Rockport Publishers 2013 Design Catalog

RockpoRt publisheRs100 Cummings Center, suite 406-LBeverLy, mA 01915www.roCkpuB.Com

isBn-13: 978-1-59253-900-0 item # 213531

ROCKPORT

THE COMPLETE DESIGN LIST20

13

publishers

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InspIratIon, Ideas, & opInIons from desIgn fanatIcs RockPaperInk is a place for designers to come together to share their opinions, creations, and passion for the field. From graphic art to fashion, architecture, and beyond, every topic is fair game, and each contribution builds on the sense of community headed by our experts from around the world. More than anything, this is a spot to foster dialogue about everything design and get inspired by the views, ideas, and hair-pulling conundrums of your fellow creators. Join the conversation at www.rockpaperink.com.

“Designed for those fanatical about design, RockPaperInk doesn’t disappoint.” —Communication Arts magazine

rocKport’s new app for the ipadRockport has always provided designers with outstanding inspi-rational and educational reference book content and now designers can browse and shop for titles in e-book format through a new app for the iPad. The app fully preserves and respects the visual complexity of our books, supporting both portrait and landscape presentation with a full suite of features to enhance the read-ing experience. Users can download free previews and then purchase complete e-books instantly. Visit the App Store to download.

rocKport eBooKsRockport books are also available as e-books through a wide selection of e-book retailers, wholesalers, and aggregators.


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BEST SELLING TITLES Universal Principles of Design & Universal Methods of Design ...........6-7

LogoLounge Series .............................8-9

Design Elements ..............................10-11

Best of Series ..................................12-13

Graphic Design, Referenced, Typography, Referenced & Fashion Design, Referenced ..........................14-15

Color Harmony Compendium ..........16-17

Making and Breaking the Grid ..........18-19

The Graphic Designer’s Electronic-Media Manual & Interactive Design ........................ 20-21

www.rockpub.comwww.rockportpub.co.uk

BOOKS BY CATEGORY Design Fundamentals ......................25-27

Typography .....................................28-29

Color & Pattern Design ....................30-33

Logos & Identity ..............................34-37

Packaging & Branding .....................38-39

Grids & Layout .....................................40

Publication Design Reference ............... 41

Corporate Communications ............42-43

Portfolios & Promotions ..................44-45

Research & Information Graphics .........................................46-47

Working Designers ...............................48

General Design & Creativity .............49-50

Art & Illustration ................................... 51

Architecture, Interior Design & Product Design ............................52-54

Fashion Design ...............................55-57

BOOKS BY SERIES

1,000 Series ................................... 61-63

Annuals ..........................................64-65

Best of Series .................................66-67

Design: Series......................................68

Design Elements Series ........................69

Design Matters Series ..........................70

Essentials Series .................................. 71

Fashion Illustration Series ....................72

Letterhead & Logo Design Series .........73

LogoLounge Series .........................74-75

Reference & Specification Book Series .........................................76

Workbook Series ..................................77

SPRING 2013 TITLES ..................78-79INDEX ...........................................80-82CONTACT INFORMATION............83-84DESIGN BOOKSTORES ...............85-87DESIGN ASSOCIATIONS .................88

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TABLE OF CONTENTS

= These titles are recommended by the publisher for course adoption



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ROCKPORT

BEST SELLING TITLES1


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Mimicry 157

MimicryThe act of copying properties of familiar objects, organisms, or environments in order to realize specific benefits afforded by those properties.

In nature, mimicry refers to the copying of properties of familiar objects, organisms, or environments in order to hide from or deter other organisms. For example, katydids and walking sticks mimic the leaves and branches of plants to hide from predators, and the viceroy butterfly mimics the less tasty monarch butterfly to deter predators. In design, mimicry refers to copying properties of familiar objects, organisms, or environments in order to improve the usability, likeability, or functionality of an object. There are three basic kinds of mimicry in design: surface, behavioral, and functional.

Surface mimicry is defined as making a design look like something else. When a design mimics the surface aspects of a familiar object, the design implies (by its familiar appearance) the way it will function or can be used. An example is the use of computer software icons that are designed to look like folders and documents.

Behavioral mimicry is defined as making a design act like something else (e.g., making a robotic dog act like a real dog). Behavioral mimicry is useful for improving likeability, but should be used with caution when mimicking complex behaviors from large repertoires. For example, mimicking behaviors like smiling generally elicit positive responses, but can give the impression of artificiality or deceit if inconsistent with other cues (e.g., a baby doll that smiles when touched—or spanked).

Functional mimicry is defined as making a design work like something else. Functional mimicry is useful for solving mechanical and structural problems (e.g., mimicking the keypad of an adding machine in the design of a touch tone telephone). Significant insights and rapid progress can be achieved by mimicking existing solutions and design analogs. However, functional mimicry must be performed with caution since the physical principles governing function may not transfer from one context to another or from one scale to another (e.g., early attempts at human flight by flapping wings).

Mimicry is perhaps the oldest and most efficient method for achieving major advances in design. Consider surface mimicry to improve usability, ensuring that the perception of the design corresponds to how it functions or is to be used. Consider behavioral mimicry to improve likeability, but exercise caution when mimicking complex behaviors. Consider functional mimicry to assist in solving mechanical and structural problems, but also consider transfer and scaling effects that may undermine the success of the mimicked properties.

See also Affordance, Anthromorphic Form, Baby-Face Bias, Convergence, Savanna Preference, and Scaling Fallacy.

156 Universal Principles of Design

The history of mimicry in design likely pre-dates the development of tools by early humans. The seminal work on mimicry in plants and animals was performed by Henry Bates and Fritz Muller in the late 1800s.

See, for example, The Design of Everyday Things by Donald Norman, Doubleday, 1990.

See, for example, Designing Sociable Robots by Cynthia L. Breazeal, MIT Press, 2002; and “The Lovable Cat: Mimicry Strikes Again” in The Throwing Madonna: Essays on the Brain by William H. Calvin, iUniverse, 2000.

See, for example, Biomimicry: Innovation Inspired by Nature by Janine M. Benyus, William Morrow & Company, 1998; and Cats’ Paws and Catapults: Mechanical Worlds of Nature and People by Steven Vogel, W. W. Norton & Company, 2000.

Trash Recycle Bin Documents Work Document Data.txt

The Mimic Octopus is capable of both surface and behavioral mimicry, in this case changing its pattern and texture, and hiding all but two legs in order to mimic the highly poisonous Sea Snake.

The Sony AIBO mimics many key canine behaviors—barking, wagging tail—leveraging the positive feelings many people have for dogs to make the design more appealing.

Mimicry is an effective strategy to begin exploring a design problem, but it should not be assumed that mimicked solutions are correct or best. For example, the early design of the phone keypad mimicked the keypad of adding machines. Usability testing by researchers at Bell Laboratories suggested that an inverted keypad layout was easier to master. Bell decided to abandon the mimicked solution and establish a new standard for telephones.

Surface mimicry is common in the design of software icons and controls. Even to those unfamiliar with the software, the familiar appearance of these objects hints at their function.

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162 Universal Principles of Design

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Most Advanced Yet Acceptable 163

A method for determining the most commercially viable aesthetic for a design.1

What does it mean to create a successful design? Some define success in terms of aesthetics, others in terms of function, and still others in terms of usability. The noted industrial designer, Raymond Loewy, defined success in terms of commercial performance — that is, sales. By this standard, Loewy believed that aesthetic appeal was essentially a balancing act between two variables: familiarity and uniqueness — or, in modern psychological parlance, typicality and novelty — and to find the optimal balance between these variables was to find the commercial sweet spot for success. According to Loewy, the sweet spot could be identified using the Most Advanced Yet Acceptable (MAYA) principle, which asserts that the most advanced form of an object or environment that is still recognizable as something familiar will have the best prospects for com-mercial success. Though Loewy generally equated “most advanced” with “most streamlined,” a more accurate modern interpretation would be “most novel.”

Although MAYA clearly has pragmatic appeal, the question as to its correctness is an empirical one, and a growing body of research supports the principle. People do indeed like the familiar, an observation supported by the exposure effect, which claims that the appeal of objects and environments increases with repeated exposures. People also like the novel, especially within design and fine art circles — two communities that tend to value originality above all else. Additionally, people tend to notice and remember novelty greater than typicality, a phenomenon known as the von Restorff effect. Research assessing the relative value of typicality and novelty suggests that the two variables seem to weigh about equally in influencing perceptions of aesthetic appeal. The last question is whether MAYA’s proposed point along the familiarity-novelty continuum is the ideal one, and there is good evidence that Loewy got it pretty much right. When dealing with everyone but design and art experts, the most novel design that is still recognizable as a familiar object or environment is perceived to have the greatest aesthetic appeal.

Consider MAYA when designing for mass audiences. When introducing innovative products that define a new category, consider incorporating elements that reference familiar forms. In contexts where aesthetic assessments are made by design or art experts (e.g., design competitions refereed by expert judges), MAYA does not apply —in these cases, emphasize novelty, as it will be weighed more heavily than typicality.

See also Exposure Effect, Normal Distribution, and von Restorff Effect.

Also known as MAYA.

The seminal work on MAYA is Never Leave Well Enough Alone by Raymond Loewy, The John Hopkins University Press, 1951.

“‘Most Advanced, Yet Acceptable’: Typicality and Novelty as Joint Predictors of Aesthetic Preference in Industrial Design” by Paul Hekkert, Dirk Snelders, and Piet C.W. van Wieringen, British Journal of Psychology, 2003, vol. 94, p. 111–124. See also “Exposure and Affect: Overview and Meta-Analysis of Research, 1968–1987” by Robert Bornstein, Psychological Bulletin, 1989, vol. 106, p. 265–289.

Though familiarity and typicality are similar and generally correlate, they are distinct. Familiarity refers to the level of past exposure (e.g., a person sees a juicer every day). Typicality refers to how recognizable a thing is for its type (e.g., a new juicer is recognizable as a juicer based on the appearance of past juicers).

The traditional four-legged upholstered chair served as the basic cognitive prototype for office chairs for more than fifty years.

The Aeron chair, introduced in 1992, stretched this cognitive prototype for most consumers. Its novel form and high price were not acceptable to most at that time. It would take several years for norms to adjust and allow the Aeron to become widely accepted.

The Variable Balans was introduced in 1976. Its highly unique form and approach to active sitting continues to be too different for most consumers, garnering positive attention almost exclusively from the design community where novelty is more highly valued.

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QuantitativeQualitative

BehavioralAttitudinal

52 Universal Methods of Design

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ParticipatoryObservationalSelf reportingExpert reviewDesign process

ExploratoryGenerativeEvaluative

InnovativeAdaptedTraditional



ReseaRch MethoD

23 CrowdsourcingCrowdsourcing occurs when an undefined, large group of people (a “crowd”) voluntarily responds to an open call and completes tasks and microprojects.1

experienced researchers know that planning research takes effort, time, and money to align the

necessary tools, participants, and resources. When extra care is taken to properly devise remote

user evaluation tasks and experiments, the method of crowdsourcing can be used to elicit a large

quantity of data from real people in less time.

Crowdsourcing leverages the “strength of weak ties” in a decentralized model that brings together

users and testers—members of the crowd—to evaluate prototypes and submit potential solutions

to problems. The “microtasks” that are assigned to volunteers are specifically structured to focus

the degree and the nature of effort required from volunteers. A microtask is defined as a short

task—either qualitative or quantitative—that is accessed via a common platform, and that can be

completed by volunteers within just a few seconds or minutes. once completed, the participants

receive some sort of compensation, which can be either monetary (a micropayment) or nonmon-

etary (e.g., reputation points).

like most research methods, time and care taken in the design of crowdsourcing evaluations can

serve the team well when collecting and analyzing data downstream. When planning crowdsourc-

ing evaluations and microtasks, there are some key design recommendations to consider. First,

uncomplicated tasks seem to get the most volunteers to participate, so design tasks to be straight-

forward. Be sure to include questions that have a bona-fide answer as part of the task. not only will

this prevent volunteers from “gaming” the system by entering nonsense that minimizes their time

investment while increasing how much they are rewarded, but also it can help teams to flag suspi-

cious responses as potentially invalid. devise the tests so that completing them correctly and

in good faith requires as much or even less work than entering random, invalid responses.

If your stakeholders value quantitative data and require large, statistically relevant samples to take

user-centered research seriously, consider using crowdsourcing as a “gateway” method to open

their eyes to the potential of other user-centered research methods. Having access to a global

crowdsourcing community has both benefits and drawbacks: on one hand, crowdsourcing provides

an opportunity for teams to gather and generalize results to represent a more varied, diverse

population. on the other hand, there is a lack of demographic information provided by testers, not

to mention other unknowns regarding their expertise or intentions. Ideally, to hedge against these

drawbacks, consider triangulation to increase confidence of research outcomes.

1. The term “Crowdsourcing” is a

portmanteau of the word “crowd” and the

business word “outsourcing.” Jeff Howe

coined it in “The rise of Crowdsourcing,” a

2006 wired magazine article.

2. Kittur, Aniket, ed H. Chi, and Bongwon Suh,

Palo Alto research Center. “Crowdsourcing

for Usability: Using Micro-Task Markets

for rapid, remote, and low-Cost User

Measurements,” 2007, www.clickadvisor.com

3. See note 1 above.



Further Reading

Howe, Jeff. crowdsourcing: why the power of

the crowd is driving the future of business.

new York: Crown Business, 2009.

Quinn, Alexander J., and Benjamin B.

Bederson. “A Taxonomy of distributed

Human Computation.” university of maryland

technical report, 2009.

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See also 05. Automated Remote Research • 64. Photo Studies • 91. Triangulation

Using crowdsourcing, frog's frogmob invites

people from all over the world to upload their

photographs of interesting trends to inform and

inspire designers. The images come together to

tell a compelling narrative of how people live in

their environments, how they visualize concepts,

and the ways in which artifacts create meaning in

people’s every day lives.

courtesy of frog, frogmob.frogdesign.com


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UNIVERSAL PRINCIPLES OF DESIGN & UNIVERSAL METHODS OF DESIGN

For more information, see pages 27 and 46



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These highly-organized and easy-to-navigate reference books support cross-disciplinary thinking and problem solving. Design concepts and research methods are paired with compelling visualizations that illustrate them in practice.

BEST SELLING TITLES

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“Universal Principles of Design reveals the driving forces behind human motivation and brings the designer to an understanding of the intuitive. These principles aren’t guesswork. They’re real, based on sound research, and they work.” — Chair of Graphic + Interactive Communication Department, Ringling College of Art and Design

“Universal Methods of Design functions as a great reference when we hear of a method none of us is familiar with, but more importantly it’s an excellent “unsticker” when we run into a challenge in the design or analysis of a study. This is a book that every research team should have on hand.” -UX Magazine



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Design Firm

Client

Project

Very often, a new logo design comes with a new name. Brands seeking

a fresh start are advised to first seek a new brand name, and out of this a

logo can be born.

This was the case with the Perth Zoo’s successful Twilight Concert Series.

The park had been offering summer concerts on its grounds for more than

one hundred years. When a new promoter was brought in to expand the

series with higher-profile acts appealing to an older demographic, it was

time for an identity change.

The first step The Brand Agency, based throughout Western Australia, took

when designing a logo for the new series was to rethink the name. “Twilight”

had grown overused. After wading through many possibilities, the team

settled on “Nocturnal Concerts at the Zoo,” as it tied in with the concert

setting—nighttime at the zoo with all the animal intrigue this implied—as

well as a certain level of adult sophistication.

“It was quickly established that we were trying to target a demographic

who were seeking a safe and comfortable environment to enjoy quality, live

entertainment,” explains Daniel Agostino, head of design at the agency’s

Perth office. “They would much prefer the relaxed surroundings of the

zoo’s location to a packed auditorium or crammed pub environment. It also

needed to reflect a level of fun one would expect from being at the zoo as

well as showcase a feeling of a relaxed West Australian summer’s night.”

