinking Part II: The Vision 4. Getting Started with the A-Team 5. Strategy: Connecting the Dots 6. Telling the Story of the Future Experience Part III: Visioneering 7. Setting Your Compass by Your North Star 8. Building Your Visioneering Practice Afterword: Purpose Driven

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Book SynopsisInformation Design Workbook, Revised and Updated takes a methodical, comprehensive, approach to conveying the fundamentals of effective, innovative information design. With loads of new case studies demonstrating the latest approaches, you'll learn about the history, theory, criticism, technology and media, process, method, and practice of information design as well as learn how to create visually compelling and meaningful graphics. Opening with a brief history followed by an instructive breakdown of the discipline, get an intimate understanding of the complexities of crafting information designto effectively improve communication both functionally and aesthetically. You'll learn every aspect of the discovery process, including how to work within your client's business structure, create a project timeline, identify and prioritize possible audiences, construct a creative brief, and explore personas (user profiles) and scenarios. Then, explore best practices and get practical tips on creating planning documents and testing your design. An overview of key design principles—including color, type styling, structure, and graphic elements—shows you how to apply these basic tools to develop powerful information design solutions. A wide range of case studies from premier design firms around the world illustrate how all the complex considerations and techniques outlined in the first half of the book come into play. The author critiques and explains why each design is successful in terms of formal quality (Aesthetics) and function (How does it improve communication?). The case studies include cutting edge examples of printed matter, information graphics, interactive experiences, environmental design, as well as experimental projects. Using these principles and methods as a foundation and the real-world examples as a springboard, you can learn to execute well-crafted, functional, and aesthetically beautiful information design.

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Book SynopsisTrond Klevgaard is a design historian and graphic designer. He is Associate Professor of Design History at Kristiania University College, Norway, where he was previously head of the degree program in Graphic Design. He holds BA (Hons) and MA degrees in graphic design from London College of Communication, UK, and a PhD in History of Design from the Royal College of Art, UK.Trade ReviewThe history of modernism in typography is too often told through a limited number of familiar pieces of work, with the emphasis on a small cast of central and eastern European characters. Through thorough research into contemporary accounts, and by not concentrating solely on the avant-garde, Trond Klevgaard opens our eyes to Danish, Norwegian, and Swedish designers whose work in the mid-20th century was international in inspiration but decidedly Scandinavian in application. This book brings a much-needed northern European perspective to the history of the ‘new typography’. -- Paul Luna, Emeritus Professor at the University of Reading, UKKlevgaard explains the publishing environment in which New Typography took shape in Scandinavia. We come to understand the “domestication” of modernist typography not as a misunderstanding of its more well-known Central European prototypes, but rather as a sensible adaptation to the varying interests of publishers, tradespeople, readers, and organizations there. Well researched and clearly written, this study will open many eyes to typography rarely seen outside of the region. It also demonstrates how the histories of social organizations and of industrial structures, no less than the histories of ideas and of visual forms, are key to understanding the history of modernist design. -- Craig Eliason, Professor of Art History, University of St. Thomas, USATable of ContentsContents List of Figures List of Plates Acknowledgements Note on Translation Introduction 1. Origins and Networks Origins of the New Typography Scandinavian Nodes in the Avant-Garde Network Section One: Printing and Advertising Cultures 2. Modification: The Printing Trade's Versions of the New Typography The New Typography from Avant-Garde Printing to Trade The New Typography in Scandinavian Printing Education 3. Compartmentalization: Cultures and Practices of Advertising Jobbing Print, Commercial Art and Lay-Out Discreet Professional Communication Networks Competing Cultures of Design and Production Section Two: Printing and Society 4. Realignment: Functionalism as Ideology, Style and Resistance From Elementarism to Functionalism From Funkis to Functional Typography Towards the Functional Book 5. Isolation: Future-People and Rational Consumers The Swedish Cooperative Society: Adopter of 'Wild' New Typography Print Designs of the Avant-Garde Left Targeting the Young and Femaile Vote through 'Wild' Photomontage 6. Assimilation The New Typography Under Occupation A New Style in Neutral Sweden Conclusion Glossary

