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Pas d'explications alambiquées. Pas de jargon. Le livre pour réussir vos créations graphiques est une introduction claire à la discipline. A travers l'étude de 50 créations iconiques, les auteurs présentent les grands principes d'une création visuelle réussie. Traversant les pays et les époques, ils mettent en valeur les règles indispensables, les techniques audacieuses(...)
septembre 2016
Le livre pour réussir vos créations graphiques
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Pas d'explications alambiquées. Pas de jargon. Le livre pour réussir vos créations graphiques est une introduction claire à la discipline. A travers l'étude de 50 créations iconiques, les auteurs présentent les grands principes d'une création visuelle réussie. Traversant les pays et les époques, ils mettent en valeur les règles indispensables, les techniques audacieuses et les petits détails qui font d'une création graphique une image forte et mémorable.
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Le livre pour réussir vos créations typographiques est une introduction claire à la discipline. A travers l'étude de 50 créations iconiques, les auteurs présentent les principes majeurs de la création typographique. Choix des polices, lettrage manuel, références historiques, jeux sur les capitales et les bas de casse... sont ainsi mis à l'honneur. Traversant les pays et(...)
septembre 2016
Le livre pour réussir vos créations typographiques
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Le livre pour réussir vos créations typographiques est une introduction claire à la discipline. A travers l'étude de 50 créations iconiques, les auteurs présentent les principes majeurs de la création typographique. Choix des polices, lettrage manuel, références historiques, jeux sur les capitales et les bas de casse... sont ainsi mis à l'honneur. Traversant les pays et les époques, cet ouvrage met en valeur les règles indispensables, les techniques audacieuses et les petits détails qui font d'une création typographique une image forte et mémorable.
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Before defining the IBM company’s graphic look in 1956, Paul Rand had never designed an entire corporate identity. The American graphic designer had created many trademarks for advertising clients, but IBM was his first foray into the conservative realm of big business communications, as well as a turning point for him. This manual offers an in-depth look at the further(...)
IBM: graphic design guide 1969-1987
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Before defining the IBM company’s graphic look in 1956, Paul Rand had never designed an entire corporate identity. The American graphic designer had created many trademarks for advertising clients, but IBM was his first foray into the conservative realm of big business communications, as well as a turning point for him. This manual offers an in-depth look at the further evolution of IBM’s house style in the 1970s and ’80s, from logotypes, fonts, numerals, and type specimens, to highly detailed information on imprinting binders, signage, packaging, and related material. It shows how the graphic designer selects and fits together material to produce visual relationships.
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After completing an apprenticeship in lithography, Armin Hofmann (born 1920) began teaching his own typographic principles at the Basel School of Design in 1947. He and his collegues who contributed to the development of Swiss international Style, advocated a belief in absolute and universal graphic expres-sion. Hofmann has also taught at Yale and the Philadelphia Museum(...)
Poster collection 07 : Armin Hofmann
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After completing an apprenticeship in lithography, Armin Hofmann (born 1920) began teaching his own typographic principles at the Basel School of Design in 1947. He and his collegues who contributed to the development of Swiss international Style, advocated a belief in absolute and universal graphic expres-sion. Hofmann has also taught at Yale and the Philadelphia Museum School of the Arts. In 1965 he wrote the «Graphic Design Manual», which is regarded as a fundamental work in the field of modern graphic design and art. "Poster Collection 07" gathers the most important posters of Armin Hofmann, and shows them – corresponding to his fundamental importance as a graphic design teacher – in a context with works from his most famous students, who continued his methods, as there are Nelly Rudin, Karl Gerstner, Pierre Mendell, Klaus Oberer, Gérard Ifert and others.
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"Graphic style" is an overview of graphic design styles from the industrial era onward. The authors gives an appreciatopn of every significant trend from Art Nouveau to Neo-Modern. Now, in an expanded edition with over 700 illustrations.
mars 2001, New York
Graphic style from Victorian to digital - new edition
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"Graphic style" is an overview of graphic design styles from the industrial era onward. The authors gives an appreciatopn of every significant trend from Art Nouveau to Neo-Modern. Now, in an expanded edition with over 700 illustrations.