Early on, the team had the idea to create a suite of logos that could be

ever-changing and flexible yet still remain part of an overarching “family,”

as Agostino calls it. “This can add another level of depth and dimension

to a brand, keeping the viewer entertained by what it will become next,”

he says.

The Brand Agency team also knew it wanted a layered identity to repre-

sent the event’s many characteristics: music, nighttime, summer, and of

It was quickly established that we were trying to target a demographic who were seeking a safe and comfortable environment to enjoy quality, live entertainment.

The new identity for “Nocturnal Concerts at the Zoo” appears in

bus-shelter advertisements and as stage decoration at the con-

certs themselves.


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A suite of logos can add another level of depth and dimension to a brand, keeping the viewer enter-tained by what it will become next.

course, the animals. It outlined a number of different directions, including

constellations in a night sky, nocturnal animal calling signs, and the shapes

of musical instruments.

Of the directions, the image of the vinyl record stood out. Not only did

it link to the demographic, who would certainly connect with the icon

more so than, say, today’s iPod generation, but also the team could tie the

The Brand Agency created a suite of logos for Perth Zoo’s “Nocturnal Concerts at the Zoo” series that could be ever-changing and flex-

ible yet still remain part of an overarching family.

aesthetic elements of a record to a full summer moon against a backdrop

of star trails.

With the basic route determined, the designers played more thematically

with color and with animal shapes embedded in the central “moon.” They

chose Dez Boulder Id for the word type because of its bold, fat character-

istics, which link well to the feel of vinyl and recall the lettering of album


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58 LogoLounge 7

The team experimented with different names for the series, which

inspired different logo trials, before arriving at “Nocturnal Concerts

at the Zoo.”


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59

covers. The typeface is understated and so does not compete with the

icon itself.

Ultimately the font needed to create a solid foundation but really take on a

supporting role. The circular forms bring a feeling of repetition that again

links to the circular form of the logo shape, and a splash of color added to

the inside of the letter O gives a small nod to the color of each record label.

“The logo encourages people to discover more,” says Agostino. “So many

who look at it see only one or two elements. For example, they might

only focus on the silhouette of an animal against a bright-colored moon,

but later they recognize that it also looks like a vinyl record. On another

glance they might see star trails in the night sky, or even a different animal

altogether. Over time, they discover more and more, and the reaction is

always a positive one.”

The variation-on-a-theme approach worked perfectly with the series, so

that each concert would have a certain measure of individuality and person-

ality. And, with the ability to add new “albums” to the suite each summer,

the system allows for greater longevity. With the accumulation of slightly

different album covers, the identity will gradually become quite eclectic,

rather than static.

“I love design that challenges, and almost invites, the viewer to keep look-

ing and keep discovering,” Agostino continues. “If you can do it at the initial

branding level, then it has the potential to add so much more depth to each

and every level of application. Why does a logo have to be this one static

mark that always appears in the same way, shape, and form? Why can’t it

come to life and change, yet still represent the same thing?”

The logo launched in the Australian summer of 2010/11, with six concerts

held between November and February, and was used across a wide variety

of print, press, and online applications.

Sketches for the logo mark played with a number of different

“characters” at the center of the album image.


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1

2

3

4

5

B C D

1C 1D

2A 2B 2C 2D

3A 3B 3C 3D

4A 4B 4C 4D

5A 5B 5C 5D


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2

3

4

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A B C D

1A 1B 1C 1D

2A 2B 2C 2D

3A 3B 3C 3D

4A 4B 4C 4D

5A 5B 5C 5D


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LOGO SEARCH

Keywords

Type: Symbol Typographic Combo All

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Initials

D DOXA C Assisting Single Parents in Reaching Education D Gizwiz Studio C AETERNA

D Face. C Agent D One Man’s Studio C Anna Jones Photography D Glad Head C Advance Inform D Gavula Design Associates C Ani Villas

D Studio Absolute C Mary F. Anderson, PC D vanillashake media C Acadia Real Estate Properties D Gehring Co. C Adaptor D petervasvari.com C ACTUART

D Studio French C Anchor Publishing D Matto C Altorius Community of Catholics D Chris Trivizas | Design C Stellas Philotheos D LPA C Creative Arts Alliance

D entz creative C Vanessa Williams D notamedia C Actual Comments D J.D. Gordon Advertising C All Power, Inc. D fallindesign C Vladimir Afanasenko

D = Design Firm C = Client


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D Gizwiz Studio C Beebe Commercial D Ninet6 Ltd. D Hellofolio s.r.o. C Endresz Boldizsar D Principals Pty Ltd. C The Bionics Institute of Australia

D Emilio Correa C Arteis, Inc. D BRAND BROTHERS C La Boqueria D Worthen Design C Bid Boomerang D FutureBrand BC&H

D Poppyseed Creative C Jeff Boerboon Aerobatics D Lemon Design Pvt Ltd. C Brahma Group D The Netmen Corp C Bounce D The Martin Group C LH Brubaker Appliances

D Worthen Design C Bennett and Porter D Brook Hagler C Circle Craft D Studio Ink C OpenCandy D Hayes Image C Candysource

D J Fletcher Design C Celadon D Steve Biel Design C Careers Industries D Tandem Design Agency C Cone Drive D 01d C Blue Whale



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LOGOLOUNGE SERIES

For more information, see pages 34-36 and 74-75



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Each volume in the popular Logo-Lounge series brings together a diverse collection of thousands of new logos from top designers around the world. The logos are organized by visual categories for easy reference. The LogoLounge Master Library books feature expanded and highly focused collections of logos in areas such as initials and crests, animals and mythology, and shapes and symbols. Available in hardcover, paperback and pocket-size mini editions, the Logo-Lounge series provides designers with invaluable sources for inspiration and resources for design solutions.

BEST SELLING TITLES

1



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DESIGN ELEMENTS




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With hundreds of tips and examples, this is the most complete manual available outlining the basic principles of layout, typography, color usage, space, image, and how to put it all together. Design Elements was created with the design student in mind. The instructional and informa-tive imagery make this the perfect text for designers to learn the funda-mental skills that contribute to successful design.

BEST SELLING TITLES

1

“Design Elements is a great overview and loaded with images, layouts, and great advice. I am definitely requiring it for my class.” —Professor, Iowa State University’s College of Design

“The first day I started reading Design Elements, I realized it would be perfect for my students. This book is a must have in the library.”—Instructor, Art Center College of Design



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Marc O’Brien

Marc O’Brien

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Marc O’Brien

Marc O’Brien

Cougar Bright White 130 lb. Cover


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KEY CHARACTERISTICS

NoTES

SWEEToUSBACKUS

The ancestors of Cardious de Business were commonly simple and distinctly conservative. As time passed, the need for a card to distinguish itself from the pack became increasingly important—a proverbial survival of the fittest. A certain species of cards—Sweetous Backus—rose to the occasion. They grew colorful, creative backsides to attract attention to themselves. Their numbers flourished as more and more of these creatures began to adopt similar practices. We have captured the best examples from the creative arms race to exhibit the most interesting two-sided creatures.

• Two sided

• Often Full bleed

• Patterns or Images

• Colorful & Attractive

• Unexpectedly Expressive

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BEST OF SERIES

For more information, see pages 34, 41-42, 66-67 and 78



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These go-to sourcebooks for brochure, business card, cover, letterhead and logo, and news design feature innova-tive collections of the most current and best work by internationally acclaimed designers. Each highly visual volume offers hundreds of ideas, pages of inspiration, and armloads of advice. Professional designers, corporate executives, and students will want to have these essential resources on their bookshelf to refer to again and again.

BEST SELLING TITLES

1

Opposite page: The Best of Business Card Design 9

13



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knowledge102 on paper journals and magazines

Conceived as an off shoot of Print › 94 in 1985, HOW was origi-

nally billed as “The Magazine of Ideas and Technique in Graphic Design,” and its primary focus was how-to articles. In 1989, when it was purchased by Cincinnati-based F + W Publications and Laurel Harper became editor, the magazine shifted to a more general focus on business and creativity.

Since then—and with a change of the editorial guard in 1998 to Bryn Mooth, who had been a staff member since 1990—HOW has established itself as a lively resource for business and career advice as well as some of the most energetic work from the United States. It has been able to extend that attitude and persona to the popular Design, Mind Your Own Business, and In-HOWse Designer conferences.

HOW

HOW MAGAZINE / cover art direction, Tricia Bateman / Photos: Hal Barkan

STEP-BY-STEP GRAPHIC S MAGAZINE / USA, 1990, 1999STEP INSIDE DESIGN MAGAZINE / USA, 2002, 2008, 2008

With more than six years in its second incarnation as STEP inside design, it might

be easy to forget that, from 1985, when it was fi rst published, to 2002, it was called Step-by-Step Graphics, and its content was primarily a literal interpretation of its name, highlighting the skills and techniques of graphic design. Originally intended to serve designers looking to embrace desktop publishing and the possibilities of the computer, the scope of

content became less relevant as the industry matured, leading to changes in name, design, and editorial approach to cover the creativity behind the design and the professionals who make it happen. Overseeing this transition was Emily Potts, the magazine’s editor from 1998 to 2006; she established a dynamic publication later headed by Tom Biederbeck. One of the magazine’s most popular and unique issues was the “STEP 100 Design Annual,” a selective compendium chosen from up to 3,000 entries. In 2009 STEP ceased publication.

STEP inside design

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Referenced Page:102

@IssueAround 1986, writer Delphine Hirasuna and Pentagram › 162 partner Kit Hinrichs attempted to fi nd a publisher for a proposed magazine. They envisioned a bridge between designers and corporate clients, addressing the ever-present perception that neither party clearly understands what each other contributes to their intended collaboration. Not until 1994, when Hinrichs mentioned the idea to the new marketing manager of Potlatch papers, did they fi nd someone to underwrite the project. The Corporate Design Foundation, founded in 1985, got involved as the offi cial publisher of @Issue: Journal of Business and Design. Since 1995, with Hirasuna as editor and Hinrichs as creative director, @Issue has been publishing real-life case studies that bring to life the original concept with incisive interviews and overviews of de-signers and clients working together. Off ered by subscription only, its circulation is a remarkable 100,000 as of its latest issue. With the success of the magazine, a spinoff conference was started in 2006, with designers and clients speaking jointly about specifi c projects and further cementing the relationship between business and design.

on paper journals and magazines knowledge 103

Photography, Stephen Smith / 2006

Illustration, Gerard DuBois / 2005 Photography, Gerald Bybee / 2001

Illustration, Michael Schwab / 2002

Illustration, John Hersey / 1998

@ISSUE MAGAZINE / Pentagram: Kit Hinrichs / USA

EYE MAGAZINE / UK

Through two decades of publishing, starting with its founding in

1990 by British writer and critic Rick Poynor › 237, Eye has established itself as one of the most diverse design publications. It continually delves deeply into the past, present, and future of graphic design with incisive, critical, and challenging writing from a multitude of writers around the world. In 1997, Dutch writer and editor Max Bruinsma › 237 took on the editorial re-sponsibilities, and in 1999, music industry writer John Walters became the editor. Comparable in attitude to its writing, the design of the magazine has rarely settled for conventions, with a unique editorial design approach developed quite boldly between 1997 and 2005 by creative director Nick Bell and now extended by art director Simon Esterson. In 2008, Walters purchased the magazine from Haymarket Brand Media, the latest of four publishers and owners of the magazine, now self-publishing through Eye Magazine Ltd, a new company established with Esterson and business director Hannah Tyson.

Eye

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83Fundamentals SpecializationsThe System

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handbag, Gucci factory,

Casellina, 2009 • Above

Classic Hermès handbags

Left Prada, Spring/

Summer 2011


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84 Fundamentals SpecializationsThe System

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Blahnik, 2007

Above Manolo Blahnik

advertisement, 2004


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GRAPHIC DESIGN, REFERENCED,TyPOGRAPHy, REFERENCED & FASHION DESIGN, REFERENCED

For more information, see pages 27, 29 and 56



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15

The books in this series chronicle and examine the history of graphic design, typography, and fashion design. Each book is richly illustrated with 1,000 photographs and drawings.

BEST SELLING TITLES

1

Graphic Design, Referenced and Typography, Referenced have both been named Outstanding Academic Titles by Choice magazine.

“Graphic Design, Referenced is highly recommended for design students.” —Library Journal

“Typography, Referenced is a beautifully illustrated and superbly designed compendium of typographic history, language, and practice. Highly recommended.” —Choice magazine



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COlOR HARmONy COmPENDIum

For more information, see page 30



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17

BEST SELLING TITLES

1

This is the most comprehensive reference book on the usage of color available today. It provides expert advice and insight into how color works, what can be achieved with the right color choices, and how to deter-mine what the right color combination is for any project whether it’s being printed, packaged, or posted online. An interactive CD-ROM is included that allows users to choose layouts, logos, and package designs featured in the book, experiment with colors, and print them for reference.



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mAkING AND BREAkING THE GRID




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BEST SELLING TITLES

1

Making and Breaking the Grid is a comprehensive layout design workshop that assumes that in order to effectively break the rules of grid-based design, one must first understand those rules and see them applied to real-world projects. With this book, designers who haven’t formally been introduced to grid use, or who usually avoid using them, may find inspiration to pursue new methods; designers who always use grids may reevaluate the organizing potential of more organic or spontane-ous structures. To students, this book can be a valuable resource for seeing a diversity of related work in context.



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1By reading the content, a designer takes the first step toward developing a concept, a key ingredient in successfully solving any visual problem. Whether you’re designing a large-scale enterprise site with a massive amount of content or a microsite with a minimum amount, you should read and analyze all of the material that could, should, or will go into the site design. Researching outside and in addition to the given material is also worthwhile, and is not limited to market-related materials, brand position-ing, trend analysis, and media use. Consider a full SWOT (Strengths, Weaknesses, Opportunities, Threats) analysis to fully plan and evaluate the job.

2Designers have always had to understand the audience and how they will engage with the material. Understanding consumer behavior, brand loyalty, reading habits, learning styles, and the bevy of factors that play into those issues and influences are just some of the ways that designers can begin to define users’ anthropological makeup.

By specializing in marketing and design for the sports, hospitality, and entertainment industries,

carbonhouse understands how to create engaging visual communications for venues such as the

Memphis Orpheum Theatre and Cleveland PlayhouseSquare.

Know the Material

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2Designers have always had to understand the audience and how they will engage with the material. Understanding consumer behavior, brand loyalty, reading habits, learning styles, and the bevy of factors that play into those issues and influences are just some of the ways that designers can begin to define users’ anthropological makeup.

If given the choice between a text-heavy website with static photographs and an interactive

online game, most Red Bull drinkers would opt for the latter. Archrival understood this, and

developed an entertaining online game that pulled consumers closer to the brand. For the

Travis Pastrana Super Mega Nitro Jump game, Archrival put users into the action of riding

a dirt bike, speedboat, donkey, magic carpet, golf cart, and even more ridiculous vehicles.

Know the Audience

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3 4Understand the ScopeAsk a number of questions at the outset in order to determine project control, implementation, and finalization. How much work needs to be done? What amount of text and imagery will go into the design? Who supplies that material? Where will it all reside? What updates, if any, will need to be made over time? And what about a timeline, and any foreseeable delays? Throughout this analy-sis, keep quality in mind, along with the team makeup and creative process that ensures it. And be wary of people adding things to an already-defined project that will create what’s known as scope creep.

Gantt charts assign tasks to days, or in this case weeks, to give a visualization of the project components. Steps can

include gathering, discovery, problem understanding, calendar definition, team building, design, revisions, and final

outcome. Certain tasks can get color coded and assigned to teams, and critical tasks may receive hot colors such

as red or orange. Tasks may push forward or backward to adjust for internal and external factors. In some cases, the

final outcome isn’t always foreseeable.

week 1 2 3 4 5 6 7

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Design, development, and release can lead to ongoing coding, and fixing. These iterative and

overlapping steps may happen repeatedly because of fluctuating user needs, text or image content,

and hardware or software changes.

