Creative people are often known to seek inspiration from nature. Besides providing the setting for ideation and imagination, it is a canvas full of complex shapes and lines interwoven with each other, countless varieties of colour palettes, as well as diverse tones and textures that set distinct moods and atmospheres.
Flora & Fauna explores the ways with which these timeless elements have been re-interpreted and incorporated into modern branding and design work. Spanning a wide range of project types such as logos, icons, packaging and print ads, it showcases a world of creativity as diverse as nature itself.
Editor: Victionary Specs: 190 x 255 mm, 256 pp Format: full colour, softcover with jacket Release date: October 2018 Language: English
Don’t Get a Job, Make a Job explores strategies for graduates to gain exposure in the creative industries – including design, fashion and advertising
Too often a design or architecture degree is seen as a means to an end (a job in an established practice). But imagine for one moment that there are no employers, no firms to send your CV to, no interviews to be had – what would you do? How would you forge your own path after graduation?
The current economic climate has seen many graduates chasing a finite number of positions. The most ingenious and driven designers have found weird and wonderful ways of making opportunities for themselves, often by applying their skills across the creative disciplines of art, design, architecture and interiors. Knowing what you want from your design career and being able to adapt your strategy to suit is basic and vital – just like in the wild, designers need to evolve.
The book celebrates the various strategies that students and graduates are taking to gain exposure, while also including interviews and inspirational advice from those who are now enjoying success as a result of their creative approach to employment.
So 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.
Fahrgastinformationssystem Passenger Information System
Gestaltungshandbuch für die Schweizerischen Bundesbahnen / Design Manual for the Swiss Federal Railways
In 1980 Josef Müller-Brockmann laid the cornerstone for a uniform visual identity for the Swiss Federal Railways (SBB) with his legendary Visual Information System at Train Stations and Stops. In view of Switzerland’s multilingualism, the manual proposed a signage system that largely did without language; with his functional typography, the pioneer of Swiss graphic design conceived an intuitively comprehensible signage system for use throughout the country to also guide passengers unfamiliar with the terrain to their destination with the help of pictograms. The visual concept was developed in dialogue with the SBB and still dominates the railways’ visual identity even today.
Müller-Brockmann’s manual, greatly expanded in 1992 and given the title Passenger Information System, is a prime example of a complex design project that succeeds through extreme rationality and consistency. It thus serves as a compass for designers worldwide in their daily work.
This reprint with a complete English translation makes the manual accessible for the first time to a broader public. Andres Janser examines the project in the context of Müller-Brockmann’s conceptual work and the systematic international design for which railways everywhere were striving during the period.
How to be a Graphic Designer without losing your soul
Graphic designers constantly complain that there is no career manual to guide them through the profession. Adrian Shaughnessy draws on a wealth of experience to provide just such a handbook. Aimed at the independent-minded, it addresses the concerns of young designers who want to earn a living by doing expressive and meaningful work and avoid becoming a hired drone working on soulless projects. It offers straight-talking advice on how to establish your design career and suggestions – that you won’t have been taught at college – for running a successful business.
This revised edition contains all-new chapters covering professional skills; design thinking; and global trends, including social responsibility, ethics and the rise of digital culture. Also included are interviews with leading designers: Jonathan Barnbrook, Sara De Bondt, Stephen Doyle, Ben Drury, Paul Sahre, Dmitri Siegel, Sophie Thomas and Magnus Voll Mathiassen.
FEMME TYPE is an all-female publication conceptualised by ex-University of Arts London Chelsea attendant Amber Weaver aiming to celebrate over 40 skilled, international women in the type industry. FEMME TYPE's mission is to create a valuable stage and platform for designers to showcase their brilliant typographic achievements wrapped up in a wonderful printed format.
National Aeronautics and Space Administration Graphics Standards Manual
Designed by Richard Danne and Bruce Blackburn, Danne & Blackburn, 1975
The NASA Graphics Standards Manual by Richard Danne and Bruce Blackburn is a futuristic vision for an agency at the cutting edge of science and exploration.
The book features a foreword by Richard Danne, an essay by Christopher Bonanos, scans of the original manual (from Danne’s personal copy), reproductions of the original NASA 35mm slide presentation, and scans of the ‘Managers Guide’, a follow up booklet distributed by NASA.
220 pages 129 image plates 9.5 × 11.5" 24.1 × 29.2 cm CMYK + 5 Pantone® spot colors Stochastic screen 100 gsm Yupo Original and Perigord Matte 135 gsm papers Case-bound with two-color silkscreen and soft touch lamination Individually packaged in static shielding pouch Printed in Italy
The first monograph, design manual, and manifesto by Michael Bierut, one of the world’s most renowned graphic designers—a career retrospective that showcases more than thirty-five of his most noteworthy projects for clients as the Brooklyn Academy of Music, the Yale School of Architecture, the New York Times, Saks Fifth Avenue, and the New York Jets, and reflects eclectic enthusiasm and accessibility that has been the hallmark of his career.