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Book SynopsisGraphic design increasingly emphasizes a user-oriented approach that is based around communication and interaction between users and the work itself. Non-digital interactive graphics can be found in books, brochures, posters, packaging, and albums. Playful Graphics presents a selection of outstanding interactive projects produced by designers from all over the world; these works present users with rich visual experiences and enable readers to take action. Through exploring distinct techniques and forms, Playful Graphics demonstrates how this exciting area of design can influence user experiences and bring fun to life. It is a celebration of great design ideas that convey their messages through hands-on play.

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Book SynopsisBrian Kelley (b. 1988) moved to New York City in 2006 and received his BFA in photography from the School of Visual Arts. Kelley's work resists the hurried march of consumerist modernity, seeking to halt the cyclical emptiness of our material lives to capture a sense of culture at the end of history. A mixed-media approach has allowed him to pursue artwork with disruptive capacities—exhaustive research, slow & meditative composition, and the repurposing of photographic mediums—all employed to reveal the artifacts left behind by the precession of simulacra. Kelley was born in Horseheads, NY and currently lives in Lumberland, NY.

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Book SynopsisAn in-depth visual guide presenting the captivating creative journeys behind the worldâs leading videogames. Making Videogames is an unprecedented snapshot of modern interactive entertainment, with insight from true pioneers about the most important games in the world. Illustrated with some of the most arresting in-game images ever seen in print, the book explores the unique alchemy of technical and artistic endeavour that constitutes the magic of videogames, striking a captivating balance between insight and accessibility. Across eleven chapters, each focusing on a specific game from AAA blockbusters such as Control and Half-Life: Alyx to cult breakthrough games including No Manâs Sky and Return of the Obra Dinn, the book will document the incredible craft of videogame worldbuilding and visual storytelling via the worldâs most popular, but seldom fully understood, entertainment medium. The bookâs text orbits breathtaking, specially created imagery âphotographedâ in-engine by the aTrade Review'Beautifully illustrated' - FAD'Remarkable ... Makes a compelling case for how the exquisite collusion of math and design contributes to [video games’] power ... As immersive and impressionistic as the games it celebrates' - NPR, Best Books 2022'Making Videogames starts with the premise that "video games are a visual art". It’s hard to disagree as we follow the authors’ journey through twelve different examples, revealing the sheer depth of content, research, and craft required to shape the modern game environment' - Wallpaper*Table of ContentsIntroduction 1. Optimising Story 2. Lighting in Action 3. Building the Open World 4. Reinventing Virtual Reality 5. Faking Flight 6. A Theatre of Diplomacy 7. Procedural Worlds 8. Landscaping Joy 9. The Digital Actor 10. Fear Factory 11. The Soul of Simulation

