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The Folly Cove Designers (officially 1941-1969) was a grassroots collective of predominantly women block printers founded by Caldecott Award-winner and beloved children's book author/illustrator Virginia Lee Burton Demetrios (of Mike Mulligan and His Steam Shovel fame). This trailblazing Gloucester, MA-based group produced more than three hundred distinct designs,(...)
Trailblazing women printmakers: Virginia Lee Burton Demetrios and the Folly Cove designers
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The Folly Cove Designers (officially 1941-1969) was a grassroots collective of predominantly women block printers founded by Caldecott Award-winner and beloved children's book author/illustrator Virginia Lee Burton Demetrios (of Mike Mulligan and His Steam Shovel fame). This trailblazing Gloucester, MA-based group produced more than three hundred distinct designs, which they block printed on fabric. The designs conveyed personal and regional narratives through the use of shared design principles and the compelling language of pattern. The group was propelled to international fame through commercial contracts with major retailers (F. Schumacher, Lord & Taylor, etc.), articles in leading periodicals such as Life, and participation in seminal fine craft exhibitions. Their work continues to inspire contemporary printmakers around the globe, particularly women printmakers. As the first comprehensive history of the Folly Cove Designers, ''Trailblazing women printmakers'' documents and celebrates the group's tremendous success and the incredible artistry of its members. With more than 250 black-and-white and color photographs, author Elena M. Sarni explores the Folly Cove Designers' history, work, and group dynamics.
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In the 1970s, mass-produced, cheaply printed science-fiction novels were thriving. The paper was rough, the titles outrageous, and the cover art astounding. Over the course of the decade, a stable of talented painters, comic-book artists, and designers produced thousands of the most eye-catching book covers to ever grace bookstore shelves (or spinner racks). Curiously,(...)
Worlds beyond time: Sci-Fi art of the 1970s
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In the 1970s, mass-produced, cheaply printed science-fiction novels were thriving. The paper was rough, the titles outrageous, and the cover art astounding. Over the course of the decade, a stable of talented painters, comic-book artists, and designers produced thousands of the most eye-catching book covers to ever grace bookstore shelves (or spinner racks). Curiously, the pieces commissioned for these covers often had very little to do with the contents of the books they were selling, but by leaning heavily on psychedelic imagery, far-out landscapes, and trippy surrealism, the art was able to satisfy the same space race–fueled appetite for the big ideas and brave new worlds that sci-fi writers were boldly pushing forward. In Worlds Beyond Time: Sci-Fi Art of the 1970s, Adam Rowe—who has been curating, championing, and resurrecting the best and most obscure art that 1970s sci-fi has to offer on his blog 70s Sci-Fi Art—introduces readers to the biggest names in the genre, including Chris Foss, Peter Elson, Tim White, Jack.
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For most North Americans and Europeans, the Bosnian War was played out in the brief, flickering images of television news. But another set of images, more permanent and more profound, played an active role in this war, molding public sentiment and calling attention to the plight of the Bosnian people. For three hellish years, Bosnians plastered the walls of their towns(...)
mai 2001, New York
Evil doesn't live here : posters from the Bosnian war
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For most North Americans and Europeans, the Bosnian War was played out in the brief, flickering images of television news. But another set of images, more permanent and more profound, played an active role in this war, molding public sentiment and calling attention to the plight of the Bosnian people. For three hellish years, Bosnians plastered the walls of their towns with messages of anger, frustration, desperation, resistance, and hope. These extraordinary images, the focus of this book, are juxtaposed with the hateful, divisive works of propaganda that served the most vicious practitioners of 'ethnic cleansing'. "Evil Doesn't Live Here" presents this visual battle to the rest of the world for the first time. Former Bosnian aid workers Daoud Sarhandi and Alina Boboc have gathered over 180 of the most dramatic wartime posters, largely created by Bosnian artists and graphic designers at the height of the war. Fascinating on both political and artistic levels, they provide a harrowing account of the war and put a human face on this seemingly incomprehensible conflict.