Understand the Final ProductionTraditional designers who work predominantly in printed media know the specifics of building a document that’s press-ready, specifying the right paper, getting bids on a job, and seeing the design through the printing and delivery process. Electronic media has its own final production process with checkpoints in place to meet the end goal and quality concerns. The five key checkpoints, in addition to visual design, include implementation, testing, documentation, launch, and mainte-nance. During implementation, developers program the site so that it functions. Testing investigates how the site operates on browsers and the ways users interact with it. Documentation collects all of that infor-mation and analyzes it in order to aid in the launch and maintenance. Finally, designers may have to come to grips with the word final, as Eric Karjaluoto explains: “Designers have to become more accustomed to the notion of defined job ‘cutoffs.’ When a print job goes to press the changes end; on a website they seemingly never have to. As such, designers have to clearly note when the scope of a project has come to a close, and address additional content changes and software/media upgrades as separate (billable) projects.”

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100 u s e r e x p e r I e n c eB a c kg r o u n d sour online survey for user–experience (uX) professionals asked three questions: What is the professional background that led to your uX position? Where do you live? What is your current job title?

in the interest of full disclosure, this survey hardly met the guidelines required by the scientific method. “professional background,” for example, is a little vague. but as we expected, the results indicated a varied range of backgrounds for this profession. As colleges and universities continue to develop programs to meet the needs of interactive design, this landscape may well shift, becoming something that more people engage in at an earlier age.

We found the variety of job titles included in the survey interesting. Many were expected, such as director of user experience, uX design lead, and information architect. however, titles such as front-end developer, design director, and computer engineer were a little less obvious, suggesting perhaps that a certain degree of uX proficiency is now expected in other interactive professions. our favorite title: hackstar.

As digital design continues to expand, new professions will grow out of its changing needs. For example, a survey about content strategists or social media managers may well have revealed a similar diversity of backgrounds and titles. the field is changing all the time. you may look back one day and be surprised at how your job as a designer has evolved.

locAtioNs oFPartiCiPants

samples includedengineering, Anthropology,

broadcast Design, economics,and information sciences

illustration by William Ranwell

pRoFessioNAl bAckGRouND oFPartiCiPants


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We found the variety of job titles included in the survey interesting. Many were expected, such as director of user experience, uX design lead, and information architect. however, titles such as front-end developer, design director, and computer engineer were a little less obvious, suggesting perhaps that a certain degree of uX proficiency is now expected in other interactive professions. our favorite title: hackstar.

As digital design continues to expand, new professions will grow out of its changing needs. For example, a survey about content strategists or social media managers may well have revealed a similar diversity of backgrounds and titles. the field is changing all the time. you may look back one day and be surprised at how your job as a designer has evolved.

graPhiC Design

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LiberaL arts

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locAtioNs oFPartiCiPants

samples includedengineering, Anthropology,

broadcast Design, economics,and information sciences

uNiteD stAtesportlandseattlesan Franciscolos AngelesMountain Viewpasadenasanta MonicaMinneapolis

st. paulchicagoAtlantaAustinburlingtonRochesterNew yorkbrooklynWashington, Dc

cANADAtorontoMontrealVancouver

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tuRkeyistanbuluNiteD kiNGDoMlondonsouth AFRicAcape town

iNDiAhyderabadAustRAliAsydneyGeelongMelbourne

illustration by William Ranwell

pRoFessioNAl bAckGRouND oFPartiCiPants


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THE GRAPHIC DESIGNER’S ElECTRONIC-mEDIA mANuAl & INTERACTIvE DESIGN

For more information, see page 27

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21

BEST SELLING TITLES

1

Two of Rockport’s latest titles focus on designing for the screen. They help readers navigate the challenges to create informative and engaging experiences. In both books, key les-sons are highlighted in image-packed case studies and examples from top designers around the world.



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ROCKPORT

BOOKS BY CATEGORY2


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CA CA CA

CA CA CA CA

DESIGN FUNDAMENTALS



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BOOKS BY CATEGORY

2

Design ElementsA Graphic Style ManualTimothy SamaraISBN: 9781592532612Item # 153185 AQ8 x 10 in, 203 x 254 mm272 pages, Flexi-bind 300 color photosRights sold: Russian, Spanish, Italian, Japanese, Czech, German, Korean, Chinese, Portuguese, English language in Asia excluding Japan, India, KoreaCt. Qty. 10$30.00 US/£19.99 UK/$37.50 CAN

Design Elements, Typography FundamentalsA Graphic Style Manual for Understanding How Typography Affects DesignKristin Cullen ISBN: 9781592537679Item # 195050 AQ8 x 10 in, 203 x 254 mm160 pages, Flexi-bind 300 color photosAll rights availableCt. Qty. 20$24.99 US/£16.99 UK/$27.99 CAN

Design Elements, Color FundamentalsA Graphic Style Manual for Understanding How Color Affects DesignAaris SherinISBN: 9781592537198Item # 193939 AQ8 x 10 in, 203 x 254 mm160 pages, Flexi-bind 300 color photosRights sold: Korean, SpanishCt. Qty. 20$24.99 US/£16.99 UK/$27.99 CAN

Design Elements, Using Images to Create Graphic ImpactA Graphic Style Manual for Effective Image Solutions in Graphic DesignAaris SherinISBN: 9781592538072Item # 199836 AQ8 x 10 in, 203 x 254 mm168 pages, Flexi-bind 250 color photosAll rights availableCt. Qty. 20$35.00 US/£22.50 UK/$39.00 CAN

Design Elements, Form & SpaceA Graphic Style Manual for Understanding Structure and DesignDennis PuhallaISBN: 9781592537006Item # 193875 AQ8 x 10 in, 203 x 254 mm168 pages, Flexi-bind 300 color photosRights sold: KoreanCt. Qty. 20$24.99 US/£16.99 UK/$27.99 CAN

Design MattersAn Essential Primer- Brochures, Logos, Packaging, PortfoliosCapsule, Michelle Taute, and Maura KellerISBN: 9781592537389Item # 195013 AQ8 x 10 in, 203 x 254 mm448 pages, PB 900 color photosRights sold: ChineseCt. Qty. 10$40.00 US/£27.50 UK/$44.00 CAN

Digital Design Essentials100 Ways to Better Desktop, Web, and Mobile InterfacesRajesh LalISBN: 9781592538034Item # 199825 AQ8.5 x 10, 216 x 254 mm208 pages, HC200 color photosAll rights availableCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

25



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Behaviorial Grammar: The Gesture

The mark expresses a specific movement called its gesture, and it’s this quality of drawing that gives it life. Gesture trans-lates into energy and behavior. It may be passive and delicate or bold and aggres-sive; it articulates directionality, rhythm, punctuation, and fluidity through repeti-tion, variation, and pattern—clustering, dispersing, rising or falling, circulating, and so on /A, B /. As marks accumulate, this gestural rhythm becomes an identifi-able, fundamental part of the drawing’s form language. Further the specific nature of the gestural rhythm will contribute to the drawing’s narrative (see pp. 80–81) influencing the viewer’s emotional response to the message /C /.

A This nonpictorial drawing shows a variety of gestures: waving, staggered, aggressively angular, curvilinear and meandering, fluid and staccato / Christine Hiebert United States

B A singular, continuous, looping and arcing gesture / LoSiento Spain

C Dramatically swooping downward and upward gestures impart a sensa-tion of movement / Flúor Portugal

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Discovery

UniversalPrinciplesFirst Principle:Unified Form Language

In conventional drawing, gesture results from the body’s movement. If one is working digitally using a tablet, this authentic rhythm is translated directly; creating gesture with the tools in a software application may be challenging, given the limitations of movement imposed by a mouse, the spatial discon-nect created by the screen interface, and the mechanical nature of point-based vector drawing. However, drawing software usually offers brush forms that mimic the irregularity of conventional mark-making, and working digitally also allows a designer analytical control that is nearly impossible when working conventionally by adjusting the points and line segments of a vector shape, or by distorting and skewing.

Maintaining gestural rhythm in reductive drawings /D, E / is critical for their liveli ness. Symbols, logos, diagrams, and letterforms rarely exhibit surface activity beyond that of their actual form compo-nents. What must be discernable is a culmination of many evolutionary gestures so that they appear to pulse, to push and pull against each other.

Refined letterforms /F / express gesture derived from their source in writing /G /; the evidence is their shading, or thick-and-thin contrast, as well as in their width proportion and the “speed” at which strokes modulate from thick to thin. Selecting a particular typeface for a project often depends on how tight or open it feels, how far the strokes rise and fall from the baseline, and how this movement repeats itself from character to character /H, I /.

E The wavelike, lateral gesture of the line patterns is restated by the type’s back and forth movement, but contrasted by its vertical gesture / Rudi Meyer France

D Pushing and pulling curvilinear gestural motion ensures dynamism in a reductive symbol / STIM Visual Communication United States

H An irregular, up-and-down gesture across the line of type imparts a casual, playful, quirky quality / Javirroyo Spain

I Feelings to be evoked in text depend on a given typeface’s gestural cadence—the rhythm created by the alternation between the letters’ strokes and counterspaces. Compressed faces usually impart a sharp, anxious, or energetic tone (top), while open or extended faces express a tone that is restful, or seems drawn out over time (bottom).

G The fluid, bold, slashing gesture in this calli-graphic logo establishes a dynamic, confident feeling / PCD Estudio de Diseño Argentina

F Gesture is immediately evident in oldstyle (left) and script forms (middle), but may also be appreci-ated in more controlled forms (right).

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DESIGN FUNDAMENTALS


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BOOKS BY CATEGORY

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Drawing for Graphic DesignUnderstanding Conceptual Principles and Practical Techniques to Create Unique, Effective Design SolutionsTimothy SamaraISBN: 9781592537815Item # 199782 AQ9 x 9 in, 229 x 229 mm192 pages, PB 500 color photosRights sold: English language in Taiwan, ChineseCt. Qty. 6$40.00 US/£27.50UK/$44.00 CAN

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Drawing for Graphic Design

Graphic Design and Architecture, A 20th-Century HistoryA Guide to Type, Image, Symbol, and Visual Storytelling in the Modern WorldRichard PoulinISBN: 9781592537792Item # 199783 AQ8.5 x 10 in, 216 x 254272 pages, HC300 color photosAll rights availableCt. Qty. 6$55.00 US/£35.00 UK/ $60.00 CAN

Forms, Folds, and Sizes, Second EditionAll the Details Graphic Designers Need to Know but Can Never FindPoppy Evans and Aaris SherinISBN: 9781592534616Item # 153204 AQ5.75 x 8.25 in, 145 x 210 mm336 pages, PB 400 color photosRights sold: GermanCt. Qty. 10$30.00 US/£19.99 UK/ $32.95 CAN


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The Graphic Designer’s Electronic-Media ManualHow to Apply Visual Design Principles to Engage Users on Desktop, Tablet, and Mobile WebsitesJason TselentisISBN: 9781592537785Item # 199779 AQ8 x 10 in, 203 x 254 mm256 pages, Flexi-bind 300 color photosRights sold: English language in Asia, Korean, Chinese, FrenchCt. Qty. 6$40.00 US/£27.50 UK/ $44.00 CAN

Graphic Designer’s Essential ReferenceVisual Elements, Techniques, and Layout Strategies for Busy DesignersTimothy SamaraISBN: 9781592537433Item # 195007 AQ8 x 10 in, 203 x 254 mm248 pages, PB 1500 color photosRights sold: Chinese, CzechCt. Qty. 10$25.00 US/£16.99 UK/ $28.00 CAN

Interactive DesignAn Introduction to the Theory and Application of User-Centered DesignAndy Pratt and Jason NunesISBN: 9781592537808Item # 199784 AQ8 x 10 in, 203 x 254 mm224 pages, Flexi-bind250 color photosAll rights availableCt. Qty. 6$45.00 US/£30.00 UK/ $49.99 CAN

Graphic Design, ReferencedA Visual Guide to the Language, Applications, and History of Graphic DesignBryony Gomez-Palacio and Armin VitISBN: 9781592537426Item # 195006 AQ8.5 x 10 in, 216 x 254 mm400 pages, PB 1000 color photosRights sold: English language in Asia, FrenchCt. Qty. 10$35.00 US/£25.00 UK/ $39.00 CAN

The Graphic Design Reference & Specification BookEverything Designers Need to Know EverydayPoppy EvansISBN: 9781592538515Item # 210655 AQ5.46 x 7.83 in, 139 x 199 mm336 pages, PB400 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/ $28.00 CAN

Making and Breaking the GridA Graphic Design Layout WorkshopTimothy SamaraISBN: 9781592531257Item # 153276 AQ9 x 11 in, 228 x 280 mm208 pages, PB 508 color photosRights sold: Portuguese, Chinese, English language in RussiaCt. Qty. 10$25.00 US/£16.99 UK/ $34.95 CAN

Universal Principles of Design125 Ways to Enhance Usability, Influence Perception, Increase Appeal, Make Better Design Decisions, and Teach through DesignWilliam Lidwell, Kritina Holden, and Jill ButlerISBN: 9781592535873Item # 158942 AQ8.5 x 10 in, 215 x 255 mm272 pages, PB 400 color photosRights sold: Dutch, Portu-guese, Japanese, Spanish, French, Chinese, Czech, Russian, Korean, CroatianCt. Qty. 10$30.00 US/£18.99 UK/$37.50 CAN

The Language of Graphic DesignAn Illustrated Handbook for Understanding Fundamental Design PrinciplesRichard PoulinISBN: 9781592538256Item # 200345 AQ8.25 x 10.25 in, 210 x 2260 mm288 pages, PB 400 color photosRights sold: Polish, Chinese, Czech, French, SpanishCt. Qty. 10$29.99 US/£20.00 UK/$32.99 CANHC ISBN: 9781592536764$45.00 US/£30.00 UK/ $49.99 CAN



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30 type specimen poster

Type specimen sheets began as a way for printers to demonstrate to buyers how a certain typeface would look at various sizes on paper. They developed into a way for typographers to showcase their work using design, color, and word combinations.

Create a poster showcasing an alphabet you have created.

Select your text. This should include the title of your typeface. The remaining content could be a pangram, text from a book, lyrics from a song, or something funny and clever that is memorable. Look at type foundry sites for inspiration.

Create an 18" 24" (46 5 cm) canvas and set your alphabet. Vary the size of your text so that you can provide an example of how your typeface looks as a headline and body copy. If you have more than one weight or style in your alphabet, incorporate that as well. Use color sparingly (remember, it’s the type you’re showing off).

Before finalizing your type specimen, be sure to check the kerning and letterspacing!

Pangram

One way to display all the letters in the alphabet legibly is through the use of a pangram, a sentence that contains all the letters of the alphabet. The most common is “The quick brown fox jumped over the lazy dog.”

Ifyoulovedthis,you’lllovethese!Modular Type, page 82; Handwriting, page 85; Opposites Attract, page 88; 3-D Type, page 90

“I began looking at typefaces, thinking of what I liked about them, analyzing what kind of typeface I wanted to design: serif, sans, what would the x-height be? Where would it be used? After sketching for days, I finally set my sights on the sketches for Olivia. Its quirky yet elegant features made this typeface different and interesting to pursue. After the digitizing process, many decisions were made to help regularize the overall look and character of the font. Olivia is a work in progress; next I will be designing a bold weight and an italic.”

Designer: Isabel Urbina


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alphabet play 99

“What I like most about drawing letters is the drawing part. As a result, Alfonso has an illustrative quality that I wanted to feature in the specimen poster. While a traditional type specimen with varying lines of copy serves an important function, I wanted something a little more visually arresting. And since this was made for letterpress, there was also the selfish consideration of making something that I could hang on my wall. I think this design highlights the character of the individual letters, while also showing that they work well together as a system. Plus, it looks good in a frame.”

Designer: Mark McCormick

Barker letterpress poster

Designer: Annica Lydenberg

Photo: Juan Carlos Pagan

Alfonso letterpress plate



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“Hand lettering becoming a hallmark of my work happened almost accidentally. As a child, I would take apart the music albums around me and re-create my own. Fast-forward ten years and I was obsessing over typography as a graphic design student at the Hartford Art School. The lettering I have become known for didn’t begin to take shape until a few years after my graduation. My schedule was hectic and I felt disheartened by the fact that I was no longer drawing for drawing’s sake. I decided to change that by committing myself to posting a drawing each day on my website. Early on, I started drawing type and text out of necessity because I was struggling to come up with things to draw late at night—I’d hear a random song lyric or an absurd quote on the news and make it into a drawing.”