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This collection of essays assembles some of critical commentary published in professional and general interest design magazines from 1997 to 2000. Over thirty contributors, including Rick Poynor, Kathy McCoy, Lorraine Wild, Veronique Vienne, Jessica Helfand, and others discuss contemporary themes as the rise and fall of the dot.coms and its influence on salary(...)
août 2002, New York
Looking closer 4 : critical writtings on graphic design
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This collection of essays assembles some of critical commentary published in professional and general interest design magazines from 1997 to 2000. Over thirty contributors, including Rick Poynor, Kathy McCoy, Lorraine Wild, Veronique Vienne, Jessica Helfand, and others discuss contemporary themes as the rise and fall of the dot.coms and its influence on salary expectations, the ongoing controversy over the "First things first manifesto", the call for greater responsibility in the design profession, and the antibranding protests that ignited demonstrations during recent World Trade Organization meetings.
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Designers and pundits explore what it means to be a designer in a corporate-driven, over-branded, global consumer culture. The book tackles design responsibility with a scope and diversity previously unseen. Forty essays and interviews espouse viewpoints covering a wide range of social, professional, political, and cultural topics including: reality branding, game design(...)
mai 2003, New York
Citizen designer : perspectives on design responsibility
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Designers and pundits explore what it means to be a designer in a corporate-driven, over-branded, global consumer culture. The book tackles design responsibility with a scope and diversity previously unseen. Forty essays and interviews espouse viewpoints covering a wide range of social, professional, political, and cultural topics including: reality branding, game design and school violence, socially responsible advertising and exploitation, and design as a force for improving the environment. Edited by two advocates of socially responsible design, Citizen Designer responds to the tough questions being asked by today’s designers: How can a designer effect social or political change? Can design be more than a service to clients? When does a designer have to take responsibility for a client’s actions? At what point must a designer take a stand? This book encourages designers and students of design to carefully research the clients they work with; to be alert about corporate, political, and social developments; and to design socially responsible products. With essays by: Hugh Aldersey-Williams, Julie Baugnet, Leslie Becker, Roy R. Behrens, Nancy Bernard, J.D. Biersdorfer, Anne Bush, Robbie Conal, Michael Dooley, Stuart Ewen, Thomas Frank, Ken Garland, Peter Hall, Mr. Keedy, Maud Lavin, Victor Margolin, Carolyn McCarron, Katherine McCoy, David Reinfurt, Chris Riley, Chase A. Rogers, Michael Schmidt, Judith Schwartz, Matt Soar, Gunnar Swanson, Susan S. Szenasy, Teal Triggs, Tucker Viemeister, David Vogler, and Cheryl Towler Weese. And interviews with: Fabrizio Gilardino, Milton Glaser, Kalle Lasn, Robert Menard, Don Norman, Mark Randall, David Sterling, Stanley Tigerman, and Shawn Wolfe.
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Looking Closer 2 offers recent writing on graphic design, covering new and important issues in design language, education, intellectual property, new media, the state of the business, and the place of design in society. The collection presents a stimulating look at how design issues are affected by and affecting changes in contemporary culture.
avril 1997, New York
Looking closer 2 : critical writings on graphic design
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Looking Closer 2 offers recent writing on graphic design, covering new and important issues in design language, education, intellectual property, new media, the state of the business, and the place of design in society. The collection presents a stimulating look at how design issues are affected by and affecting changes in contemporary culture.
livres
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This volume examines the little-charted genre of Dutch graphic design during the 20s and 30s.
février 1994, San Francisco
Dutch moderne: graphic design from de Stijl to deco
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This volume examines the little-charted genre of Dutch graphic design during the 20s and 30s.
livres
février 1994, San Francisco
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Best-known for his corporate brand logos and art direction, Paul Rand (1914–1986) transformed commercial art from craft to profession, introduced European design standards to American commercial art, influenced the look of advertising and book design, and altered the ways in which major corporations including IBM, UPS, and Westinghouse did business. His adherence to a(...)
novembre 2019
Paul Rand: inspiration and process in design
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Best-known for his corporate brand logos and art direction, Paul Rand (1914–1986) transformed commercial art from craft to profession, introduced European design standards to American commercial art, influenced the look of advertising and book design, and altered the ways in which major corporations including IBM, UPS, and Westinghouse did business. His adherence to a strict design form in his work for corporate clients was balanced by a playful side, captured in this spirited collection of literal (and figural) back-of-the-envelope sketches, doodles, notes, and imaginative sparks that later found their full form in his children's books, logos, and personal work.