Protégé of design legend Massimo Vignelli and partner in the New York office of the international design firm Pentagram, Michael Bierut has had one of the most varied and successful careers of any living graphic designer, serving a broad spectrum of clients as diverse as Saks Fifth Avenue, Harley-Davidson, the Atlantic Monthly, the William Jefferson Clinton Foundation, Billboard, Princeton University, the New York Jets, the Brooklyn Academy of Music, and the Morgan Library.
How to, Bierut’s first career retrospective, is a landmark work in the field. Featuring more than thirty-five of his projects, it reveals his philosophy of graphic design—how to use it to sell things, explain things, make things look better, make people laugh, make people cry, and (every once in a while) change the world. Specially chosen to illustrate the breadth and reach of graphic design today, each entry demonstrates Bierut’s eclectic approach. In his entertaining voice, the artist walks us through each from start to finish, mixing historic images, preliminary drawings (including full-size reproductions of the notebooks he has maintained for more than thirty-five years), working models and rejected alternatives, as well as the finished work. Throughout, he provides insights into the creative process, his working life, his relationship with clients, and the struggles that any design professional faces in bringing innovative ideas to the world.
Offering insight and inspiration for artists, designers, students, and anyone interested in how words, images, and ideas can be put together, How to provides insight to the design process of one of this century’s most renowned creative minds.
In der Trägerschaft des Vereins 100 Beste Plakate e.V. wird seit 2002 einmal im Jahr ein Wettbewerb ausgeschrieben, bei dem eine international besetzte (und jährlich wechselnde) Jury aus rund 2000 Einreichungen wegweisende Plakate aus dem Bereich Corporate Design, Werbung und Autorengrafik prämiert.
Teilnahmeberechtigt sind etablierte Institutionen, Grafik-Büros und Werbeagenturen aus Deutschland, Österreich und der Schweiz, aber auch Studierende aller deutschsprachigen Hochschulen und Design-Fakultäten. Mit dem Ziel, nicht nur Spitzenleistungen zu prämieren, sondern die Vielfalt eines Mediums abzubilden, das sich – ungeachtet der zunehmenden Digitalisierung von Informationen – als Aushang im öffentlichen Raum oder visualisierte Botschaft mit Nähe zur freien Kunst behauptet hat, ist der Verein längst zu einer unabhängigen Instanz geworden, die die kreative Leistung eines Genres fördert. Die ausgewählten Plakate werden im In- und Ausland in mehrwöchigen Ausstellungen gezeigt und in einem Jahrbuch publiziert. Auch mit dem Jahrgang 2018 hat der Verlag Kettler die Ehre, den Wettbewerb verlegerisch zu begleiten.
Das Erscheinungsbild zu 100 Beste Plakate 18 stammt von "Hi – Visuelle Gestaltung" aus Zürich.
Karl-Heinz Drescher – Berlin Typo Posters, Texts and Interviews
Karl-Heinz Drescher (born on October 7, 1936 in Quirl; died on May 19, 2011 in Berlin) was a graphic artist working at Bertolt Brecht’s world famous theater Berliner Ensemble as a graphic designer for almost 40 years. In addition to his work at this house, Drescher also worked for other organizers, museums, galleries, and theaters, amongst others the Akademie der Künste der DDR, the Maxim-Gorki-Theater, and the Deutsche Staatsoper in Berlin. His catalog of works today comprises over 400 posters, about one third printed with letterpress.
In a one-year research, the designer Markus Lange contacted Drescher’s family and conducted various interviews with companions and friends to find out more about this talented designer, who studied from 1955 to 1960 in the former GDR at the same school as he did (Burg Giebichenstein, formerly Hochschule für industrielle Formgestaltung).
For the first time, this book summarizes most of Drescher’s (typographic) posters in one comprehensive volume and contains texts and interviews by various authors such as Dr. Friedrich Diekmann, Dr. Sylke Wunderlich, Helmut Brade, Niklaus Troxler, Gerd Fleischmann, Jamie Murphy, Erik Spiekermann, Ferdinand Ulrich, Götz Gramlich, Peter Kammerer, Vera Tenschert, Cesarina and Alessandro Drescher. “Karl-Heinz Drescher—Berlin Typo Posters, Texts, and Interviews” serves as a review of the life of an extraordinary theater graphic designer but also as an inspiration for the here and now.
viction:ary’s original PALETTE colour-themed series has been one of the most sought-after references for designers around the world. Each edition has formed the basis of a classic collection that continues to be relevant and reliable through the variety of compelling concepts and visuals featured. In keeping with the ever-changing demands of creative practitioners today, we are introducing the PALETTE mini series – redesigned in a convenient size for instant inspiration. Packed with style and substance like their predecessors with the addition of several new projects, they serve as instrumental and timeless sources of inspiration.