Lettering: Chris Piascik


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“The more I drew type, the more fun I had. I was warping letter features and creating strange ligatures. It was the exact opposite of all the rules of typography I held dearly. I’ve posted nearly 1,110 daily drawings and the majority of them incorporate lettering. Since I post daily, I always try to do something a little different—this desire has led me to try things that I wouldn’t have normally thought to do. I can’t say it enough: Draw, draw, draw! Creating your own voice using hand-drawn letters is not an easy thing to teach; there really aren’t any set rules.”



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TYPOGRAPHY


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30 Essential Typefaces for a LifetimeImin Pao and Joshua BergerISBN: 9781592532780Item # 153052 AQ7.5 x 10.25 in, 190 x 260 mm302 pages, PB 300 color photosAll rights availableCt. Qty. 10$40.00 US/£27.50 UK/$56.00 CAN

Design Elements, Typography FundamentalsA Graphic Style Manual for Understanding How Typography Affects DesignKristin CullenISBN: 9781592537679Item # 195050 AQ8 x 10 in, 203 x 254 mm160 pages, Flexi-bind 300 color photosAll rights availableCt. Qty. 20$24.99 US/£16.99 UK/$27.99 CAN

Design: TypeA Seductive Collection of Alluring Type DesignsPaul BurgessISBN: 9781592537983Item # 199806 AQ8 x 10 in, 203 x 254 mm272 pages, Flexi-bind500 color photosRights sold: English language in AsiaCt. Qty. 6$45.00 US/£30.00 UK/$49.99 CAN

BOOKS BY CATEGORY

2

Playing with Type50 Graphic Experiments for ExploringTypographic Design PrinciplesLara McCormickISBN: 9781592538171Item # 211090 AQ9 x 9 in, 229 x 229 mm192 pages, Flexi-bind300 Color PhotosRights sold: ChineseCt. Qty. 10$40.00 US/£25.00 UK/$44.00 CAN28

Playing with Type Playing with Type


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30 type specimen poster

Type specimen sheets began as a way for printers to demonstrate to buyers how a certain typeface would look at various sizes on paper. They developed into a way for typographers to showcase their work using design, color, and word combinations.

Create a poster showcasing an alphabet you have created.

Select your text. This should include the title of your typeface. The remaining content could be a pangram, text from a book, lyrics from a song, or something funny and clever that is memorable. Look at type foundry sites for inspiration.

Create an 18" 24" (46 5 cm) canvas and set your alphabet. Vary the size of your text so that you can provide an example of how your typeface looks as a headline and body copy. If you have more than one weight or style in your alphabet, incorporate that as well. Use color sparingly (remember, it’s the type you’re showing off).

Before finalizing your type specimen, be sure to check the kerning and letterspacing!

Pangram

One way to display all the letters in the alphabet legibly is through the use of a pangram, a sentence that contains all the letters of the alphabet. The most common is “The quick brown fox jumped over the lazy dog.”

Ifyoulovedthis,you’lllovethese!Modular Type, page 82; Handwriting, page 85; Opposites Attract, page 88; 3-D Type, page 90

“I began looking at typefaces, thinking of what I liked about them, analyzing what kind of typeface I wanted to design: serif, sans, what would the x-height be? Where would it be used? After sketching for days, I finally set my sights on the sketches for Olivia. Its quirky yet elegant features made this typeface different and interesting to pursue. After the digitizing process, many decisions were made to help regularize the overall look and character of the font. Olivia is a work in progress; next I will be designing a bold weight and an italic.”

Designer: Isabel Urbina


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alphabet play 99

“What I like most about drawing letters is the drawing part. As a result, Alfonso has an illustrative quality that I wanted to feature in the specimen poster. While a traditional type specimen with varying lines of copy serves an important function, I wanted something a little more visually arresting. And since this was made for letterpress, there was also the selfish consideration of making something that I could hang on my wall. I think this design highlights the character of the individual letters, while also showing that they work well together as a system. Plus, it looks good in a frame.”

Designer: Mark McCormick

Barker letterpress poster

Designer: Annica Lydenberg


Alfonso letterpress plate



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“Hand lettering becoming a hallmark of my work happened almost accidentally. As a child, I would take apart the music albums around me and re-create my own. Fast-forward ten years and I was obsessing over typography as a graphic design student at the Hartford Art School. The lettering I have become known for didn’t begin to take shape until a few years after my graduation. My schedule was hectic and I felt disheartened by the fact that I was no longer drawing for drawing’s sake. I decided to change that by committing myself to posting a drawing each day on my website. Early on, I started drawing type and text out of necessity because I was struggling to come up with things to draw late at night—I’d hear a random song lyric or an absurd quote on the news and make it into a drawing.”



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“The more I drew type, the more fun I had. I was warping letter features and creating strange ligatures. It was the exact opposite of all the rules of typography I held dearly. I’ve posted nearly 1,110 daily drawings and the majority of them incorporate lettering. Since I post daily, I always try to do something a little different—this desire has led me to try things that I wouldn’t have normally thought to do. I can’t say it enough: Draw, draw, draw! Creating your own voice using hand-drawn letters is not an easy thing to teach; there really aren’t any set rules.”



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Typography Essentials100 Design Principles for Working with TypeIna SaltzISBN: 9781592537402Item # 195003 AQ8.5 x 10 in, 216 x 254 mm208 pages, PB 300 color photosRights sold: ChineseCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

Typography, ReferencedA Comprehensive Visual Guide to the Language, History, and Practice of TypographyJason Tselentis, Allan Haley, Richard Poulin, Tony Seddon, Gerry Leonidas, and Ina SaltzISBN: 9781592537020Item # 193943 AQ8.5 x 10 in, 216 x 254 mm400 pages, HC 700 color photosRights sold: ItalianCt. Qty. 6$50.00 US/£35.00 UK/$55.00 CAN

Stop, Think, Go, DoHow Typography and Graphic Design Influence BehaviorSteven Heller and Mirko IlicISBN: 9781592537662Item # 195051 AQ9 x 9 in, 229 x 229 mm224 pages, Flexi-bind 500 color photosAll rights availableCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

Type, Form & FunctionA Handbook on the Fundamentals of TypographyJason TselentisISBN: 9781592536740Item # 193884 AQ9 x 9 in, 229 x 229 mm208 pages, Flexi-bind 300 color photosRights sold: Korean, Spanish, ChineseCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

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Typography WorkbookA Real-World Guide to Using Type in Graphic DesignTimothy SamaraISBN: 9781592533015Item # 153289 AQ9 x 9 in, 229 x 229 mm240 pages, PB 500 color photosRights sold: PortugueseCt. Qty. 10$25.00 US/£16.99 UK/$33.00 CAN

Playing with Type



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(RAY)Job:08-26673 Title:RP-Design Elements Colour & Fundamentals

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p Alternating blue and pink dots on the top half of the composition creates an eye-catching pattern, and the repetition of pink draws the eye down toward the text below. Design: LSDspace, Madrid, Spain

Elements of Design and Their Variables The fundamental elements of design such as line, point, and shape provide the backbone for many communications solutions. Since the eye is drawn to what it sees and perceives most easily, a viewer will often notice the hues and tones of a composition before anything else. When color is used in combination with these elements, it can provide a strong visual statement. These variables may be used on their own, together, or in combination with other components such as type and image.

Shape When used in conjunction with color, shape may reveal meaning and make a composition more appealing to an audience. Shape is also an important tool when laying out multipage documents. The combination of color and shape can be used to break up content and/or create a repeating structure that encourages a viewer to turn the page and keep reading the text.

p An identity package can be based on the repeti-tion of shape and color. In this example for Stylecraft, the system allows for a tremendous amount of variation while retaining an overall visual consistency. Design: THERE, Surry Hill, Australia

t Small tonal variations in grays seem greater because they have been combined with sharp-edged triangles. The two accents of red add a shock of emphasis that will keep viewers inter-ested. Design: Uwe Loesch, Mettmann, Germany


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t Color affects how we perceive shapes in a composition. When the color of these shapes is altered, some seem to recede into the background while others appear to advance forward on the page. Trying several different combinations of color for each project is more likely to produce successful color relationships. Design: Melchior Imboden, Buochs, Switzerland

p These shapes seem to jump off the page because the designer has skillfully combined compositional elements with intensely bright hues. Design: Gotz Gramlich, Heidelberg, Germany

u Elements in this identity package are differen-tiated by shape but are unified by color. Design: Maris Maris, New York City


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COLOR & PATTERN DESIGN

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BOOKS BY CATEGORY

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Color Design WorkbookA Real World Guide to Using Color in Graphic DesignAdamsMoriokaISBN: 9781592534333Item # 153299 AQ9 x 9 in, 229 x 229 mm240 pages, PB 350 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$27.50 CAN

Color Harmony CompendiumA Complete Color Reference for Designers of All Types, 25th Anniversary EditionTerry Marks, MINE Design, Origin, and Tina SuttonISBN: 9781592535903Item # 158858 AQ7 x 9.25 in, 178 x 235 mm432 pages, HC w/ CD 500 color photosRights sold: ChineseCt. Qty. 10$29.99 US/£18.99 UK/$37.50 CAN

The Complete Color HarmonyExpert Color Information for Professional Color ResultsTina Sutton and Bride M WhelanISBN: 9781592530311Item # 153268 AQ6.75 x 9 in, 172 x 228 mm216 pages, PB 250 color photosRights sold: Italian, French, Japanese, Russian, Spanish, Korean, ChineseCt. Qty. 10$25.00 US/£16.99 UK/$36.00 CAN

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Pattern and Palette Sourcebook 4A Comprehensive Guide to Choosing the Perfect Color and Pattern in DesignKathie Alexander and Harvey RaynerISBN: 9781592536047Item # 192511 AQ7 x 9.25 in, 178 x 235 mm208 pages, Flexi-bind 400 color photosRights sold: English language in SE Asia, China, Taiwan, Korea, JapanCt. Qty. 10$29.99 US/£18.99 UK/$32.99 CAN

Pattern and Palette Sourcebook w/CD-RomA Complete Guide to Choosing the Perfect Color and Pattern in DesignAnvilISBN: 9781592531615Item # 154122 AQ7 x 9.25 in, 178 x 235 mm208 pages, PB 400 color photosRights sold: Japanese, Chinese, Italian, French, Russian, Greek, Spanish, English language in Germany, Austria, Switzerland, EUCt. Qty. 10$29.99 US/£19.99 UK/$41.95 CAN

Pattern and Palette Sourcebook 2A Complete Guide to Choosing the Perfect Color and Pattern in DesignHeidi Arrizabalaga ISBN: 9781592533176Item # 153193 AQ7 x 9.25 in, 178 x 235 mm208 pages, PB 950 color photosRights sold: Japanese, Russian, Dutch, French, English language in EU, Switzerland, India, China, TaiwanCt. Qty. 10$30.00 US/£19.99 UK/$37.50 CAN



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Pattern Sourcebook: Nature250 Patterns for Projects and DesignsShigeki Nakamura ISBN: 9781592535583Item # 153378 AQ5.81 x 8.25 in, 148 x 210 mm128 pages, PB w/ CD 250 color photosRights sold: French, English language in EU, SwitzerlandCt. Qty. 20$17.99 US/£12.99 UK/$19.95 CAN

Pattern Sourcebook: Around the World250 Patterns for Projects and DesignsShigeki Nakamura ISBN: 9781592534968Item # 153373 AQ5.81 x 8.25 in, 148 x 210 mm160 pages, PB 250 color photosRights sold: French, English language in EU, SwitzerlandCt. Qty. 20$17.99 US/£10.99 UK/$19.95 CAN

Playing with Color50 Graphic Experiments for Exploring Color Design PrinciplesRichard MehlISBN: 9781592538089Item # 199835 AQ9 x 9 in, 229 x 229 mm192 pages, Flexi-bind300 Color PhotosRights sold: Japanese, ChineseCt. Qty. 10$40.00 US/£25.00 UK/$44.00 CAN

Pattern Sourcebook: Chinese Style250 Patterns for Projects and DesignsShigeki Nakamura ISBN: 9781592534975Item # 153374 AQ5.81 x 8.25 in, 148 x 210 mm160 pages, PB 250 color photosRights sold: French, English language in EU, SwitzerlandCt. Qty. 20$17.99 US/£10.99 UK/$19.95 CAN

Pattern Sourcebook: Japanese Style 2250 Patterns for Projects and DesignsShigeki Nakamura ISBN: 9781592535606Item # 153380 AQ5.81 x 8.25 in, 148 x 210 mm144 pages, PB w/ CD 250 color photosRights sold: French, English language in EU, SwitzerlandCt. Qty. 20$17.99 US/£12.99 UK/$19.95 CAN

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Cory John Stoffa Color wheel and grayscale composition Above: computer rendering Right: gouache on watercolor paper


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color wheels 27

Hae Jeon Lee Color wheel and grayscale composition gouache on watercolor paper


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color illusion 63

experiment 11: transparency

Challenge: Explore color mixing with transparent materials

Materials: transparent paper; tissue; gels

Using transparent materials in compositions is an excellent way

to study color mixing. It is more immediate and less challenging than

mixing paint. The process is simple and objective. The visual effects

are factual—layering specific transparent materials will always have the

same results.

This process frees us to observe and consider the mixtures achieved

by layering certain colors.

Begin by layering the transparent materials in various combinations.

Make note of the parent colors and their mixtures. The colors you

observe—parents and mixtures—will be your palette.

Experiment with the layering order. Different kinds of transparent

material react differently to layering. Unlike transparent ink, paint, and

some gels, transparent papers are not completely transparent. The

texture of paper adds itself to the mixture of colors. This makes layering

a decisive factor in working with transparent paper—the bottom layer

is partially obscured by the layers that cover it.

Keep your compositions simple. Try to include the parent colors and

all possible mixtures.

The mixtures will be darker than the parent colors and will be closest

in appearance to the top layer color. This factual effect adds contrast of

light and dark to the composition.

Play with various ways of making shapes. Scissors will produce one

effect—similar but different from the effects of using a craft knife

and a straightedge. Both tools can make geometric and organic shapes.

Folding paper adds a sense of play to the process. Tearing instantly

creates organic shapes and makes the material recognizable as paper.

Transparency collages, made with transparent materials

Above right: Sebit Min; right: Lisa Case


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Playing with Color

Playing with Color 33



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LOGOS & IDENTITY


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BOOKS BY CATEGORY

2

Design Matters: Logos 01An Essential Primer for Today’s Competitive MarketCapsuleISBN: 9781592533411Item # 153316 AQ8.25 x 10.25 in, 210 x 260 mm192 pages, PB 220 color photosRights sold: Spanish, Russian, German, KoreanCt. Qty. 20$24.99 US/£16.99 UK/$29.95 CAN

Letterhead & Logo Design 12Oxide Design Co.ISBN: 9781592537174Item # 193942 AQ9 x 11 in, 229 x 279 mm240 pages, HC 350 color photosAll rights availableCt. Qty. 6$45.00 US/£30.00 UK/$49.99 CAN

Letterhead & Logo Design 11Design ArmyISBN: 9781592537617Item # 195029 AQ9 x 11 in, 229 x 279 mm240 pages, PB 350 color photosRights sold: English language in Japan, Germany, Austria, SwitzerlandCt. Qty. 10$30.00 US/£20.00 UK/$33.00 CANHC ISBN: 9781592535347$45.00 US/£27.50 UK/$56.00 CAN

Letterhead & Logo Design 9MINEISBN: 9781592533893Item # 153196 AQ9 x 11 in, 229 x 279 mm240 pages, PB 500 color photosAll rights availableCt. Qty. 10$30.00 US/£19.99 UK/$41.95 CAN

LogoLounge (mini)2,000 International Identities by Leading DesignersCatharine Fishel and Bill GardnerISBN: 9781592532247Item # 153349 AQ5.62 x 6.38 in, 143 x 162 mm356 pages, PB 2000 color photosRights sold: Chinese, English language in Japan, EU, Swit-zerland, Indian Subcontinent, Sri Lanka, Pakistan, Russia, HungaryCt. Qty. 20$19.99 US/£12.99 UK/$27.95 CAN

Letterhead & Logo Design 10Sussner DesignISBN: 9781592535798Item # 158910 AQ9 x 11 in, 229 x 279 mm240 pages, PB 800 color photosRights sold: Spanish, English language in Russia, EU, Switzerland, NorwayCt. Qty. 10$30.00 US/£0.00 UK/$37.50 CAN

34

The Best of Letterhead & Logo DesignMine Design, Top Studio Design, Stoltz Design, and Sayles Graphic DesignISBN: 9781592537914Item # 199799 AQ9.25 x 11.25 in, 235 x 286 mm352 pages, PB 800 color photosAll rights availableCt. Qty. 20$19.99 US/£14.99 UK/$21.99 CAN


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LETTERHEAD & LOGO DESIGN 1108

SO, JUST HOW BIG CAN ONE LITTLE IDEA BECOME?