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mai 2001, New York
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"Fresh dialogue 3" brings together the work of four young and innovative studios who share the distinction of being selected as participants in the American Institute of Graphic Arts, New York Chapter's Fresh Dialogue series. BASE is a studio with offices in New York, Brussels, and Barcelona. The fashion industry accounts for nearly half their business which includes(...)
décembre 2003, New York
Fresh dialogue 3 : new voices in graphic design
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"Fresh dialogue 3" brings together the work of four young and innovative studios who share the distinction of being selected as participants in the American Institute of Graphic Arts, New York Chapter's Fresh Dialogue series. BASE is a studio with offices in New York, Brussels, and Barcelona. The fashion industry accounts for nearly half their business which includes developing image campaigns and corporate identities. HONEST, founded by Stella Bugbee, Jonathan Milott, and Cary Murnion, works with a variety of fashion, art, music and architecture related clients including MoMA, Kate Spade, and Virgin Records. Brooklyn based HunterGatherer was founded by Todd St. John in 2000. Recent projects have included work with MTV, Nixon Watches, and Adidas. STILETTO is a design collective comprised of three partners: Stefanie Barth, Julie Hirschfeld, and Joan Raspo. They work are in variety of media including web design, film, animation, and motion graphics.
Graphic design 20th century
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With over five hundred colour reproductions, "Graphic Design 20th Century" represents a pictorial history of the last hundred years in graphic design. Alston Purvis presents all the significant designers of the twentieth century as well as the many styles that characterized this rich and tumultuous period: Art Nouveau, Arts and Craft, the Viennese Secession, the Russian(...)
novembre 2003, New York
Graphic design 20th century
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With over five hundred colour reproductions, "Graphic Design 20th Century" represents a pictorial history of the last hundred years in graphic design. Alston Purvis presents all the significant designers of the twentieth century as well as the many styles that characterized this rich and tumultuous period: Art Nouveau, Arts and Craft, the Viennese Secession, the Russian Avant-Garde, Punk, New Wave, and computer graphics are just a few of the subjects discussed in this essential reference book. The wealth of visual material presented, including iconic works by Aleksandr Rodchenko, H. Th. Wijdeveld, Frank Lloyd Wright, Paul Rand, Piet Zwart, Saul Bass, among many others, makes this a truly enjoyable and inspiring read and a handy guide for any designer, artist, or student. Alston Purvis is Chairman of Graduate Studies and the Department of Graphic Design at Boston University. He is the author of numerous publications on graphic design.
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La collection « Carnets à jouer » est une série de jeux graphiques conçue par Sophie Cure et Aurélien Farina. Ils abordent des thématiques propres au design graphique en complément du Cahier d’exploration graphique paru en 2022. De l’exercice unique, on passe à la série, à la variation. Ces carnets permettent d’explorer, d’essayer, tester, rater, rater encore pour mieux recommencer.
janvier 2024
Carnets à jouer #4 : Alliances
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La collection « Carnets à jouer » est une série de jeux graphiques conçue par Sophie Cure et Aurélien Farina. Ils abordent des thématiques propres au design graphique en complément du Cahier d’exploration graphique paru en 2022. De l’exercice unique, on passe à la série, à la variation. Ces carnets permettent d’explorer, d’essayer, tester, rater, rater encore pour mieux recommencer.
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What decisions lie behind the way a book is designed? How are readers of books helped or hindered by the choices that a designer, publisher, or printer has made in presenting an author's text to its intended audience? Are there any lessons we can learn from a study of the books that have been produced in previous centuries? In this stimulating and generously(...)
octobre 2001, New Haven / London
Five hundred years of book design
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What decisions lie behind the way a book is designed? How are readers of books helped or hindered by the choices that a designer, publisher, or printer has made in presenting an author's text to its intended audience? Are there any lessons we can learn from a study of the books that have been produced in previous centuries? In this stimulating and generously illustrated volume, Alan Bartram, a distinguished book designer and typographer, answers many of these questions and provides his personal view of some of the successes and failures of his predecessors. He looks with fresh eyes at a varied range of books published in western Europe and America in the last half-millennium, concerning himself in particular with readability, function, and clarification of meaning. He also discusses how different elements of text, decoration, and illustration were combined in the layout of the printed page, and he comments on whether the resultant design is successful.
