Steven Heller

Michael Bierut

Rick Poynor

Jessica Helfand

Theodore Gachot

Elinor Pettit

Rare and difficult-to-find essays provide fascinating reading in this third anthology in the Looking Closer series, a matchless resource tracing the continuum of critical thought from graphic design¹s earliest days as a viable art and craft. Looking Closer 3 brings back into discourse more than thirty seminal essays by such distinguished figures as William Morris, Aldous Huxley, Alvin Lustig, and Paul Rand, reviving ideas of form and content as well as arguments over manner and style that have been lost for decades. For professionals, teachers, and students alike, this pivotal collection is an invaluable compliment to any design library.

Classic Writings on Graphic Design

Looking Closer 3

With the international take-up of new technology in the 1990s, designers and typographers reassessed their roles and jettisoned existing rules in an explosion of creativity in graphic design. This book tells that story in detail, defining and illustrating key developments and themes from 1980-2000.

Graphic Design and Postmodernism

No More Rules

Visual Communication in Transition

Design Without Boundaries

Os ensaios desta antologia de textos históricos sobre design gráfico revelam o percurso multifacetado e polêmico dessa disciplina, que começou como arte comercial e se transformou em atividade altamente profissional e respeitável. Cada um dos textos desta obra lança luz sobre um instante, uma descoberta ou um debate significativos. Em manifestos, panfletos, artigos e textos de conferências, designers e pessoas que acompanham o design veem-se às voltas com as questões críticas do modernismo, do mercantilismo, da estética, do feminismo, do tradicionalismo versus progressismo e responsabilidade social. Esses trabalhos vibrantes e originais constroem uma moldura por meio da qual é possível compreender o desenvolvimento de um método visual que ajudou a definir a feição da comunicação e da vida cotidianas.

Textos clássicos do design gráfico

Design critic Rick Poynor explores the thinking behind contemporary visual culture - intriguing and fascinating appraisal. In the twenty-first century, commerce and culture are ever more closely entwined. This new collection of essays by design critic Rick Poynor takes a searching look at visual culture to discover the reality beneath the ultra-seductive surfaces. Poynor explores the thinking behind the emerging resistance to commercial rhetoric among designers, and offers critical insights into the changing dialogue between advertising and design. Other essays address the topics of visual journalism; brands as religion; the new solipsism; graphic memes; the pleasures of imperfect design; and the poverty of "cool". Around the world, many are now waking up to the dominance of huge corporations - invariably expressed by visual means. This pointed and provocative counterblast arrives at a moment when critical responses are vital if this mono-culture is to be challenged. It offers inspirational evidence of alternative ways of engaging with design, and it will appeal to any reader with a questioning interest in design, advertising, cultural studies, media studies, and the visual arts.

Life in the Image World

Obey the Giant

The magazine Typographica -- brainchild of Herbert Spencer -- had a brief life, a total of 32 issues published between 1949 and 1967. But its influence stretched far beyond its modest print runs. Rick Poynor recreates the excitement of Typographica in this carefully researched and beautifully illustrated book. Copyright © Libri GmbH. All rights reserved.

Typographica

Design Without Bounderies

"A trailblazer in its day, Typographica is ripe for rediscovery and reappraisal by a new generation of designers and image-makers. Its boundary-blurring fusion of modernist experimentation, visual and concrete poetry, and environmental photography anticipated many of the preoccupations of contemporary designers, artists, and cultural commentators." "Rick Poyner offers a carefully researched and illustrated book, paying tribute to the significant contribution Herbert Spencer and Typographica made to graphic design history."--BOOK JACKET.

Graphisme et postmodernisme

Transgression

Each day brings another deluge of images, and with this overproduction can come a panicky sensation that the meaning of images is draining away. The urge to divert the flow has given rise to a new international wave of collage-making. This is the first monograph to focus exclusively on the prolific collage output of Sergei Sviatchenko, a leading figure in the contemporary collage world. Edited by Rick Poynor, who provides a critical overview, it gathers Sviatchenko's most significant work from the past 10 years and shows little-seen collages from his early years in Ukraine before he moved in 1990 to live and work in Denmark. The severe reductiveness of Sviatchenko's interventions sets them apart. Collages from his long-running Less series consist of only two or three elements floating on a jarringly bright background. The fewer fragments he allows himself to work with, the more crucial the acts of selection, excision, and montage become. His strangely dislocated and sometimes otherworldly inventions offer moments of unexpected balance and repose in the tempestuous image-stream.

