Typecasting

Технологические изменения радикально изменили способы, которыми люди используют визуальные изображения. Эти функции перемещают изображение за границы эстетики и искусства в область исследований коммуникации. Обширный опыт Сьюзен Б. Барнс и ее глубокое знание искусства и дизайна сочетается с ее современным пониманием визуальной грамотности в цифровой век, что делает этот текст явно отличным от других введений в визуальную коммуникацию. Эта книга знакомит с терминологией визуальной грамотности, методами анализа визуальных медиа и теориями взаимосвязи между визуальной коммуникацией и культурой. Исследуя значения, связанные с визуальными символами и взаимосвязь визуальной коммуникации с культурой, книга поможет лучше понять визуально ориентированный мир, в котором мы живем.

In this book experienced and well known graphic designers explain to us the key thoughts behind their concepts and production processes. Ideas are not born alone. They come from a process to a large extent organized and rational but sometimes unconscious and magical. In this book we can enjoy and learn from the creative processes of great graphic designers and creative voices around the world. Here we can find impulsive design versus more cerebral design; radical and avant-garde design alongside poetic, childish, commercial, intellectual, subversive and socially oriented design. 26 designers from 15 countries show us their workspaces, their personal notebooks and their creative processes. They teach us the keys to understand what is behind those magnificent works that inspire, thrill, impact or invite us to action. In this book the creative process itself is inspiration, a unique guide to creativity with storytelling and lessons on how to live your best creative life. The book features the work and creative processes of Ralph Bauer (Netherlands/Peru), Susana Blasco (Spain), Tomasz Boguslawski (Poland), Sarah Boris (London), Chelsea Cardinal (USA), Ryan Carl (USA), Andre Da Loba (Portugal), Isidro Ferrer (Spain), Veronica Fuerte (Spain), Rick Griffith (USA), Sebastian Kubica (Poland), Anette Lenz (France), Jiani Lu (Canada), Alejandro Magallanes (Mexico), Veronica Majluf (Peru), Fanette Mellier (France), Claudia Mestre (Portugal), Milimbo (Spain), Akinori Oishi (Japan), Alvaro Pecci (Spain), Stefan Sagmeister (NY, USA), Teresa Sdralevich (Belgium), Akiko Sekimoto (Japan), Leonardo Sonnoli (Italy), Cihan Tamti (Germany), Jessica Walsh (USA).

An innovative exploration of the intersection of graphic design and American art of the 1960s and 1970s This fascinating study of the role that graphic design played in American art of the 1960s and 1970s focuses on the work of George Maciunas, Ed Ruscha, and Sheila Levrant de Bretteville. Examining how each of these artists utilized typography, materiality, and other graphic design aesthetics, Benoit Buquet reveals the importance of graphic design in creating a sense of coherence within the disparate international group of Fluxus artists, an elusiveness and resistance to categorization that defined much of Ruscha’s brand of Pop Art, and an open and participatory visual identity for a range of feminist art practices. Rigorous and compelling scholarship and a copious illustration program that presents insightful juxtapositions of objects—some of which have never been discussed before—combine to shed new light on a period of abundant creativity and cultural transition in American art and the intimate, though often overlooked, entwinement between art and graphic design.

Mag-Art полон креативных идей. На страницах книги вы найдете примеры различных стилей оформления журналов; использования стандартных и новых форматов; применения разнообразных материалов для обложки и упаковки издания. Интересные приемы внутренней навигации, иерархии заголовков, оформления колонтитулов и, конечно же, постпечатной обработки не оставят равнодушным ни одного профессионального дизайнера. Издание на английском языке.

A revered classic of American design delights anew with the freshness and ingenuity of its approach Bradbury Thompson (1911–1995) remains one of the most admired and influential graphic designers of the twentieth century, having trained a generation of design students while on the faculty of the Yale School of Art for more than thirty years. The art director of Mademoiselle and design director of Art News and Art News Annual in the decades after World War II, Thompson was also a distinguished designer of limited-edition books, postage stamps, rationalized alphabets, corporate identification programs, trademarks, and sacred works (most notably the Washburn College Bible). Thompson also designed more than sixty issues of Westvaco Inspirations, a magazine that was published by the Westvaco Corporation and distributed to thousands of printers, designers, and teachers to show the range and versatility of printing papers. Thompson was especially revered for his ability to adapt classic typography for the modern world. Bradbury Thompson: The Art of Graphic Design is a landmark in the history of fine bookmaking. First published by Yale University Press in 1988 and designed by Thompson himself, it was praised by the New York Times as a book in which “art and design are gloriously and daringly mixed.” Original texts by the author and other notable designers, critics, and art historians, including J. Carter Brown, Alvin Eisenman, and Steven Heller, explore Thompson’s methods and design philosophy, and a newly commissioned afterword by Jessica Helfand attests to the enduring importance of his work. Both a retrospective and a manifesto, the book surveys Thompson’s timeless contributions to American graphic design, including his experimental work and his work in magazines, typography, books, simplified alphabets, and contemporary postage stamps. Published for the first time in paperback, this classic text is now available for a new generation of designers and students.