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Book SynopsisDesign is everywhere. It shapes not only our present but also our future. An essential introductory guide, Design: The Key Concepts covers fundamental design concepts: thinking, service, context, interaction, experience, and systems.Each concept is situated within a broad context, enabling the reader to understand design's contemporary practice and its relationship to issues such as new technology, social and economic development, globalization, and sustainability. Concepts are also explained by use of concise, illustrated case studies of contemporary objects, spaces, systems, and methods such as Uber, the iPhone, Kickstarter and IKEA. Chapter summaries and supporting discussion questions make this an engaging and accessible introduction for students and those new to the field. An annotated bibliography provides direction for further reading.Trade ReviewThis book is a treasure trove. With a variety of examples, DJ Huppatz shows the close connection between theory and practice in design … His recourse to historical examples lead to a very contemporary interpretation of design. * Gesellschaft fur Designgeschichte (Bloomsbury Translation) *Design: The Key Concepts is the first book to set out, with simplicity and clarity, the directions in which design has moved in the early twenty-first century. Rooted in case-studies, it unpacks the complexity of recent developments and will undoubtedly become a ‘must read’ for design students across the globe. * Penny Sparke, Professor of Design History at Kingston University, UK *Table of ContentsAcknowledgements Preface Introduction - What is Design? - Design’s Relatives - Design’s History - The Concepts 1. Information - From Print to Cyberspace - Making Marks - Case Study 1: Emojis - Graphic Identities - Visualizing Data - Case Study 2: Infographics - Finding our Way - The Return to Craft 2. Things - From Mechanization to Automation - Serial Things - Case Study 3: Chairs - Singular Things - Materials - Case Study 4: the Moneymaker Pump - Ethics 3. Interactions - Designing Machines for People - Affordances and Scripts - Case Study 5: Doors - Interface - Software - Case Study 6: the iPhone - Smart Things - Robots 4. Systems and Services - Systems - Mapping Services - Case Study 7: IKEA - Sharing - Hackathons and Jams - Case Study 8: Uber - Social Design - Government Services 5. Experiences - Interaction and Emotion - Participation - Case Study 9: Facebook - Inclusive Experience - The Experience Economy - Immersive Entertainment - Case Study 10: Universal Design - Tourism 6. Strategies - Organizational Design - Case Study 11: IBM - Strategic Design - Policy - Problems and Methods - Case Study 12: IDEO - Design Thinking Conclusion - Design in the Anthropocene - Technological Fixations - Design Futures Notes Annotated Guide to Further Reading Select Bibliography Index

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Book SynopsisPosters have the power to influence and inform - so how does a designer hone their creations to have the impact they need?With a special focus on conceptualization, internationally-acclaimed and award-winning designers Natalia Delgado and Scott Laserow takes you though planning, analyzing and creating posters that stop viewers in their tracks. Classic and contemporary examples from around the world show you what can be achieved at the cutting-edge of the medium - from protest and propaganda posters, through pop culture and Swiss style, to animated and interactive designs.Whether you need to promote the next president, advertise a brand or create awareness of a health crisis, Making Posters gives you the critical and practical skills to excel in one of the most widely seen forms of graphic design and make sure your work stands out from the crowd.Table of Contents· Introduction · Chapter 1: What is a Poster? o Theoretical description o Historic timeline · Chapter 2: Conceptualizing o Research o Brainstorming o Know your message o Know your audience · Chapter 3: Grabbing Attention o Disruption o Engaging the audience o Scale, color & contrast · Chapter 4: Execution o Image-making o Hierarchy o Type as image o Composition­ o Aesthetic o Making mistakes · Chapter 5: Poster that Tell Stories o Creating your story o Structuring your story o Telling your story with type o Telling your story with color o Telling your story with multiple narratives o Telling your story with a single image narrative · Chapter 6: Poster Types o Posters that entertain o Posters that persuade o Posters that promote o Posters that seduce o Posters that sell · Chapter 7: The Transformation of the Poster o Animated posters o Interactive posters for the screen o New materials and techniques o The future of the poster · Bibliography · Index · Glossary

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Book SynopsisThe famous Italian designer Massimo Vignelli allows us a glimpse of his understanding of good design in this book, its rules and criteria. He uses numerous examples to convey applications in practice - from product design via signaletics and graphic design to Corporate Design. By doing this he is making an important manual available to young designers that in its clarity both in terms of subject matter and visually is entirely committed to Vignelli's modern design.