Collages

Sergei Sviatchenko

"The past twenty years have seen profound changes in the field of graphic communication. One by one, old certainties about the techniques and purposes of graphic design have been questioned and collapsed. No More Rules is the first critical survey to offer a complete overview of the graphic revolution during the postmodern period." "According to design critic Rick Poynor, changes in graphic work were already well underway by the early 1980s, even before the computer became a ubiquitous tool. With the international embrace of new electronic technologies in the 1990s, these developments began to accelerate. An explosion of creativity in graphic design took place as designers and typographers reassessed their roles, jettisoned existing rules, and forged experimental new approaches. Graphic work became more self-expressive, idiosyncratic, and occasionally extreme." "Poynor tells this story in detail, breaking down a broad, multifaceted, and sometimes confusing field of graphic design activity into key developments and themes: the origins of postmodern design; deconstructionist design and theory; issues of appropriation; the revolution in digital type; questions of authorship; and critiques of postmodern graphic design. Each theme is illustrated by spectacular and significant examples of work produced between 1980 and 2000 that have changed the way in which designers and their audiences think about graphic communication. This generously illustrated book is a vital reference for design professionals and educators as well as for students of graphic design, image-making, advertising, and the visual arts."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Stefan Sagmeister

Fabrica

Die -Colors Notebooks- dokumentieren grafische Botschaften aus allen Winkeln der Erde. Im Band -Violence- manifestiert sich auf erschreckende Weise, wie machtig dieses Thema die heutige Welt beherrscht. Gewalt, die von Menschen auf Menschen ausgeubt wird."

Violence

Emily King

Jonathan Watkins

Tony Arefin

James Langdon (Graphic designer)

Tony Arefin (1962–2000), was a graphic designer who emerged during the late 1980s as one of the most important figures in the British art world.Comprising early publications from the YBA movement to seminal advertising campaigns for corporate clients such as IBM, Ikon's exhibition reveals the intuitive genius of Arefin's work.In 1993 Arefin left London for New York, becoming creative director of I.D. magazine, and immersed himself in magazine culture, art directing three other titles simultaneously: Bomb, Blind Spot and Art + Auction.Exploiting his intimate knowledge of the art world, he collaborated freely with photographers, illustrators and typeface designers to produce some of his most striking and dynamic work.Featuring an essay by Emily King, and including Tony Arefin in conversation with James Langdon, Rick Poynor and Jonathon Watkins.Published on the occasion of the exhibition Arefin & Arefin: The Graphic Design of Tony Arefin at Ikon Gallery, Birmingham, 12 September – 4 November 2012.

The Graphic Design of Tony Arefin

Arefin and Arefin

An all-new showcase of the energetic work that's driving typography today -- from the most extreme garage fonts to the new digital typefonts.

Implosion

Typography Now Two

Edward Booth-Clibborn

Typography Now: The Next Wave remains the most significant, most referenced, survey of typographic trends and thinking.

The Next Wave

Typography Now

This is the first book of Peter Saville's work. Comprising design for music, fashion, advertising and art, it chronicles his work from 1978 to the present. Peter Saville is perhaps the most influential graphic designer of his generation. Best known for his seminal record covers for Joy Division and New Order, Saville has also art directed catalogues and advertisements for fashion brands such as Yohji Yamamoto and Dior, and created corporate identities for Givenchy, Mandarina Duck and London's Whitechapel Gallery. More recently he art directed CDs for Pulp and Suede, and the print campaign for Stella McCartney.

Designed by Peter Saville

Nigel Coates

One of a small group of designers and architects who are redefining the landscape of international design is discussed here. It places his development and impact within the broader currents of international design and culture in the 80s and examines the notion of architecture as "Fashion."

The City in Motion

A key title in Rick Poynor's ongoing exploration of contemporary trends in typography and design. With over 200 examples, the book re-examines the way in which type and image interact to create graphic meaning.

Graphic Edge

Across the decades, the National Theatre's poster designs have been the responsibility of just five individuals: Ken Briggs, the theatre's first graphic designer; Richard Bird; Michael Mayhew; Charlotte Wilkinson; and Ollie Winser. An enormous range of graphic approaches has been used - typographic, illustrative and photographic. This diversity of expression reflects the designers' temperaments and skills, the fashions of the time and changing conceptions of the most effective way to communicate graphically with the theatre's audiences. National Theatre posters, when viewed collectively, comprise both a history of design at an institution central to British cultural life, and a case study of the way the poster as a medium has evolved in Britain in the last half-century.

Rick Poynor

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