With their mesmerising sheen, metallic finishes add shine and lustre to any surface or material as they catch the eye even under the dimmest of lights. Through a variety of mediums and techniques, the artists and designers featured in PALETTE mini 03 – Gold & Silverdemonstrate great sensibility and sensitivity in using metallics to balance form and function across 110+ creative projects.
Editor: Victionary Specs: 106 x 148 mm, 672 pp Format: full colour, soft cover with dust jacket Release date: January 2020 Language: English
The Art of Lettering: Perfectly Imperfect Hand-Crafted Type Design
Written by Brooke Robinson, Contribution by Jessica Hische and Gemma O'Brien and Ken Barber and Lauren Hom
From 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 handcrafted art, from beautiful photographs of concept sketches to the end result. Straying away from traditional pen calligraphy, artists today employ new and creative approaches, including building type with coffee grounds, watercolors, and combinations of different hand tools, resulting in a dynamically fresh approach to creating type.
About The Author
Brooke Robinson is a graphic designer based in Austin, TX. She is responsible for leading all graphic design and marketing initiatives, including radio, print, television, internet/social, public, sales, and special events at Tyler’s locations in Texas. Brooke founded Goodtype in 2013. Ken Barber is a designer with renowned graphic design and type foundry collective House Industries. Jessica Hische is a graphic and type designer and letterer renowned for creating an eye-catching “Love” stamp for the United States Postal Service, which sold more than two hundred and fifty million stamps. Lauren Hom is a designer and letterer who specializes in branding and typography and has created work for clients like Starbucks, Google, AT&T, YouTube, and TIME magazine. Gemma O’Brien aka Mrs. Eaves is a typographer and letter designer recently selected for PRINT magazine’s annual list of the best creatives under thirty years old working today.
Wrappers Delight catalogues the amazing lifetime collection of John Townsend, a man who collected the most disposable of wrappers: sweet cigarette boxes, wax gum papers, empty bags of crisps, drink cans, rock labels, stamps, transfers, coupons, recipe cards, tickets, odd boxes, badges, cards, stickers … and more.
A nostalgia trip through the sweet wrappers of our childhood that also serves as a cultural and historical document. Presented in alphabetical order by manufacturer, this publication containing over 500 full colour examples, is the first and only overview of the drinks and confectionery industry during this period.
With a foreword written by Jarvis Cocker.
Jonny Trunk 180 × 220 mm softback 240 pages Published 2020
When a product is labelled as “Made in Japan”, it is often a promise of quality, and the consistent clarity, order and precision of Japanese designs definitely ensures that the reputation is not exaggerated. Known for their minimalist, clean lines, the iconic styles of Japanese designs are admired and imitated all over the world. Truly standing forefront in the establishment of a national design identity, it is the prime example of culture-meets-design, mixing history, traditional art and philosophy into contemporary designs.
With the spotlight on 40 local creatives behind all sorts of different projects in different fields, Made in Japan spans from brand identities to spatial design to illustrations and more, examining how variety is held together by the influence of a common culture.
This magnificent book is the new, expanded, complete edition of Nourmand and Marsh’s cult bestseller, with text by renowned writer Peter Doggett. The 1960s and ’70s were the Golden Age of the X-rated movie. For the first time, these films were shown in mainstream cinemas to a fashionable, young crowd. The “porno chic” movement around films like Deep Throat (1972), The Opening of Misty Beethoven (1976) and Debbie Does Dallas (1978) gave skin flicks an air of credibility that had never existed before. Johnny Carson and Bob Hope talked about Deep Throat on TV, and respected artists became involved in promotional campaigns for adult films.
Of all film genres, the X-rated movie is possibly the one that lends itself best to the use of posters as a promotional medium. Screaming taglines, provocative titles and scantily clad bodies are all elements that can be used to great advantage in poster form. Even though many of the adult movies of the ‘60s and ‘70s have faded into cinematic history, their posters remain an inspiration for graphic designers. And today they are wonderful, joyful period pieces that evoke the temptations and taboos of a bygone age of suspender belts, stockings and eye-popping, gravity-defying brassieres. To quote Steve Frankfurt’s iconic ad campaign for the soft core masterpiece Emmanuelle, “X was never like this.”
Never Use Futura chronicles Futura’s uses from its avant-garde beginnings to its mid-century triumph and its present-day nostalgic, critical, and forward-looking uses. It is a story of countless designers who have used the type signal progress and promise change but also to critique capitalism and subvert authority. Even today, Futura remains the iconic typeface of tomorrow. Futura has sold millions of people their dreams and hopes (and shoes and cars), and ever since the Apollo missions its has embodied our cosmic aspirations. Futura is a secret history of modern public life.
Douglas Thomas Princeton Architectural Press
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