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INTRODUCTION 09

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LogoLounge 4 (mini)2000 International Identities by Leading DesignersCatharine Fishel and Bill GardnerISBN: 9781592536689Item # 192561 AQ5.62 x 6.38 in, 143 x 162 mm376 pages, PB 2000 color photosAll rights availableCt. Qty. 20$19.99 US/£0.00 UK/$21.99 CAN

LogoLounge 52,000 International Identities by Leading DesignersCatharine Fishel and Bill GardnerISBN: 9781592537358Item # 194983 AQ9 x 11 in, 229 x 279 mm192 pages, PB 2200 color photosAll rights availableCt. Qty. 10$30.00 US/£20.00 UK/$33.00 CANHC ISBN: 9781592535279$50.00 US/£34.99 UK/$55.00 CAN

LogoLounge 3 (mini)2000 International Identities by Leading DesignersCatharine Fishel and Bill GardnerISBN: 9781592535101Item # 153358 AQ5.62 x 6.38 in, 143 x 162 mm376 pages, PB 2050 color photosRights sold: English language in Japan, EUCt. Qty. 20$19.99 US/£12.99 UK/$21.95 CAN

LogoLounge 62,000 International Identities by Leading DesignersCatharine Fishel and Bill GardnerISBN: 9781592538249Item # 200344 AQ9 x 11 in, 229 x 279 mm192 pages, PB 2000 color photosRights sold: English language in Taiwan, EUCt. Qty. 10$35.00 US/£22.50 UK/$39.00 CANHC ISBN: 9781592536184$50.00 US/£35.00 UK/$55.00 CAN

LogoLounge 72,000 International Identities by Leading DesignersBill Gardner and Anne HellmanISBN: 9781592537273Item # 199819 AQ9 x 11 in, 229 x 279 mm192 pages, HC 2000 color photosRights sold: English language in Taiwan, Czech, ChineseCt. Qty. 6$50.00 US/£35.00 UK/$55.00 CAN

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Logos & IdentIty

CA


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BOOKS BY CATEGORY

2

LogoLounge Master Library, Volume 13,000 Initials & Crest LogosCatharine Fishel and Bill GardnerISBN: 9781592535675Item # 158937 AQ7.25 x 9 in, 000 x 000 mm296 pages, HC 3000 color photosRights sold: JapaneseCt. Qty. 6$40.00 US/£24.99 UK/$49.99 CAN

Logo Design WorkbookA Hands-On Guide to Creating LogosSean Adams and Noreen MoriokaISBN: 9781592532346Item # 153283 AQ9 x 9 in, 229 x 229 mm240 pages, PB 500 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$35.00 CAN

Logo CreedThe Magic Behind Making a Great LogoBill GardnerISBN: 9781592538287Item # 210275 AQ8 x 10 in, 203 x 254 mm240 pages, Flexi-bind500 color photosAll rights availableCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

LogoLounge Master Library, Volume 33,000 Shapes and Symbols LogosCatharine Fishel and Bill GardnerISBN: 9781592536900Item # 193880 AQ7.25 x 9 in, 184 x 229 mm296 pages, POB 3000 color photosRights sold: JapaneseCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

Logo SavvyTop Brand Design Firms Share their Naming and Identity StrategiesWOW BrandingISBN: 9781592533046Item # 153055 AQ9.5 x 9.5 in, 241 x 241 mm192 pages, HC 300 color photosRights sold: RussianCt. Qty. 6$40.00 US/£27.50 UK/$50.00 CAN

LogoLounge Master Library, Volume 43000 Type and Calligraphy LogosCatharine Fishel and Bill GardnerISBN: 9781592537648Item # 195053 AQ7.25 x 9 in, 184 x 229 mm296 pages, POB 3000 color photosAll rights availableCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

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37Logo Creed



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62 Packaging Essentials

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DESIGN CONSIDERATIONS: PRINTING

28 Laser Etching

Laser etching is a precision printing method used to mark

or brand a substrate. Often, a computer is used to drive the

movement of a laser over surfaces such as glass, metal,

wood, and plastic. Laser etching has the additional benefi t

of processing a high volume of material at a rapid speed.

Project

Product package design

Firm

Pati Núñez Associats

Design Team

Pati Núñez, Kike Segurola

Client

Cavas Recaredo

This Catalan wine is produced

with a minimum of human inter-

vention. The design concept was

based on the same premise. The

typography was laser-cut into

off-white cotton paper. Laser

etching was used to create the

typography on the wooden box.

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DESIGN CONSIDERATIONS: FORM AND SHAPE

19 Special Folds

Project


Firm

Aloof Design

Design Team

Sam Aloof, Jon Hodkinson,

Andrew Scrase

Client

Heal’s

This package illustrates how

cardboard, when folded, can

provide an involving, high-end

feel for a luxury product. In

addition, this creative solution

achieved luxury-gift status within

a standard packaging budget.

Like origami, folds can be used to create shape. In certain

instances, this design approach will deliver punch and

economy in the fi nishing process. Always test the strength

of the folded concept with the actual package material

before committing to a fi nal die to avoid any retail mishaps.

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DESIGN CONSIDERATIONS: FORM AND SHAPE

20 Window Reveals

A window reveal in the top or side of a package involves the

consumer by allowing an enticing view of the product. The

shape of the opening is an opportunity to say something

about the product or provide a dramatic picture frame

through which the product can be seen.

Window reveals are created at the same time as the die line

and won’t cost more. However, if you are adding plastic to

protect the product this will increase the package cost.

Project


Firm

Turner Duckworth,

London and San Francisco

Design Team

David Turner, Bruce Duckworth,

Sarah Moffat

Client

Liz Earle Beauty Co.

Liz Earle Beauty Co. makes a

range of moisturizing skin care

products for mature skin that

contains precious argon and

organic rosehip oils. The design

approach uses illustrations of

rosehip tendrils that creep around

the pack. The perfect see-through

rosebuds reveal the product’s

natural orange tone and create

a visual metaphor. The silver

outer package layer suggests

science, while the yellow peaking

through the diecuts suggests the

products’ natural ingredients.

Project


Firm

2creativo

Design Team

Mariona López, Abel de Benito

Client

Art-Fruit

Framing the gourmet sweets inside,

this window reveal allows the

consumer to glimpse the colorful

natural fruit products. The black

exterior and red interior of the

cardboard box further dramatize

the effect and present the candy

as an exclusive gourmet treat.

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PACKAgIng & BRAndIng


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BOOKS BY CATEGORY

2

1,000 Package Designs (mini)A Comprehensive Guide to Packing It InGripISBN: 9781592537051Item # 193872 AQ6 x 6 in, 152 x 152 mm440 pages, PB 1000 color photosRights sold: English language in JapanCt. Qty. 20$19.99 US/£12.99 UK/$21.99 CAN

Brand BibleThe Complete Guide to Building, Designing, and Sustaining BrandsDebbie MillmanISBN: 9781592537266Item # 193938 AQ9 x 9 in, 229 x 229 mm320 pages, Flexi-bind 300 color photosAll rights availableCt. Qty. 6$45.00 US/£30.00 UK/$49.99 CAN

38 Packaging Essentials Packaging Essentials


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DESIGN CONSIDERATIONS: PRINTING

28 Laser Etching

Laser etching is a precision printing method used to mark

or brand a substrate. Often, a computer is used to drive the

movement of a laser over surfaces such as glass, metal,

wood, and plastic. Laser etching has the additional benefi t

of processing a high volume of material at a rapid speed.

Project


Firm

Pati Núñez Associats

Design Team

Pati Núñez, Kike Segurola

Client

Cavas Recaredo

This Catalan wine is produced

with a minimum of human inter-

vention. The design concept was

based on the same premise. The

typography was laser-cut into

off-white cotton paper. Laser

etching was used to create the

typography on the wooden box.

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SUSTAINABLE DESIGN

57 Biodegradable and Recyclable Packages

The traditional “three R’s” of reduce, reuse, and recycle are

part of a waste hierarchy that can be applied to product

and package development. Development of sustainable

packaging is an area of considerable interest to standards

organizations, government agencies, consumers, designers,

packagers, and retailers.

Many surveys have suggested that more than two-thirds

of the population would prefer packages made from

recycled material or would be willing to pay more for

environmentally responsible packaging. This can be

achieved by minimizing packaging, maximizing the use

of postconsumer recycled materials, using materials that

can be and are recycled, and designing packaging where

the individual parts can be separated for recycling.

Project


Firm

Harpun

Design Team

Camilla Jarem,

Cathrine Lie Hansen,

Finne Ståle Felberg

Client

Økologiske Norgården

This molded pulp egg carton

doesn’t need to be recycled.

It goes directly into the

compost heap.


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121


Project


Firm

Sunhouse Creative

Designer

Susie Hetherington

Client

Just Drinking Water

Aquapax water is contained in

an attractively designed paper

carton. The paper container

occupies less space and weighs

less than other containers. As

a result, it uses less energy to

transport. Also, the carton

is recyclable and biodegrades

quickly.

Project


Firm

Harpun

Design Team

Camilla Jarem,

Cathrine Lie Hansen,

Finne Ståle Felberg

Client

Økologiske Norgården

This package design is an example

of a cooperative effort between

the chicken product producer

and Green Dot Norway, which

is a privately owned, nonprofit

company responsible for fi nancing

the recovery and recycling of

used packaging on behalf of the

industrial sector. The resultant

bold package character, made

from recycled plastic, incorporates

strong, fresh colors with white

backgrounds to help the product

stand out on the shelf.

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CA CACA



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Packaging Essentials100 Design Principles for Creating PackagesSarah Roncarelli and Candace EllicottISBN: 9781592536030Item # 191716 AQ8.5 x 10 in, 216 x 254 mm208 pages, HC 250 color photosRights sold: Portuguese, Korean, ChineseCt. Qty. 6$40.00 US/£25.00 UK/$50.00 CAN

Package Design WorkbookThe Art and Science of Successful PackagingSteven DuPuis and John SilvaISBN: 9781592537082Item # 193882 AQ9 x 9 in, 229 x 229 mm240 pages, PB 450 color photosRights sold: RussianCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

Really Good Packaging ExplainedTop Design Professionals Critique 300 Package Designs and Explain What Makes Them WorkRob Wallace, Bronwen Edwards, Marianne Klimchuk, and Sharon WernerISBN: 9781592535453Item # 158871 AQ9 x 11 in, 229 x 279 mm272 pages, PB 500 color photosRights sold: GermanCt. Qty. 6$45.00 US/£27.99 UK/$56.00 CAN

Essential Elements for Brand Identity100 Principles for Designing Logos and Building BrandsKevin Budelmann, Yang Kim, and Curt WozniakISBN: 9781592537938Item # 199801 AQ8.5 x 10 in, 216 x 254 mm208 pages, PB 300 color photosRights sold: Japanese, Korean, Chinese, English language in Asia, French, ItalianCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

39Packaging Essentials



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(Fogra 39) Job:02-28019 Title:RP-Best Practices for Graphic Designers

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16 Best Practices for Graphic Designers: Grids and Page Layouts

(Text)

“I T IS I M PORTA N T TO R EM EM BER

T h AT M A N Y DEV ICE S A R E

AVA I L A BLE TO M A k E L AYOU TS

E xCI T I NG. T h E PU R POSE

OF T h E GR I D IS TO PROV I DE

CONSIST ENCY TO T h E L AYOU TS ,

BU T NOT N ECE SSA R I LY

E xCI T EM EN T—W h ICh W I LL BE

PROV I DED BY T h E SUM OF A LL

T h E ELEM EN TS I N T h E DE SIGN.”—Massimo Vignelli, Vignelli Associates

(RAY)


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Vignelli Associates: Approach to Grid-based Design 17

(Text)

When thinking about a book design, the team at Vignelli Associates first determines the size of the book based on the content, to ensure that the grid system used to organize the content will provide structure and continuity from cover to cover without obscuring the content. For example, square pictures tend to work better in a square book format to best exhibit the content without cropping images.

After finessing the storyboard and getting the layout just right, the designers build each spread using the storyboard as a guide. Following the sketches as closely as possible so as not to negate the work already done establishes the cinematic flow of the piece as a whole.

f i r m Vignelli Associates c l i e n t Rizzoli International

(RAY)



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(RAY)


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16 Best Practices for Graphic Designers: Grids and Page Layouts

(Text)

“I T IS I M PORTA N T TO R EM EM BER

T h AT M A N Y DEV ICE S A R E

AVA I L A BLE TO M A k E L AYOU TS

E xCI T I NG. T h E PU R POSE

OF T h E GR I D IS TO PROV I DE

CONSIST ENCY TO T h E L AYOU TS ,

BU T NOT N ECE SSA R I LY

E xCI T EM EN T—W h ICh W I LL BE

PROV I DED BY T h E SUM OF A LL

T h E ELEM EN TS I N T h E DE SIGN.”—Massimo Vignelli, Vignelli Associates

(RAY)


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Vignelli Associates: Approach to Grid-based Design 17

(Text)

When thinking about a book design, the team at Vignelli Associates first determines the size of the book based on the content, to ensure that the grid system used to organize the content will provide structure and continuity from cover to cover without obscuring the content. For example, square pictures tend to work better in a square book format to best exhibit the content without cropping images.

After finessing the storyboard and getting the layout just right, the designers build each spread using the storyboard as a guide. Following the sketches as closely as possible so as not to negate the work already done establishes the cinematic flow of the piece as a whole.

f i r m Vignelli Associates c l i e n t Rizzoli International

(RAY)



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gRIds & LAyoUt

CA CA CA

CA


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BOOKS BY CATEGORY

2

Best Practices for Graphic Designers, Grids and Page LayoutsAn Essential Guide for Understanding and Apply-ing Page Design PrinciplesAmy Graver and Ben JuraISBN: 9781592537853Item # 199795 AQ6.75 x 9 in, 172 x 228 mm192 pages, Flexi-bind 250 color photosRights sold: English language in Asia, German, Chinese, Portuguese, Italian, FrenchCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

Making and Breaking the GridA Graphic Design Layout WorkshopTimothy SamaraISBN: 9781592531257Item # 153276 AQ9 x 11 in, 228 x 280 mm208 pages, PB 508 color photosRights sold: Portuguese, Chinese, English language in RussiaCt. Qty. 10$25.00 US/£16.99 UK/$34.95 CAN

Layout Essentials100 Design Principles for Using GridsBeth TondreauISBN: 9781592537075Item # 193879 AQ8.5 x 10 in, 216 x 254 mm208 pages, PB 250 color photosRights sold: Spanish, Portuguese, Japanese, Korean, German, Dutch, French, Chinese Ct. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

Layout WorkbookA Real-World Guide to Building Pages in Graphic DesignKristin Cullen ISBN: 9781592533527Item # 153293 AQ9 x 9 in, 229 x 229 mm240 pages, PB 500 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$29.95 CAN

Best Practices for Graphic Designers, Grids and Page Layouts

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PUBLICAtIon desIgn RefeRenCe



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BOOKS BY CATEGORY

2

45th Publication Design AnnualSociety of Publication DesignersISBN: 9781592536696Item # 192546 AQ9 x 12 in, 229 x 305 mm336 pages, POB 1000 color photosAll rights availableCt. Qty. 6$60.00 US/£40.00 UK/$65.00 CAN



The Best of News Design 31Society for News DesignISBN: 9781592536672Item # 192555 AQ9 x 12 in, 229 x 305 mm272 pages, HC 800 color photosAll rights availableCt. Qty. 6$60.00 US/£40.00 UK/$65.00 CAN

The Best of Cover DesignBooks, Magazines, Catalogs, and MoreAltitude AssociatesISBN: 9781592536894Item # 193886 AQ9 x 11 in, 229 x 279 mm224 pages, HC 300 color photosAll rights availableCt. Qty. 6$45.00 US/£30.00 UK/$49.99 CAN

The Best of News Design 33Society for News DesignISBN: 9781592538232Item # 200343 AQ9.25 x 12.25 in, 235 x 311 mm272 pages, HC 800 color photosAll rights availableCt. Qty. 6$65.00 US/£40.00 UK/$72.00 CAN

41



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BEst of BusinEss card dEsign 9 162

001

002

003


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intEractivous cardious163

dEsign firm

dEsignEr(s)

cliEnt

art dirEctor

spEcimEn

notEs

St. Bernadine Mission Communications, Inc.

