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In the same way that the Helvetica font graphically defined the New York City subway system, the Design Research Unit visually branded the London we know today in everything from its street signs to such corporate identities as British Rail. "Design Research Unit: 1942-72" details the history of the Unit and includes contemporary perspectives by artists, designers and critics.
Design research unit 1942-1972
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In the same way that the Helvetica font graphically defined the New York City subway system, the Design Research Unit visually branded the London we know today in everything from its street signs to such corporate identities as British Rail. "Design Research Unit: 1942-72" details the history of the Unit and includes contemporary perspectives by artists, designers and critics.
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A retrospective of the influential, experimental typeface annual Apart from revolutionizing magazines (The Face and Arena) and record cover design (Depeche Mode), Neville Brody is one of the world’s leading typeface designers. In 1991, in collaboration with Jon Wozencroft, Brody started FUSE, an experimental design and typeface annual with the ambition to innovate(...)
mai 2012
Fuse 1 -20 : from invention to animatter, 20 years of Fuse
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A retrospective of the influential, experimental typeface annual Apart from revolutionizing magazines (The Face and Arena) and record cover design (Depeche Mode), Neville Brody is one of the world’s leading typeface designers. In 1991, in collaboration with Jon Wozencroft, Brody started FUSE, an experimental design and typeface annual with the ambition to innovate and explore the boundaries of the subject. Over the years, the collaborative worked with fellow typographers from around the world, making FUSE a sought-after collector’s item. Each issue contains a selection of new typefaces (originally on floppy disk, then on CD), now via download, as well as essays on design by leading writers posters featuring the fonts. To commemorate the release of issue 20, Taschen brings you a 416-page compendium of all issues as well as number 19 and 20 in the original form (including 10 A2-size posters and the downloadable fonts).
Sarah Illenberger
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At the intersection of photography, art, and graphic design, Sarah Illenberger creates vivid images that make stories come to life. Using simple materials and household items such as paper, food, textiles, and wood, Illenberger's detailed work opens up new perspectives on seemingly familiar, iconographically-charged forms and content.
juin 2012
Sarah Illenberger
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At the intersection of photography, art, and graphic design, Sarah Illenberger creates vivid images that make stories come to life. Using simple materials and household items such as paper, food, textiles, and wood, Illenberger's detailed work opens up new perspectives on seemingly familiar, iconographically-charged forms and content.
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This catalogue is published in the context of the presentation of the Gerrit Noordzij prize 2012 to Karel Martens and the opening of the exhibition of the work of Wim Crouwel, awarded with the prize in 2009.
Wim Crouwel : Gerrit Noordzij prize 2009
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This catalogue is published in the context of the presentation of the Gerrit Noordzij prize 2012 to Karel Martens and the opening of the exhibition of the work of Wim Crouwel, awarded with the prize in 2009.
Max Huber
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The first complete monograph on the work of Swiss graphic designer Max Huber, one of the most significant designers of the 20th century. Huber's work was consistently innovative, and by combining painting and photography with other graphic media, he remained avant-garde throughout his career, bringing the utopian vision of the modern masters to bear on corporate(...)
mars 2011
Max Huber
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The first complete monograph on the work of Swiss graphic designer Max Huber, one of the most significant designers of the 20th century. Huber's work was consistently innovative, and by combining painting and photography with other graphic media, he remained avant-garde throughout his career, bringing the utopian vision of the modern masters to bear on corporate typography and identity design. Three essays cover Huber's entire career from the early 1940s, including his wide-ranging work in the fields of magazine, identity and exhibition design as well as expanding on his close links with a circle of brilliant artists, designers and intellectuals such as Josef Muller-Brockmann, Achille Castiglioni and Italo Calvino, among others.
Gerd Arntz: graphic designer
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As an engaged graphic artist and designer Gerd Arntz (1900-1988) portrayed the world in wood and linoleum cuts. Together with Otto Neurath he designed the symbols for the International System Of Typographic Picture Education (ISOTYPE). This book displays many Isotypes and explains the system and its context, and an overview of Arntzs life and work.
Gerd Arntz: graphic designer
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As an engaged graphic artist and designer Gerd Arntz (1900-1988) portrayed the world in wood and linoleum cuts. Together with Otto Neurath he designed the symbols for the International System Of Typographic Picture Education (ISOTYPE). This book displays many Isotypes and explains the system and its context, and an overview of Arntzs life and work.
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In this publication, designer James Victore gives a survey of his work and his no-holds-barred take on the practice, business, and teaching of graphic design today. Known for making vivid, memorable, and often controversial work, Victore has sought comrades, smart collaborators who have encouraged him to reinterpret old design solutions and to pressure viewers to think(...)
Victore or, who died and made you boss
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In this publication, designer James Victore gives a survey of his work and his no-holds-barred take on the practice, business, and teaching of graphic design today. Known for making vivid, memorable, and often controversial work, Victore has sought comrades, smart collaborators who have encouraged him to reinterpret old design solutions and to pressure viewers to think about issues in a new way. Victore tells the stories behind his inspirations, his process, and the lessons learned. The result is a funny and honest book which showcases a body of work that has been plastered on the streets of New York, hung at MoMA, and featured in magazines.
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The role played by R.D.E. (Ootje) Oxenaar in the development of Dutch graphic design is a fascinating one. In 1970 he joined the Department of Art and Design at what was then the Dutch Postal and Telecommunications Service (PTT). He was head of the department from 1976 until 1994. It would be hard to overstate his importance as one of the key public principals of Dutch(...)
Ootje Oxenaar: designer and commisioner
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The role played by R.D.E. (Ootje) Oxenaar in the development of Dutch graphic design is a fascinating one. In 1970 he joined the Department of Art and Design at what was then the Dutch Postal and Telecommunications Service (PTT). He was head of the department from 1976 until 1994. It would be hard to overstate his importance as one of the key public principals of Dutch graphic design in those years. That success can be attributed to Oxenaar’s own visual production from the early 1950s onward, and the position on this earned him in the design field as a front-rank graphic designer. It enabled him to enlist the services at the PTT of many a prominent designer.
Sagmeister : another book
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Created to accompany an international traveling exhibition, Another Book about Promotion and Sales Material explores the work of one of the world’s most famous graphic designers—Stefan Sagmeister. Divided into four sections, and including commissioned work from ten years of graphic design, this book explores how Sagmeister creates greater awareness for corporations, his(...)
Sagmeister : another book
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Created to accompany an international traveling exhibition, Another Book about Promotion and Sales Material explores the work of one of the world’s most famous graphic designers—Stefan Sagmeister. Divided into four sections, and including commissioned work from ten years of graphic design, this book explores how Sagmeister creates greater awareness for corporations, his friends, his own work, and cultural events and products.
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Monguzzi studied graphic design at Geneva in the later 1950s, then typography, photography, and Gestalt psychology in London. In 2003, the Royal Society of Arts in London nominated him Royal Designer for Industry. From his early professional work, first in London and then at the legendary Studio Boggeri in Milan in the early sixties, where Max Huber had arrived from(...)
octobre 2011
Bruno Monguzzi : fifty years of paper, 1961-2011
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Monguzzi studied graphic design at Geneva in the later 1950s, then typography, photography, and Gestalt psychology in London. In 2003, the Royal Society of Arts in London nominated him Royal Designer for Industry. From his early professional work, first in London and then at the legendary Studio Boggeri in Milan in the early sixties, where Max Huber had arrived from Switzerland twenty years earlier, this monograph retraces the most significant phases of a language that has influenced graphic design well beyond Switzerland, with an impression of great precision and uncontaminated by the recurrent caprices of fashion.