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Book SynopsisOrnaments are omnipresent – they can be found on buildings, fabrics, jewelry, tiles, ceramics and wallpaper. Scorned at the beginning of the modern age, ornament has long since returned to art and architecture and influences design drafts as much as tattoo motifs. In New Grammar of Ornament, Thomas Weil compares current ornamental objects with the results of archaeological research on ornamental artifacts and concludes that there is an anthropological constant. From the recurring arrangements of stripes, rectangles, triangles and dots and the frequency of the forms of floral ornaments used, he derives a new “grammar of ornament.” More than 160 years after Owen Jones’s publication Grammar of Ornament, by publishing his New Grammar of Ornament Thomas Weil is offering a new reference work. It categorizes the variety of ornamental forms used worldwide and for the first time places them in a major art and cultural historical context.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisTable of Contents Getting Started 1 Introducing the Workspace 2 Getting to Know InDesign 3 Setting Up a Document and Working with Pages 4 Working with Objects 5 Flowing Text 6 Editing Text 7 Working with Typography 8 Working with Color 9 Working with Styles 10 Importing and Modifying Graphics 11 Creating Tables 12 Working with Transparency 13 Printing and Exporting 14 Creating Adobe PDF Files with Form Fields 15 Creating a Fixed-Layout Epub

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Book SynopsisAn elaborately illustrated A to Z of the face, from historical mugshots to Instagram posts.By turns alarming and awe-inspiring, Face offers up an elaborately illustrated A to Z—from the didactic anthropometry of the late-nineteenth century to the selfie-obsessed zeitgeist of the twenty-first.Jessica Helfand looks at the cultural significance of the face through a critical lens, both as social currency and as palimpsest of history. Investigating everything from historical mugshots to Instagram posts, she examines how the face has been perceived and represented over time; how it has been instrumentalized by others; and how we have reclaimed it for our own purposes. From vintage advertisements for a “nose adjuster” to contemporary artists who reconsider the visual construction of race, Face delivers an intimate yet kaleidoscopic adventure while posing universal questions about identity.

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Book SynopsisTwenty-first century fashion practice has become increasingly borderless and diverse in the digital era, calling into question the very boundaries that define fashion in the Western cultural context. Borderless Fashion Practice: Contemporary Fashion in the Metamodern Age principally engages the work of four fashion designers -- Virgil Abloh, Aitor Throup, Iris Van Herpen, and Eckhaus Latta -- whose work intersects with other creative disciplines such as art, technology, science, architecture, and graphic design. They do their work in what Vanessa Gerrie calls the metamodern age -- the time and place where the polarization between the modern and the postmodern collapses. Used as a framework to understand the current Western cultural zeitgeist, Gerrie's exploration of the work of contemporary practitioners and theorists finds blurred borders and seeks to blur them further, to the point of erasure.Trade Review"A well-balanced and highly informative read. The first book-length study of metamodernism in fashion, Borderless Fashion Practice makes a significant contribution to our understanding of one of the most important trends in the contemporary fashion industry. Especially commendable is Vanessa Gerrie’s diverse choice of designers who, though very different from each other, all illustrate the practice of 'borderless fashion.'"— Graham H. Roberts, author of Consumer Culture, Branding and Identity in the New Russia: From Five-year Plan to 4x4 "Gerrie’s concept of “borderless fashion” demonstrates how contemporary fashion practices include key aspects of our society and culture that go far beyond fashion itself."— Patrizia Calefato, author of Fashion as Cultural Translation: Signs, Images, NarrativesTable of ContentsList of Illustrations Introduction 1 On Metamodernism 2 Fashion in the Academy 3 Fashion’s Democratization 4 Collaboration and Experimentation between Fashion and Art 5 Fashion as a Concept 6 Virgil Abloh’s Democratic Fashion Practice 7 Aitor Throup’s Divergent Design 8 Iris van Herpen’s “New Couture” 9 Eckhaus Latta’s Community-Led Brand Conclusion Acknowledgments Notes Bibliography Index

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Book SynopsisFLAG is a Swiss graphic design studio founded in 2002 by Bastien Aubry and Dimitir Broquard in Zurich. They stand out from traditional Swiss design with a diverse style using markers, pencils, cutouts, objects, and screen printing. They exhibit their work, lead workshops, and teach at art schools in Switzerland.

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Book Synopsis

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