Jennifer Hicks

001

Andrew Samuel

The Dog & Hydrant

Illustrator CS3; Metal dog tag, stickers

dEsign firm

dEsignEr(s)

cliEnt

art dirEctor

spEcimEn

notEs

designlab, inc

Scott Gericke

002

Laura Burns Gericke

designlab, inc

InDesign CS3, Illustrator CS3; Mohawk Superfine Ultrawhite, 130 lb. Cover, eggshell finish

dEsign firm

dEsignEr(s)

cliEnt

art dirEctor

spEcimEn

notEs

A3 Design

Alan Altman

003

Amanda Altman

carbonhouse

Illustrator CS3; 2x thick Classic Crest 130 lb.

dEsign firm

dEsignEr(s)

cliEnt

art dirEctor

spEcimEn

notEs

Voicebox Creative

Voicebox Creative

004

Jacques Rossouw

Sbragia Family Vineyards

Illustrator CS3

004


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CoRPoRAte CommUnICAtIons


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BOOKS BY CATEGORY

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The Best of Brochure Design 11Kiki EldridgeISBN: 9781592538263Item # 200346 AQ9.25 x 11.25 in, 235 x 286 mm224 pages, PB 450 color photosRights sold: English language in JapanCt. Qty. 10$35.00 US/£22.50 UK/$39.00 CAN

The Best of Business Card Design 9Rule29ISBN: 9781592537907Item # 199798 AQ9 x 11 in, 229 x 279 mm240 pages, PB 800 color photosRights sold: HungarianCt. Qty. 10

The Best of Brochure Design 12PublicISBN: 9781592538331Item # 210576 AQ9 x 11 in, 229 x 279 mm224 pages, HC 300 color photosAll rights availableCt. Qty. 6$45.00 US/£30.00 UK/$49.99 CAN

The Best of the Best of Brochure Design: Volume IIJason Godfrey, Willoughby Design Group, Wilson Harvey, and Cheryl CullenISBN: 9781592537921Item # 199800 AQ9.25 x 11.25 in, 235 x 286 mm352 pages, PB 800 color photosRights sold: English language in EUCt. Qty. 20$19.99 US/£14.99 UK/$21.99 CAN

42

The Best of Business Card Design 9


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118 119

Title: Estoril Fashion Art Festival Catalogue Firm: MusaWorkLab Art Director: MusaWorkLab Designer: MusaWorkLab Client: Associação ModaLisboa Client Industry: Fashion

Printer: M2 Artes Gráficas Method: Offset Paper: Fedrigoni paper

Fonts: Didot, League Gothic, Linux Libertine. Photographers: Jornal O Século, C.M.Cascais, Luciana Cristhovan, Eugenio Recuenco, Jose Manuel Ferrater, David Urbano, Daniel RierA, Antoine Passerat, Luis Venegas, Carlos Ramos, Paulo Segadães, Luís de Barros, Pedro Ferreira, Rui Aguiar Illustrators: Maria Archer, MusaWorklab Writers: Text by the authors

Designer’s Statement:

Catalog for cultural festival that put together Portuguese and Spanish creative talents such as Luis Venegas, Paco Rabane.

The festival incorporated exhibitions, fashion shows and debates with names carefully sum-moned from the ranks of fashion, photography, publishing, cinema, video art, public art, and food design.

The variation in the cards reflects the array of participants of the event.

The enclosing case is simple and sophisticated with type debossed giving it a high-end feel.

120 121

Title: Estoril Fashion Art Festival Catalogue Firm: MusaWorkLab

Although every card is quite different, the primary typeface and black/red/white color palette holds the pieces together visually.

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43The Best of Brochure Design 12



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CA

Portfolios & Promotions


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BOOKS BY CATEGORY

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1,000 Bags, Tags, & LabelsDistinctive Designs for Every IndustryKiki EldridgeISBN: 9781592531837Item # 153042 AQ9 x 9 in, 229 x 229 mm320 pages, PB 1000 color photosRights sold: Chinese, English language in Japan, Russia, Asia excluding Japan and India, Germany, Austria, Switzerland, EUCt. Qty. 6$40.00 US/£27.50 UK/$56.00 CAN

1,000 Music Graphics (mini)A compilation of packaging, posters, and other sound solutionsStoltz DesignISBN: 9781592536634Item # 192549 AQ6 x 6 in, 152 x 152 mm440 pages, PB 1000 color photosRights sold: English language in JapanCt. Qty. 20$19.99 US/£12.99 UK/$21.99 CAN

1,000 Indie PostersJohn FosterISBN: 9781592536566Item # 192530 AQ9 x 9 in, 229 x 229 mm320 pages, Flexi-bind 1000 color photosRights sold: JapaneseCt. Qty. 6$40.00 US/£25.00 UK/$44.00 CAN

1,000 Bags, Tags, & Labels (mini)Distinctive Design for Every IndustryKiki EldridgeISBN: 9781592535330Item # 153360 AQ6 x 6 in, 152 x 152 mm440 pages, PB 1000 color photosRights sold: English language in JapanCt. Qty. 20$19.99 US/£12.99 UK/$21.95 CAN

Building Design PortfoliosInnovative Concepts for Presenting Your WorkSara EisenmanISBN: 9781592534388Item # 153300 AQ6.75 x 10 in, 171 x 254 mm192 pages, PB 300 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$27.50 CAN

1,000 More GreetingsCreative Correspondence for All OccasionsAesthetic MovementISBN: 9781592536405Item # 192548 AQ9 x 9 in, 229 x 229 mm320 pages, Flexi-bind 1000 color photosRights sold: English language in Japan, EU, Taiwan, AsiaCt. Qty. 6$40.00 US/£25.00 UK/$44.00 CAN

Design for Special Events500 of the Best Logos, Invitations, and GraphicsPeleg TopISBN: 9781592534166Item # 152920 AQ9.25 x 9.25 in, 235 x 235 mm320 pages, HC 600 color photosAll rights availableCt. Qty. 6$50.00 US/£30.00 UK/$55.00 CAN

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Design Matters: Portfolios 01An Essential Primer for Today’s Competitive MarketMaura KellerISBN: 9781592536023Item # 191712 AQ8.25 x 10.25 in, 210 x 260 mm192 pages, Flexi-bind 250 color photosRights sold: KoreanCt. Qty. 20$24.99 US/£16.99 UK/$31.99 CAN

New Masters of Poster Design, Volume 2Poster Design for This Century and BeyondJohn FosterISBN: 9781592537365Item # 195002 AQ9 x 12 in, 229 x 305 mm256 pages, PB w/jacket 400 color photosAll rights availableCt. Qty. 6$40.00 US/£25.00 UK/$44.00 CAN

Design: PortfolioSelf Promotion at Its BestCraig WelshISBN: 9781592538409Item # 210770 AQ8 x 11 in, 203 x 280320 pages, Flexi-bind500 color photosAll rights availableCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

New Masters of Poster DesignPoster Design for the Next CenturyJohn FosterISBN: 9781592534340Item # 153199 AQ9 x 12 in, 229 x 305 mm256 pages, PB 400 color photosAll rights availableCt. Qty. 10$30.00 US/£19.99 UK/$32.95 CAN

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A Designer’s Research ManualSucceed in Design by Knowing Your Clients and What They Really NeedJenn and Ken Visocky O’GradyISBN: 9781592535576Item # 153304 AQ6.75 x 10 in, 171 x 254 mm192 pages, PB 300 color photosRights sold: Chinese, KoreanCt. Qty. 10$25.00 US/£16.99 UK/$27.50 CAN

Visual Language for DesignersPrinciples for Creating Graphics that People UnderstandConnie MalamedISBN: 9781592537419Item # 195004 AQ9 x 11 in, 229 x 280 mm240 pages, PB 300 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

Information Design WorkbookGraphic Approaches, Solutions, and Inspiration + 30 Case StudiesKim BaerISBN: 9781592536276Item # 191707 AQ9 x 9 in, 229 x 229 mm240 pages, PB 500 color photosAll rights availableCt. Qty. 20$20.00 US/£14.99 UK/$25.00 CAN

Universal Methods of Design100 Ways to Research Complex Problems, Develop Innovative Ideas, and Design Effective SolutionsBruce Hanington and Bella MartinISBN: 9781592537563Item # 195001 AQ8.5 x 10 in, 216 x 254 mm208 pages, HC 250 color photosRights sold: Chinese, Dutch, Japanese, Korean, French, German, RussianCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

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Writing and Research for Graphic DesignersA Designer’s Manual to Strategic Communication and PresentationSteven HellerISBN: 9781592538041Item # 199826 AQ8 x 10 in, 203 x 254 mm176 pages, HC250 color photosAll rights availableCt. Qty. 6$40.00 US/£25.00 UK/$44.00 CAN


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ReseaRch MethoD • synthesis / analysis techniqUe

33 ergonomic AnalysisErgonomic analysis provides an assessment of tools, equipment, devices, workstations, workplaces, or environments, to optimize the fit, safety, and comfort of use by people.

ergonomic analysis is performed as an evaluation of products or environments currently in use to

suggest improvements through corrective measures such as adaptations, adjustment, or equip-

ment replacement, or to inspire redesign. It may be conducted as a predesign analysis, through the

evaluation of comparable products or systems, or utilizing human studies, literature, and standards, to

establish ergonomic criteria for new design.

Five interrelated criteria commonly used in ergonomic analysis are size, strength, reach, clearance,

and posture,1 ranging in scale from micro (finger, hand, tool) to macro (limb, body, environment).

Size Anthropometry is the systematic measurement of people, used in the evaluation of existing tools

for size appropriateness, and for designing new tools and systems according to human scale.2

Strength The amount of manual force needed for effective use of products and systems encom-

passes the range of human criteria from finger strength in trigger-based actions, to hand strength for

gripping and force requirements, and limb, torso, and body strength for tasks such as lifting.

Reach At a micro level, reach refers to the span of the hand, measured as the distance between touch

points in tool and equipment design, establishing grip requirements. At a macro level, reach is used to

establish and evaluate effective body positions, for the user to safely, effectively access operator con-

trols, or components of a workstation, appliance, or architectural feature in the environment. reach

thresholds are typically established for the fifth percentile of females, assuming that if the smallest

user can grip or access, most users will be accommodated.

Clearance Clearance describes the effective space required within and around tools and machinery

for safe, comfortable hand use, and minimum thresholds for avoiding obstacles in the environment.

Clearance is commonly based on accommodating the 95th percentile male, on the assumption that

this will account for use by all users equal or smaller in size.

Posture In assessing hand postures, tools and systems should avoid excessive deviation (lateral

movements left and right) or flexion (movements downward and upward) from a neutral position. For

example, ergonomic keyboards attempt to maintain a natural, neutral posture for the wrist. At body

scale, a healthy posture and the reduction of bending and stooping are critical to avoid discomfort,

fatigue, and long-term injury.

Although ergonomic analyses are usually performed as objective, behavioral evaluations, it is impor-

tant to also include qualitative assessments. For example, preference measures such as comfort

questionnaires can be used to compare and correlate physical measures with subjective perceptions.

1. Tannen, rob. “Crimping Tools: An

ergonomic review of the State-of-the-Art.”

Whitepaper for Thomas & Betts, June 2009.

See also:

http: www.designingforhumans.com/

idsa/2010/06/ergonomic-analysis-for-tool-

redesign.html

2. extensive data sets of human dimensions

are available in print and online. In design,

dreyfuss and Associates is credited as

the authoritative resource for human

anthropometric data, stemming from the

landmark text the measure of man published

in 1959, and updated as the measure of man

and woman, first published in 1993. See:

Tilley, Alvin r., and Henry dreyfuss

Associates. the measure of man and woman.

new York: Wiley, 2001.


Further Reading

Cagan, Jonathan, and Craig vogel. creating

breakthrough products. Upper Saddle river,

nJ: Prentice-Hall, 2002.

dul, Jan, and Bernard Weerdmeester.

ergonomics for beginners: a Quick reference

Guide. Boca raton, Fl: CrC Press, 2008.

Pheasant, Stephen, and Christine Haslegrave.

bodyspace: anthropometry, ergonomics and

the design of work. Boca raton, Fl: CrC

Press, 2005.


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See also 34. Evaluative Research • 84. Task Analysis • 94. Usability Testing

Above: ergonomic analyses of human postures and

movements used to inform the design of library media

stations for the deichmannske main library in oslo,

norway. www.systemsorienteddesign.net

courtesy of birger Sevaldson, ahO

Wide jaw opening provides clearance for inserting/removing terminals

High visibility color coding for size

Head

Shoulder

Elbow

Hand

Foot

Release mechanism is accessed external to handles for ease of access

Contoured handle with upper and lower touch points to support grip span

Grooved handle overmolding provides comfort, grip stability, and durability

Handle cleat (foot) grips surface for optimal leverage when crimping

Ap

plie

d H

and

Fo

rce

(in

po

un

ds)

Grip Span (in inches)

Critical Zone

T&B erG 4001 requires 18% less force than its closest competitor.

Ideal Crimpmaster 30 – 500

Panduit CT 1570

T&B erG 4001

Tyco Procrimper III

Above and right: ergonomic analysis of a crimping device

hand tool for Thomas & Betts.3

courtesy of rob tannen, bresslergroup

Head

Shoulder

Elbow

Hand

Foot

Same Position


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ReseaRch MethoD • synthesis / analysis techniqUe • ReseaRch DeliveRable

34 evaluative researchEvaluative research involves the testing of prototypes, products, or interfaces by real potential users of a system in design development.

evaluative or evaluation research attempts to gauge human expectations against the designed

artifact in question, determining whether something is useful, usable, and desirable. This is the most

established form of research in design, stemming from a long history of product and interface test-

ing in human factors, commonly known as “user testing.” To avoid connotations that the partici-

pants themselves are being tested, the term “product testing” is preferred. Furthermore, whereas

testing in the past focused primarily on performance measures to gauge variables such as speed

and accuracy in task completion, the emphasis in design evaluation is now more comprehensive,

collecting feedback on preference measures as well, including the aesthetic and emotional response

from users. evaluation research therefore encompasses methods that gauge human factors and

ergonomics, usability, aesthetic response, and emotional resonance.

evaluation research is ideally iterative, based on feedback from potential users in cyclical rounds of

concept and prototype development to refine product and interface details. evaluation should never

be reserved only for final product release, when design changes are potentially complicated and

expensive. However, evaluation research of existing products may be useful in early stage design

research, to inform new product development, for competing products or variations, or for comple-

mentary products within a system.