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octobre 2001, New Haven / London
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Typography today exists in conflict with classical font design and contemporary influences such as analogue distortion, screen applications, street culture, deconstruction, hand lettering and illustrative letter forms. "Type one" not only presents an overview of the diversity in current typography, but also reveals where conventions have become established and where valid(...)
novembre 2005, Berlin
Type-one : discipline and progress in typography
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Typography today exists in conflict with classical font design and contemporary influences such as analogue distortion, screen applications, street culture, deconstruction, hand lettering and illustrative letter forms. "Type one" not only presents an overview of the diversity in current typography, but also reveals where conventions have become established and where valid new approaches exist. In addition to a selection of typefaces and their applications, the book features articles by and interviews with international experts such as Jean François Rappot, House industries’ Andy Cruz and Ken Barber, Norm and Professor Tanja Diezmann. Topics range from the democratization of the font creation process by the computer to how much existing approaches are based on the same fonts. These texts are edited and commented by Silja Bilz, former project and product manager for Corporate type at the renowned Linotype library. While "Type one" provides practical context and examples, it also investigates the experimental and inspirational side of font design. This combination makes the book a resource for anyone seeking an up to date exploration and understanding of typography.
Barcelona grafica
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In producing this book, America Sanchez has photographed and arranged some 1,825 examples of Barcelona urban graphic art: shop signs, door numbers, vignettes, allegories, emblems and pictograms which illustrate the uses of the city and make them legible. In so doing, Sanchez has rescued from anonymity a multitudinous cast of spontaneous graphic artists: sign-writers,(...)
Barcelona grafica
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In producing this book, America Sanchez has photographed and arranged some 1,825 examples of Barcelona urban graphic art: shop signs, door numbers, vignettes, allegories, emblems and pictograms which illustrate the uses of the city and make them legible. In so doing, Sanchez has rescued from anonymity a multitudinous cast of spontaneous graphic artists: sign-writers, painters, engravers, carvers, smiths, stained-glass workers. With this, he has inaugurated a new field of study of everyday life, the main themes of which Norberto Chaves discusses in his introductory remarks to the work. A superficial gaze will find nothing here but a collection of curiosities, products of popular inventiveness. The more attentive gaze, however, will discover a genuine graphic treasure. With this book, America Sanchez makes a cultural contribution as important, if not more so, as his estimable work as a graphic designer. As a result, Barcelona can see itself in the mirror of its anonymous graphic art and thereby recoup another aspect of its enormously rich heritage. There are almost two thousand images, representing all the barrios of Barcelona, and classified in some 150 variations on seventeen major themes: the human figure, flora, fauna, figurative and abstract iconography, shields, plaques, tiles, murals, signs, captions, monograms, numbers, ornaments, ironwork. Two hundred and thirty pages and four gatefolds, arbitrarily arranged, the aim of which is to awaken the curiosity of, and to surprise, the "pedestrian". The author himself writes that: "The book is open to a wide range of readings, as a volume of photos, a graphic document of the city's heritage, or as a reference manual of graphic solutions for designers, typographers, architects and interior designers. It is also a meditation on the industrial, commercial and institutional fabric of different eras of the city". This book was originally published in 2001. The new edition includes a red fabric-covered slip-case.
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"U" (Upper & lower case) was a defining voice in world graphic design between 1973 and 1999. It was in some ways a lifestyle magazine for the design community, providing a fascinating intersection of popular culture and graphic design in the last quarter of the 20th century. The list of editorial contributors to "U" is long, many prominent designers worked on designing(...)
février 2005, West New York
U : influencing design & typography
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"U" (Upper & lower case) was a defining voice in world graphic design between 1973 and 1999. It was in some ways a lifestyle magazine for the design community, providing a fascinating intersection of popular culture and graphic design in the last quarter of the 20th century. The list of editorial contributors to "U" is long, many prominent designers worked on designing entire issues. Their best work is showcased in this book through the reproduction of selected covers, stories, and illustrations from the approximately 100 quarterly issues that were published. This book also contains four informal but in-depth chapters on the background, context, use of design and typography, and people involved in making "U" happen over the years.