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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.
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The life and legend of New York City, from the size of its skyscrapers to the ways of its inhabitants, is vividly captured in this collection of more than 250 maps, cross sections, ?owcharts, tables, board games, cartoons and infographics, and other unique diagrams spanning 150 years. Superstars such as Saul Steinberg, Maira Kalman, Christoph Niemann, Roz Chast, and(...)
avril 2021
Decoding Manhattan: island of diagrams, maps, and graphics
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The life and legend of New York City, from the size of its skyscrapers to the ways of its inhabitants, is vividly captured in this collection of more than 250 maps, cross sections, ?owcharts, tables, board games, cartoons and infographics, and other unique diagrams spanning 150 years. Superstars such as Saul Steinberg, Maira Kalman, Christoph Niemann, Roz Chast, and Milton Glaser butt up against the unsung heroes of the popular press in a book that is made not only for lovers of New York but also for anyone who enjoys or works with information design.
Graphic: Carnets de croquis
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Cette bible graphique est une intrusion dans les carnets de croquis privés des 100 plus grands graphistes et illustrateurs contemporains, révélant leur mode intime de recherche et d'exploration artistique. Classés par auteurs, d'Art Spiegelman à Christoph Niemann, de Shogo Ota à Paul Cox, de Milton Glaser à Rodney Alan Greenblat, ces fac-similés sont autant de créations(...)
Graphic: Carnets de croquis
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Cette bible graphique est une intrusion dans les carnets de croquis privés des 100 plus grands graphistes et illustrateurs contemporains, révélant leur mode intime de recherche et d'exploration artistique. Classés par auteurs, d'Art Spiegelman à Christoph Niemann, de Shogo Ota à Paul Cox, de Milton Glaser à Rodney Alan Greenblat, ces fac-similés sont autant de créations surprenantes et déjantées : énigmatiques gribouillis, typographies délirantes, motifs obsessionnels, collages photographiques... Ils révèlent tous les tâtonnements, des plus émouvants aux plus excentriques, du processus de création. Une vraie source d'inspiration et d'idées pour tous les passionnés d'arts graphiques et de dessin.
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This provocative survey reveals how four of the most destructive dictatorships of the 20th century - Nazi Germany, Fascist Italy, Soviet Russia and Communist China - used graphic design to sell their messages. Explores each regime's distinctive strategies for seducing public opinion and infiltrating people's lives, in media ranging from logos, flags, typefaces and posters(...)
Iron fists: Branding the 20th Century totalitarian state
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This provocative survey reveals how four of the most destructive dictatorships of the 20th century - Nazi Germany, Fascist Italy, Soviet Russia and Communist China - used graphic design to sell their messages. Explores each regime's distinctive strategies for seducing public opinion and infiltrating people's lives, in media ranging from logos, flags, typefaces and posters to children's books and figurines Remarkable archival photographs set the disturbingly powerful graphic devices in historical context. The perceptive text analyses how these four regimes established the most effective modes of visual propaganda, which were later adopted and adapted by many other dictatorships.
Typography sketchbooks
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Typography is an obsession for most designers. It's at the heart of all visual communication and is one of the purest forms of design, one that can always be improved and refined. Typography Sketchbooks gets into the minds of designers who create typefaces, word images and logos through their private sketchbooks. The result of these wide-ranging typographic musings(...)
octobre 2011
Typography sketchbooks
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Typography is an obsession for most designers. It's at the heart of all visual communication and is one of the purest forms of design, one that can always be improved and refined. Typography Sketchbooks gets into the minds of designers who create typefaces, word images and logos through their private sketchbooks. The result of these wide-ranging typographic musings provide fascinating insights into the expressive quality of letters and words. Aimed at all those who use type, whether by hand or on-screen, this pleasing compendium stresses the importance of good typography at a time when reading habits are changing and celebrates a craft that has endured for centuries.
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This publication is a collection of “favorite” designs as selected by 80 graphic designers, typographers, teachers, scholars, writers and design impresarios. Designers have preferences, like modern over postmodern, serif over sans serif, decorative over minimal, but designers could not be engaged in design practice if they did not love design. The reasons for such a(...)
I heart design, featuring 80 remarkable graphic designs
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This publication is a collection of “favorite” designs as selected by 80 graphic designers, typographers, teachers, scholars, writers and design impresarios. Designers have preferences, like modern over postmodern, serif over sans serif, decorative over minimal, but designers could not be engaged in design practice if they did not love design. The reasons for such a charged emotion varies from individual to individual, but there are certain commonalities regarding form, function, outcome, and more. Design triggers something in all of us that may be solely aesthetic or decidedly content-driven, but in the final analysis, we are drawn to it through the heart.