The methodology of evaluation research may be tightly controlled, employing a scientific, experi-

mental model typical in lab testing. The advantage of this model is the control over extraneous vari-

ables, but this may come at the expense of realism. depending on the fidelity of prototypes, testing

can also be conducted using flexible evaluations by people using products or prototypes in context

or approximate conditions of real-world use. The value of this approach is realism, but it may come

at the expense of control over other influencing variables.

new crowdsourcing opportunities afford online testing by volunteers to assess pages, naviga-

tion, and how users are engaging with prototype interface designs and wireframes, complete with

summarized data analysis and visualizations presented in graphs and heat maps.1 While evaluation

research should always encompass testing with potential users, other methods use expert evalua-

tors to assess products and interfaces, such as cognitive walkthrough and heuristic evaluation.

When evaluation research is conducted following thorough exploratory and generative research, it

often needs only to serve a verification purpose, to assess how well designers have responded to

input from users as they iterate and refine their designs.

1. See for example:

Kittur, Aniket, ed H. Chi, and Bongwon

Suh. “Crowdsourcing for Usability: Using

Micro-Task Markets for rapid, remote, and

low-Cost User Measurements.” proceedings

of chi, 2008.

See also:

Amazon Mechanical Turk: www.mturk.com

fivesecondtest: www.fivesecondtest.com

navflow: www.navflow.com

clicktest: www.theclicktest.com

Further Reading

Barnum, Carol. usability testing essentials:

ready, Set . . . test! San Francisco, CA: Morgan

Kaufmann, 2010.

Hackos, JoAnn, and Janice redish. user and

task analysis for interface design.

new York: Wiley, 1998.

Tullis, Thomas, and William Albert. measuring

the user experience: collecting, analyzing,

and presenting usability metrics. San

Francisco, CA: Morgan Kaufmann, 2008.


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See also 01. A/B Testing • 46. Heuristic Evaluation • 87. Think-aloud Protocol

evaluation research can be conducted through a range of

formal and informal means. Here stakeholder evaluations

were informally invited through a public display of

prototypes for a proposed new signage program in the

School of design at Carnegie Mellon University.


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47Universal Methods of Design



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CLOSER LOOK

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Watson and Company

USA

Launched in 2009 by Daniella Luxembourg and Amaila Dayan, Luxembourg & Dayan is a private gallery located in the Upper East Side of Manhattan.

The chipboard is a nice contrast to the refined materials.

A single color helps the identity stand out from an otherwise traditional black-and-white gallery color palette.


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CLOSER LOOK 63

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Simple, thoughtful paper choices are combined with beautifully set type to create an elegant identity.


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Working Designers

CA CA


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BOOKS BY CATEGORY

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48

Graphic Design That WorksSecrets for Successful Logo, Magazine, Brochure, Promotion, and Identity DesignRockport PublishersISBN: 9781592532797Item # 153287 AQ6.75 x 8.25 in, 171 x 210 mm352 pages, PB600 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$35.00 CAN

Managing the Design Process-Concept DevelopmentAn Essential Manual for the Working DesignerTerry Lee StoneISBN: 9781592536177Item # 191720 AQ8 x 10 in, 203 x 254 mm208 pages, Flexi-bind 200 color photosRights sold: Chinese, KoreanCt. Qty. 6$40.00 US/£25.00 UK/$44.00 CAN

Managing the Design Process- Implementing DesignAn Essential Manual for the Working DesignerTerry Lee StoneISBN: 9781592536191Item # 192564 AQ8 x 10 in, 203 x 254 mm208 pages, Flexi-bind 200 color photosRights sold: Chinese, GermanCt. Qty. 6$40.00 US/£25.00 UK/$44.00 CAN

Design: Paper

100 Habits of Successful Freelance DesignersInsider Secrets for Working Smart & Staying CreativeSteve Gordon Jr.ISBN: 9781592535125Item # 153073 AQ8.25 x 10.25 in, 210 x 260 mm192 pages, HC 300 color photosAll rights availableCt. Qty. 6$40.00 US/£24.99 UK/$43.95 CAN

365 Habits of Successful Graphic DesignersInsider Secrets from Top Designers on Working Smart and Staying CreativeLaurel Saville, Steve Gordon Jr., Joshua Berger, and Sarah DougherISBN: 9781592537372Item # 195015 AQ8 x 10 in, 203 x 254 mm496 pages, PB 900 color photosRights sold: English language in AsiaCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

The Design EntrepreneurTurning Graphic Design Into Goods That SellSteven Heller and Lita TalaricoISBN: 9781592537068Item # 193876 AQ6.75 x 10 in, 171 x 254 mm240 pages, PB 500 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN


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CLOSER LOOK

(Text)

Watson and Company

USA

Launched in 2009 by Daniella Luxembourg and Amaila Dayan, Luxembourg & Dayan is a private gallery located in the Upper East Side of Manhattan.

The chipboard is a nice contrast to the refined materials.

A single color helps the identity stand out from an otherwise traditional black-and-white gallery color palette.


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CLOSER LOOK 63

(Text)

Simple, thoughtful paper choices are combined with beautifully set type to create an elegant identity.


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DESIGN: PAPER 138

USA

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Hatch Design


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PACKAGING 139

USA

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Jamie Nash


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general Design & Creativity



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BOOKS BY CATEGORY

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The Anatomy of DesignUncovering the Influences and Inspiration in Modern Graphic DesignSteven Heller and Mirko IlicISBN: 9781592535545Item # 153207 AQ10 x 10 in, 254 x 254 mm208 pages, PB 1400 color photosAll rights availableCt. Qty. 10$30.00 US/£18.99 UK/$32.95 CAN

Atlas of Graphic DesignersElena Stanic and Corina LipavskyISBN: 9781592536641Item # 192552 AQ9 x 11 in, 229 x 279 mm600 pages, PB 1000 color photosRights sold: English language in AsiaCt. Qty. 6$30.00 US/£19.99 UK/$33.00 CAN

Design: PaperA Seductive Collection of Alluring Paper DesignPublic SchoolISBN: 9781592537716Item # 195056 AQ8 x 10 in, 203 x 254 mm272 pages, Flexi-bind 1000 color photosRights sold: English language in AsiaCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

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178 design school

PB-Edn

project briefThis project is based on an analytical reading of the Carnival of the city of Barranquilla (a Cultural Patrimony of Humanity, according to UNESCO) from the point of view of its overall design and its fundamental components. Each student analyzes the text for its form, color, texture, movement, and structure, relating to

design as a fundamental element of the Colom-bian popular culture.

project goal Develop color, form, structure, and space by studying the figures, masks, and dances of the Carnival of Barranquilla.

project outcome The exercise resulted in the design of a series of posters that picked up the essential elements of each aspect examined and that, moreover, were within the framework set out by the Internation-al Congress of Graphic Design, established in Merida, Venezuela, in November 2004.

41

Class: Basic DesignLevel: First yearFaculty: Diego Giovanni Bermúdez AguirreDuration of Project: Six Weeks

University of Bogotá Jorge Tadeo LozanoBogotá D.C., Colombia

Color y Carnaval

El Rey MomoStudent: Alejandro Guerrero

The structure demonstrates the results of the analysis of the carnival text. It is the funda-mental element from which comes the diverse possibilities, in terms of form and color, for the poster of King Momo.

El Congo GrandeStudent: Luisa Luna

This poster objectively expresses by means of dynamic forms and primary colors (present in the Colombian flag) the magnificence and au-thenticity of the Great Congo—one of the most important dances of the carnival.

El ToritoStudent: Alex Rodriguez

The Torito represents the tra-dition and strength of the car-nival, shown in the bull-faced mask and the handling of the colors of the national flag.

La Negrita PuloyStudent: Estefania Mayolo

The essential elements of the figure of the Negrita Puloy are manifested in curved forms jux-taposed with luminous colors.

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PB-Edn

design as a fundamental element of the Colom-bian popular culture.

project goal Develop color, form, structure, and space by studying the figures, masks, and dances of the Carnival of Barranquilla.

project outcome The exercise resulted in the design of a series of posters that picked up the essential elements of each aspect examined and that, moreover, were within the framework set out by the Internation-al Congress of Graphic Design, established in Merida, Venezuela, in November 2004.

Color y Carnaval

El Congo GrandeStudent: Luisa Luna

This poster objectively expresses by means of dynamic forms and primary colors (present in the Colombian flag) the magnificence and au-thenticity of the Great Congo—one of the most important dances of the carnival.

La MarimondaStudent: Laura Nieto

The Marimonda is known for gratitude and overflow-ing joy, elements that are expressed with complemen-tary and warm colors.

El DescabezadoStudent: Carlos Mendoza

The headless Descabezado (left-without-a-leader) represents the violence lived in Colombia for decades. Asymmetry, resistance, and sharpness serve to represent this carnival personage.

El MonocucoStudent: Diana Mosquera

The carnival is an example of joy and diversion through movement and spontaneity, which the poster reveals in its warm trowel of color and de-fined curvilinear forms.

El ToritoStudent: Alex Rodriguez

The Torito represents the tra-dition and strength of the car-nival, shown in the bull-faced mask and the handling of the colors of the national flag.

La Negrita PuloyStudent: Estefania Mayolo

The essential elements of the figure of the Negrita Puloy are manifested in curved forms jux-taposed with luminous colors.

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180 design school

PB-Edn

project briefRedesign the cover of the popular book El Llano en llamas (The Burning Plain) by Juan Rulfo, one of the most internationally renowned of

Mexican writers. It is a book of short stories that deals with conditions of rural life at the time of the Mexican Revolution, highlighting social con-trasts, the struggle for land, religion, and politics. The students have to read the book thoroughly and make assessments of the covers of previous editions. The cover trim is 4.5 × 6.5 inches (11.5 × 16.5 cm) and the printing is four color. The method for carrying out the project comprises three stages: defining the need for the design, determining the design direction, then creating the book cover.

42

Class: Design of Messages IIILevel: Second YearFaculty: Felix BeltranDuration of Project: One Month

Autonomous Metropolitan University, Azcapotzako CampusMexico City, Mexico

The Transparent Cover

Student: Christian Alvarez

I wanted to reflect the meta-phor of the principal story and accentuate a dramatic scene. The heavy letters are compat-ible with the rest of the scene.

Student: Dulce Hernandez

This flame is awesome and devastating, and the text is placed in the space allowed by the photo. I have not reduced the size of the typography of the author’s name because I consider it to be as important as the book’s title.

Student: Elizabeth Mandujano

I decided to make the blaze more evident than that of other proposals. The peas-ants appearing in one corner are defenseless before the im-mense flames.

Student: Carlos Rivera

The image of a half-full sack in which the har-vest is deposited is evidence of the insufficiency of the production of an arid land. The glare is as-sociated to a certain extent with a blaze and the text has a suitable contrast for readability.


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Student: Luis Baltazar

I opted for an enflamed scene of rural workers to describe a situation that continues to exist in Mexico.

Student: Miryam Cervantes

I tried to make the background black to accentuate the dra-matic quality of the flames. The typography is condensed; I now believe it could have been a little bolder.

Student: Gabriela Maciel

I wanted to reflect the condi-tions of the countryside de-scribed in the stories using a photograph of the peasants emerging from the blaze.



Student: Liliana Linares

I decided to use a photograph of a peasant for my work, since I consider them to be the main subject of these stories. The red-dish tones evoke the fire of the Mexican Revolution.





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general Design & Creativity


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BOOKS BY CATEGORY

2

Design School Extraordinary Class Projects From International Design SchoolsSteven Heller and Lita TalaricoISBN: 9781592537594Item # 195005 AQ6.75 x 10 in, 171 x 254 mm224 pages, PB 300 color photosRights sold: ChineseCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

SketchbookConceptual Drawings from the World’s Most Influential DesignersTimothy O’DonnellISBN: 9781592537341Item # 195030 AQ9 x 11 in, 229 x 279 mm192 pages, PB 300 color photosRights sold: Japanese, Chinese, English language in AsiaCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

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PB-Edn

project briefRedesign the cover of the popular book El Llano en llamas (The Burning Plain) by Juan Rulfo, one of the most internationally renowned of


42

Class: Design of Messages IIILevel: Second YearFaculty: Felix BeltranDuration of Project: One Month

Autonomous Metropolitan University, Azcapotzako CampusMexico City, Mexico

The Transparent Cover







Student: Carlos Rivera

The image of a half-full sack in which the har-vest is deposited is evidence of the insufficiency of the production of an arid land. The glare is as-sociated to a certain extent with a blaze and the text has a suitable contrast for readability.


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Student: Luis Baltazar

I opted for an enflamed scene of rural workers to describe a situation that continues to exist in Mexico.

Student: Miryam Cervantes

I tried to make the background black to accentuate the dra-matic quality of the flames. The typography is condensed; I now believe it could have been a little bolder.

Student: Gabriela Maciel

I wanted to reflect the condi-tions of the countryside de-scribed in the stories using a photograph of the peasants emerging from the blaze.



Student: Liliana Linares

I decided to use a photograph of a peasant for my work, since I consider them to be the main subject of these stories. The red-dish tones evoke the fire of the Mexican Revolution.





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Morning Breath { I N T E R V I E W }

brooKLyn, nEW yorK, u.s . A .


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Morning breath is the name of a two-man design

studio based in brooklyn, new york. Jason noto

and doug cunningham first met in san Francisco

while working for think skateboards, deciding

in 2002 to strike out on their own to “do the work

we love for people we like.” their collaborations

include working with companies such as Atlas,

Zoo york, Adrenalin skateboards, and circuit

Wheels.

Take us through a typical day at Morning Breath. What does your space look like, when does your workday start, and what kind of projects do you work on?

Our days at Morning Breath are anything but typical.

We usually arrive between ten and eleven o’clock in

the morning. A lot of our projects are bicoastal, so

it makes sense to start late and end a bit late. Most

of our days begin with a quick powwow to discuss

what needs to happen that day—which project is

on fire.. Some days, our projects are straightforward

design; other days, they are looser, a blend of illus-

tration and our brand of design. When we’re waiting

on feedback from a client, we’ll use that time to

take care of the business side of things—invoicing,

catching up on emails, sending out orders from our

store, and so on. We also do a lot of painting and

personal projects. Finding time for those projects

can be challenging, but we’ve become pretty good

at juggling.

Our studio is on the tenth floor of a building

on the Brooklyn waterfront. We have a really cool

view of Manhattan outside our window. The inside

of the studio is divided into a painting/make-a-mess

space near the windows in the rear and a more

organized computer/workstations space in the front.

In the center, we have a pool table for those mo-

ments of procrastination.

I read that you tag team when you create work. Noto does the design and Cunningham the illustration.

Can you describe your process for creating a board design?

A lot of our style and method for creating board

graphics is similar to how we did it at Think

Skateboards in the mid-nineties. If we have a solid

concept or are creating a very loose abstract design,

we usually start with an illustration of some sort

and typographic elements. For a lot of our work,

we want to achieve a slightly vintage feel, and to do

this we use an archive of old typefaces along with

specific techniques. Once the design and illustration

are put in place we both give it a critique, and share

suggestions and opinions on making it better.

Have you noticed any difference in the design culture between the West Coast and East Coast?

We met while working at Think in 1996 in San

Francisco. At the time, most skateboard companies

were on the West Coast. The East Coast skateboard

scene had been growing, but wasn’t yet as big as

the California scene. Over the next decade, the

scenes began to merge, with many people in that

industry going bicoastal, including the pro skaters.

This brought the urban street culture of New York

City to the skate scene of California, which was

still a bit more “punk rock” and vice versa. This

merging of influences is now apparent in the

graphics on boards—they are no longer regional.

It’s rare to find such a strong partnership as professionals and friends. Why do you think you work so well together?

We have a tremendous amount of respect for each

other, and when we walk into the studio, we leave

our egos at the door. We have our moments, as I

assume most business partners do, but any differ-

ences are settled quickly, and neither of us will hold

a grudge. We both take pride in our work; but work

is not everything. Both of us have families, and

over the years, I suppose we have become family

as well.

oPPosItE PAGE: Inside the Morning Breath studio: Jason Noto (left) and Doug Cunningham (right), 2010.

