A revered classic of American design delights anew with the freshness and ingenuity of its approach Bradbury Thompson (1911-1995) remains one of the most admired and influential graphic designers of the twentieth century, having trained a generation of design students while on the faculty of the Yale School of Art for more than thirty years. The art director of Mademoiselle and design director of Art News and Art News Annual in the decades after World War II, Thompson was also a distinguished designer of limited-edition books, postage stamps, rationalized alphabets, corporate identification programs, trademarks, and sacred works (most notably the Washburn College Bible). Thompson also designed more than sixty issues of Westvaco Inspirations, a magazine that was published by the Westvaco Corporation and distributed to thousands of printers, designers, and teachers to show the range and versatility of printing papers. Thompson was especially revered for his ability to adapt classic typography for the modern world. Bradbury Thompson: The Art of Graphic Design is a landmark in the history of fine bookmaking. First published by Yale University Press in 1988 and designed by Thompson himself, it was praised by the New York Times as a book in which "art and design are gloriously and daringly mixed." Original texts by the author and other notable designers, critics, and art historians, including J. Carter Brown, Alvin Eisenman, and Steven Heller, explore Thompson's methods and design philosophy, and a newly commissioned afterword by Jessica Helfand attests to the enduring importance of his work. Both a retrospective and a manifesto, the book surveys Thompson's timeless contributions to American graphic design, including his experimental work and his work in magazines, typography, books, simplified alphabets, and contemporary postage stamps. Published for the first time in paperback, this classic text is now available for a new generation of designers and students.

This anthology features material from established and emerging major designers and is filled with hundreds of examples that are forging new graphic ground across a complete range of visual media. For ease of reference, illustrators' work is categorised as follows: Editorial: Magazines and books, Stationery: Corporate and personal, Corporate: Identity and brochures, Advertising: Editorial, billboards, and posters, Music: Record sleeves, CD covers and posters, Exhibitions: Installations and signage, Packaging, Websites. It contains a visual index for quick reference and designers' contact details.

From the first satiric cave drawings to the quirky humour of Push Pin studios, Design Humor explores what makes wit and humour such important tools in graphic design. Compiling some of the most clever, ironic, and acerbic pieces from annuals, exhibitions, and designer's drawers, this entertaining sourcebook demonstrates how to communicate effectively through visual puns, type play, and ironic images. It features dozens of classic examples of comical type creations such as Goudy Stout as well as the exuberant playfulness of post-modern design. Full of captivating historical and philosophical references from such humour experts as Groucho Marx, Max Eastman, and Mark Twain, Design Humor is an invaluable resource for designers and design students, as well as a treasured collection of design wit for the enthusiast!

For many designers, creating things by hand is a reaction to too much computer-based design. Since the first Fingerprint was published, ideas that were once on the fringe have begun to thrive in the mainstream. From typography and illustration to book-making and film titles, elements of handcraft have soaked into everyday life. Fingerprint No. 2 reflects the evolution of those ideas. In this second volume, you’ll still find plenty of projects created entirely without the aid of computer technology. But you’ll also discover how designers are beginning to incorporate the two aesthetics—handmade and digital—in order to best communicate their message. A third, hybrid aesthetic is emerging, one that marries the technologies of the past and future into a vibrant, exciting present. Look inside to discover 133 projects and exclusive visual essays from leading designers, including Robynne Raye, Stefan Bucher and Christian Helms. These pieces of work prove that handmade elements are not only vital to excellent design, but often result in exceptional design. Listen for the pulse, which cannot be faked, forged, or falsified. Look for the finger print. It is the key to design’s success.

An innovative exploration of the intersection of graphic design and American art of the 1960s and 1970s This fascinating study of the role that graphic design played in American art of the 1960s and 1970s focuses on the work of George Maciunas, Ed Ruscha, and Sheila Levrant de Bretteville. Examining how each of these artists utilized typography, materiality, and other graphic design aesthetics, Benoît Buquet reveals the importance of graphic design in creating a sense of coherence within the disparate international group of Fluxus artists, an elusiveness and resistance to categorization that defined much of Ruscha's brand of Pop Art, and an open and participatory visual identity for a range of feminist art practices. Rigorous and compelling scholarship and a copious illustration program that presents insightful juxtapositions of objects--some of which have never been discussed before--combine to shed new light on a period of abundant creativity and cultural transition in American art and the intimate, though often overlooked, entwinement between art and graphic design.

Keep the fascinating magical creatures of the wizarding world close at hand with this miniature art book featuring concept art from the Harry Potter films. The magical world of the Harry Potter film series is filled with captivating and curious creatures, from the fearsome dragons of the Triwizard Tournament to the crafty goblins of Gringotts Bank to the owls who carry the wizarding post. To bring these creatures to life onscreen, an extraordinary team of artists created a huge collection of sketches, drawings, paintings, and digital renders, drawing some creatures from established mythology and others from the depths of their imagination. One of a new line of palm-sized art books, The Art of Harry Potter: Mini Book of Creatures presents an incredible treasure trove of Harry Potter creature art in a unique miniature format. Filled with behind-the-scenes facts and insights, it’s the perfect way to keep the magic and mystery of the Harry Potter films close to your heart.

A toolkit for visual literacy in the 21st century A New Program for Graphic Design is the first communication-design textbook expressly of and for the 21st century. Three courses--Typography, Gestalt and Interface--provide the foundation of this book. Through a series of in-depth historical case studies (from Benjamin Franklin to the Macintosh computer) and assignments that progressively build in complexity, A New Program for Graphic Design serves as a practical guide both for designers and for undergraduate students coming from a range of other disciplines. Synthesizing the pragmatic with the experimental, and drawing on the work of Max Bill, György Kepes, Bruno Munari and Stewart Brand (among many others), it builds upon mid- to late-20th-century pedagogical models to convey contemporary design principles in an understandable form for students of all levels--treating graphic design as a liberal art that informs the dissemination of knowledge across all disciplines. For those seeking to understand and shape our increasingly networked world of information, this guide to visual literacy is an indispensable tool. David Reinfurt (born 1971), a graphic designer, writer and educator, reestablished the Typography Studio at Princeton University and introduced the study of graphic design. Previously, he held positions at Columbia University Graduate School of Architecture, Planning and Preservation, Rhode Island School of Design and Yale University School of Art. As a cofounder of O-R-G inc. (2000), Dexter Sinister (2006) and the Serving Library (2012), Reinfurt has been involved in several studios that have reimagined graphic design, publishing and archiving in the 21st century. He was the lead designer for the New York City MTA Metrocard vending machine interface, still in use today. His work is included in the collections of the Walker Art Center, Whitney Museum of American Art, Cooper Hewitt National Design Museum and the Museum of Modern Art. He is the co-author of Muriel Cooper (MIT Press, 2017), a book about the pioneering designer.

'Truly something that's just a beautiful, slick, and very enjoyable little publication' – CreativeBoom "Graphic Design Play Book features a variety of puzzles and challenges, providing a fun and interactive way for young visual thinkers to engage with the world of graphic design" – Eye Understand how graphic design works and develop your visual sensibility through puzzles and activities! An entertaining and highly original introduction to graphic design, the Graphic Design Play Book uses puzzles and visual challenges to demonstrate how typography, signage, logo design, posters and branding work. Through a series of games and activities, including spot the difference, matching games, drawing and dot–to–dot, readers are introduced to graphic art concepts and techniques in an engaging and interactive way. Further explanation and information is provided by solution pages and a glossary, and a loose–leaf section contains stickers, die–cut templates, and coloured paper to help readers complete the activities. Illustrated with typefaces, poster design and pictograms by distinguished designers including Otl Aicher, Pierre Di Sciullo, Otto Neurath and Gerd Arntz, the book will be enjoyed both by graphic designers, and anyone interested in finding out more about visual communication. An excerpt from the book: How many ways are there of saying 'hello'? Probably a zillion. And there are surely just as many ways of writing it. In CAPITALS, and with an exclamation mark ! Or with a question mark ? Or maybe both ?! As a tiny black word in the middle of a white page; or with large, multi–coloured, dancing letters ; maybe with a simple shape or an image. Being interested in graphic design means looking at and understanding the world around us. And being aware of the multitude of signs that shape our daily life day after day and freight it with meaning – whether it's a stop sign, a cornflakes packet, a psychedelic album cover, a seductive headline on the cover of a magazine, the more subtle typography of a page in a novel, a flashing pharmacy sign or the credits of a sci–fi film. Thinking about this plethora of signs was what led us to conceive this introduction to graphic design as a collection of beacons and benchmarks – as a toolbox for exploring and learning in a simple and intuitive way through play, alone or with others, whether you're a child or an adult. These are experiments, a series of suggestions, with no right or wrong answers. The four sections of this book – typography, posters, signs, identity – are all invitations to dive in, explore and let your eyes and your hands take you on a voyage of discovery! – Sophie Cure and Aurélien Farina

"Examples of well-known projects abound - ranging from newspapers and magazines to toys, textiles, interiors, posters, and CD covers. If you've ever seen the menu at Windows on the World, used a bottle of ketchup from Grand Union, or read the playbill for Tony Kushner's Angels in America, you've been privy to the conceptual thinking of a powerful force in design."--BOOK JACKET.

Helmut Krone led the Creative Revolution which changed advertising. Forty years after he'd created the Volkswagen Beetle campaign it was voted `the most famous campaign ever'. His work is in the Museum of Modern Art and the Smithsonian. He has been inducted into Art Directors' Halls of Fame from New York to Berlin. Before Helmut Krone advertising art direction was either `old' commercialised art or `new' graphic design. And advertising was thought of as salesmanship. His thinking led into account planning, affected marketing and changed the design of ads. Krone gave us ads which command attention, are witty, understated and demand complicity to decode. He questioned all of advertising's formal devices: logotypes, headlines, body-copy and studio photography. He explored the tensions between the meanings of words and the meaning of images - still the way modern advertising gets us to realise new thoughts. The book shows nearly all of Krone's print work: graphic designs which modernised advertising and art direction - and changed graphic design.