LEFt: Morning Breath “Early Bird Icon,” 2002.

rIGHt: Deck for Atlas, “Artist series board design,” 2010.

SKATE 15


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art & illustration



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BOOKS BY CATEGORY

2

1,000 Ideas by 100 Manga ArtistsCristian CamposISBN: 9781592537143Item # 193871 AQ9 x 9 in, 229 x 229 mm320 pages, Flexi-bind 1000 color photosRights sold: ChineseCt. Qty. 10$24.99 US/£16.99 UK/$27.99 CAN

Inside the World of Board GraphicsSkate, Surf, SnowRobynne Raye and Michael StrassburgerISBN: 9781592537181Item # 193941 AQ9 x 11 in, 229 x 279 mm224 pages, Flexi-bind 300 color photosAll rights availableCt. Qty. 10$35.00 US/£25.00 UK/$39.00 CAN

1,000 Ideas for Graffiti and Street ArtMurals, Tags, and More from Artists Around the WorldCristian CamposISBN: 9781592536580Item # 192529 AQ9 x 9 in, 229 x 229 mm320 pages, Flexi-bind 1000 color photosRights sold: English language in EUCt. Qty. 6$40.00 US/£25.00 UK/$44.00 CAN

Masters of Science Fiction and Fantasy ArtA Collection of the Most Inspiring Science Fiction, Fantasy, and Gaming Illustrators in the WorldKaren HaberISBN: 9781592536757Item # 193881 AQ9 x 12 in, 229 x 305 mm224 pages, PB 400 color photosAll rights availableCt. Qty. 10$30.00 US/£20.00 UK/$33.00 CAN

Creating Comics!47 Master Artists Reveal the Techniques and Inspiration Behind Their Comic GeniusJudith Salavetz and Spencer DrateISBN: 9781592536412Item # 192556 AQ8 x 10 in, 203 x 254 mm176 pages, PB 200 color photosAll rights availableCt. Qty. 10$30.00 US/£20.00 UK/$33.00 CAN

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Paris Metro Entrances, 1898

Paris, France

Hector Guimard (1867–1942), Architect

Lyon, France

THE iMPACT OF iNVENTiON 1879–1933


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At the beginning of the twentieth century, change appeared every-where. In civilized cultures throughout the world, traditional beliefs were starting to be overshadowed by emerging new ideas. A flood of groundbreaking innovations and inventions redefined the archi-tecture and built environment and forever transformed the now-industrialized modern world. In the 1870s, the invention of electricity and the incandescent lightbulb by Thomas Alva Edison (1847–1931) ultimately enhanced the way in which people interacted with one another and with the built environments they lived in. Communication was also dramati-cally altered in the late nineteenth century by the introduction of the telephone by Alexander Graham Bell (1847–1922) and his assistant, Thomas Watson (1854–1934). The development of the first commercially successful inter-nal combustion engine in 1858 by Belgian engineer Étienne Lenoir (1822–1900) and improvements to the assembly line technique of mass production by American industrialist Henry Ford (1863–1947) in the early 1900s, revolutionized the manner in which people trav-eled from destination to destination, ultimately allowing them to explore every corner of the world. At the beginning of the century, there were approximately 8,000 automobiles in the United States. In 1906, President Theo-dore “Teddy” Roosevelt (1858–1919) initiated American domestic tourism by encouraging Americans public to take to the road and “See America First.” Americans’ love affair with the new automo-bile and their desire to be mobile and explore the open road grew, and with it came the development of the country’s city, state, and federal road systems; service stations, motor courts, and motels. New and revolutionary explorations in art and architecture around the world also inevitably influenced graphic design in the


Paris, France


Lyon, France




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CA

arChiteCture, interior Design & ProDuCt Design


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BOOKS BY CATEGORY

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1,000 Ideas by 100 ArchitectsSergi Costa Duran and Mariana R. EguarasISBN: 9781592535736Item # 158907 AQ9 x 9 in, 229 x 229 mm320 pages, PB 1000 color photosRights sold: ChineseCt. Qty. 6$40.00 US/£24.99 UK/$49.99 CAN

1,000 Product DesignsForm, Function, and Technology from Around the WorldEric ChanISBN: 9781592536382Item # 192550 AQ9 x 9 in, 229 x 229 mm320 pages, Flexi-bind 1000 color photosRights sold: English language in EUCt. Qty. 6$40.00 US/£25.00 UK/$44.00 CAN

The Architecture Reference & Specification BookEverything Architects Need to Know EverydayJulia McMorrough and Dan WheelerISBN: 9781592538485Item # 210659 AQ5.46 x 7.83 in, 139 x 199 mm272 pages, PB750 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

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The Architecture Reference & Specification Book Graphic Design and Architecture, A 20th-Century History


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BarBara sTauffacher soloMon and sea ranch

sea ranch suPergraPhics

sonoma county, california, usa

Barbara Stauffacher Solomon (b. 1928), Designer

San Francisco, California, USA

1966

Barbara Stauffacher Solomon pioneered the use of Supergraphics* in 1966 with her work for Sea Ranch, a residential community in Sonoma County, California. Sea Ranch, noted for its distinctive contemporary architecture of simple timber-frame structures clad in wood siding and shingles, was designed by Charles Moore (1925–1993) of Moore, Lyndon, Turnbull & Whitaker and landscape architect Lawrence Halprin (1916–2009) in the vernacular style of the rugged coastline of northern California. Born in San Francisco in 1928, Solomon initially studied fine art at the San Francisco Art Institute before traveling to Switzerland to study with renowned modernist graphic design and teacher Armin Hofmann (b. 1920; see page 178) at the Kunstgewerbeschule in Basel. Supergraphics was the moniker given ini-tially to an architectural movement in the 1960s and 1970s that gave architects (and, ultimately, graphic designers) the creative freedom to remove solidity, gravity, and even history by the application and manipulation of building surfaces. For most design historians, Sea Ranch represented the pivotal starting point of this movement; however, a precursor to this groundbreaking project occurred in 1962 with Robert Venturi’s (b. 1925) Grand’s Restaurant (1960; see page 183), where he integrated large-scale, mirror-image, stencil letterforms to the restaurant’s interior. The wall graphics at Sea Ranch were an obvious and direct extension of the architectural forms and profiles of the building architecture, as well as reflective of Solomon’s rigorous, modernist education at Basel. They transformed the interior spaces with fundamental graphic design elements—bold stripes, geometric forms, vibrant primary colors, and truncated

letterforms with obvious visual references to influential art movements of the time—pop art, op art, abstract expressionism, and the Interna-tional Style. A critical characteristic to the suc-cess and brilliance of these supergraphics was that they moved up building surfaces, around corners, changing directions, making interior spaces appear larger and more engaging. The art and architectural historian Sibyl Moholy-Nagy (1903–1971) summarized Solo-mon’s influence on architecture and the built environment of this era best—“there are few

things contemporary architecture needs more than a sensitive symbiosis with color, texture, and shape. There is a joyous element in Miss Stauffacher’s art which lifts the spirit, and cre-ates an environmental identity which is usually lacking in our Miesian heritage.”

*The term supergraphics is attributed to C. Ray Smith (1929–1988), architectural writer and critic, who described this new movement in architecture as “not a decorative device . . . but, a spatial experimentation.”

uniMarK and The new yorK ciTy suBway sysTeM

new york city transit authority

graPhics standards

new york, new york, usa

Unimark International (est. 1965), Designers

New York, New York, USA

After completing his architectural studies in Milan and Venice in 1960, Massimo Vignelli (b. 1931) moved to the United States. In 1965, Vignelli became cofounder and design director of Unimark International, at the time, one of the largest graphic design consulting firms in the world, with more than 400 employees in forty-eight offices worldwide. Unimark was created by Vignelli and Ralph Eckerstrom (1924–1996), former design director of Container Corporation of America


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The

PosT

war

worl

d 19

50–2

000

III

ModernisM and The inTernaTional sTyle 1950–19796

(Text)

things contemporary architecture needs more than a sensitive symbiosis with color, texture, and shape. There is a joyous element in Miss Stauffacher’s art which lifts the spirit, and cre-ates an environmental identity which is usually lacking in our Miesian heritage.”

*The term supergraphics is attributed to C. Ray Smith (1929–1988), architectural writer and critic, who described this new movement in architecture as “not a decorative device . . . but, a spatial experimentation.”

uniMarK and The new yorK ciTy suBway sysTeM

new york city transit authority

graPhics standards

new york, new york, usa

Unimark International (est. 1965), Designers

New York, New York, USA

1966

After completing his architectural studies in Milan and Venice in 1960, Massimo Vignelli (b. 1931) moved to the United States. In 1965, Vignelli became cofounder and design director of Unimark International, at the time, one of the largest graphic design consulting firms in the world, with more than 400 employees in forty-eight offices worldwide. Unimark was created by Vignelli and Ralph Eckerstrom (1924–1996), former design director of Container Corporation of America

(CCA). The pair had first met in Chicago in 1958 while Vignelli was teaching at the Institute of Design at the Illinois Institute of Technology on a Moholy-Nagy Fellowship. Both men shared a similar design philosophy and were determined to bridge the gap between American market-ing principles and European modernist graphic design. Unimark’s philosophy was based on a disciplined and systemized approach for creat-ing effective and rational mass visual communi-cations for their clients; solutions that provided

the means by which an individual could imple-ment any aspect of a graphic program in an efficient and effective manner. During the 1960s and 1970s, Unimark and Vignelli designed many of the world’s most recognizable corporate identities and public information systems for clients such as American Airlines, Ford Motor Company, Knoll International, and the New York City Transit Authority. In 1966, Unimark was asked to design com-prehensive graphic standards for the New York City subway system—the oldest and largest complex networks of mass transit in the world. The system was originally formed in 1940, when the city’s three independent railway lines merged—the Interborough Rapid Transit (IRT; see page 52), the Brooklyn–Manhattan Transit (BMT), and the Independent (IND). The current

continued on page 158



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Paris, France


Lyon, France



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At the beginning of the twentieth century, change appeared every-where. In civilized cultures throughout the world, traditional beliefs were starting to be overshadowed by emerging new ideas. A flood of groundbreaking innovations and inventions redefined the archi-tecture and built environment and forever transformed the now-industrialized modern world. In the 1870s, the invention of electricity and the incandescent lightbulb by Thomas Alva Edison (1847–1931) ultimately enhanced the way in which people interacted with one another and with the built environments they lived in. Communication was also dramati-cally altered in the late nineteenth century by the introduction of the telephone by Alexander Graham Bell (1847–1922) and his assistant, Thomas Watson (1854–1934). The development of the first commercially successful inter-nal combustion engine in 1858 by Belgian engineer Étienne Lenoir (1822–1900) and improvements to the assembly line technique of mass production by American industrialist Henry Ford (1863–1947) in the early 1900s, revolutionized the manner in which people trav-eled from destination to destination, ultimately allowing them to explore every corner of the world. At the beginning of the century, there were approximately 8,000 automobiles in the United States. In 1906, President Theo-dore “Teddy” Roosevelt (1858–1919) initiated American domestic tourism by encouraging Americans public to take to the road and “See America First.” Americans’ love affair with the new automo-bile and their desire to be mobile and explore the open road grew, and with it came the development of the country’s city, state, and federal road systems; service stations, motor courts, and motels. New and revolutionary explorations in art and architecture around the world also inevitably influenced graphic design in the


Paris, France


Lyon, France




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CACA CA



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Deconstructing Product DesignExploring the Form, Function, Usability, Sustainability, and Commercial Success of 100 Amazing ProductsWilliam Lidwell and Gerry ManacsaISBN: 9781592537396Item # 195028 AQ8.5 x 10 in, 216 x 254 mm240 pages, PB 100 color photosRights sold: ChineseCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CANHC ISBN: 9781592533459$40.00 US/£24.99 UK/$49.99 CAN

Color, Space, and StyleAll the Details Interior Designers Need to Know but Can Never FindChris Grimley and Mimi LoveISBN: 9781592532278Item # 153184 AQ5.75 x 8.25 in, 145 x 210 mm288 pages, PB 350 color photosRights sold: Korean, Spanish, Chinese, English language in SE AsiaCt. Qty. 10$30.00 US/£19.99 UK/$37.50 CAN

Graphic Design and Architecture, A 20th-Century HistoryA Guide to Type, Image, Symbol, and Visual Storytelling in the Modern WorldRichard PoulinISBN: 9781592537792Item # 199783 AQ8.5 x 10 in, 216 x 254272 pages, HC300 color photosAll rights availableCt. Qty. 6$55.00 US/£35.00 UK/$60.00 CAN

Hotel SpacesMontse Borras ISBN: 9781592534326Item # 153067 AQ9.75 x 10.5 in, 248 x 267 mm216 pages, HC 300 color photosAll rights availableCt. Qty. 6$40.00 US/£27.50 UK/$43.95 CAN

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Graphic Design and Architecture, A 20th-Century History



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BOOKS BY CATEGORY

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The Industrial Design Reference & Specification BookEverything Industrial Designers Need to Know EverydayDan Cuffaro and Isaac ZaksenbergISBN: 9781592538478Item # 210664 AQ5.46 x 7.83 in, 139 x 199 mm264 pages, PB300 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

Sustainable EnvironmentsYenna Chan ISBN: 9781592535040Item # 153303 AQ9 x 11 in, 229 x 280 mm192 pages, PB 400 color photosAll rights availableCt. Qty. 10$25.00 US/£17.99 UK/$27.50 CAN

Materials, Structures, and StandardsAll the Details Architects Need to Know But Can Never FindJulia McMorrough ISBN: 9781592531936Item # 153182 AQ5.75 x 8.25 in, 145 x 210 mm264 pages, PB 350 color photosRights sold: Chinese, KoreanCt. Qty. 10$30.00 US/£16.99 UK/$42.00 CAN

Inside OutA Visual Tour of Outdoor Kitchens, Garden Living Rooms, and MoreDaniela Santos Quartino ISBN: 9781592535064Item # 153355 AQ6.5 x 7 in, 165 x 178 mm304 pages, HC 500 color photosAll rights availableCt. Qty. 20$19.99 US/£12.99 UK/$24.99 CAN

The Interior Design Reference & Specification BookEverything Interior Designers Need to Know EverydayChris Grimley, Mimi Love, and Linda O’SheaISBN: 9781592538492Item # 210660 AQ5.46 x 7.83 in, 139 x 199 mm288 pages, PB600 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

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CA CA CA

Fashion Design



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BOOKS BY CATEGORY

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1,000 Ideas by 100 Fashion DesignersCarolina CerimedoISBN: 9781592535729Item # 158947 AQ9 x 9 in, 229 x 229 mm320 pages, PB 1000 color photosAll rights availableCt. Qty. 6$40.00 US/£24.99 UK/$49.99 CAN

Atlas of Fashion DesignersLaura EceizaISBN: 9781592536610Item # 192553 AQ9 x 11 in, 229 x 279 mm600 pages, PB 1000 color photosAll rights availableCt. Qty. 6$30.00 US/£19.99 UK/$33.00 CAN

Contemporary Fashion Illustration TechniquesNaoki WatanabeISBN: 9781592535569Item # 153319 AQ7.87 x 10 in, 200 x 254 mm128 pages, PB 500 color photosRights sold: GermanCt. Qty. 40$22.99 US/£14.99 UK/$23.95 CAN

Essential Fashion Illustration: Color and MediumEstel Vilaseca ISBN: 9781592534302Item # 153132 AQ8.5 x 10 in, 216 x 254 mm192 pages, PB 250 color photosAll rights availableCt. Qty. 10$35.00 US/£19.99 UK/$38.95 CAN

Essential Fashion IllustrationMaite LafuenteISBN: 9781592532537Item # 153124 AQ8.5 x 10 in, 216 x 254 mm192 pages, PB 250 color photosAll rights availableCt. Qty. 10$35.00 US/£27.50 UK/$48.00 CAN

Essential Fashion Illustration: DigitalLoreto Binvignat StreeterISBN: 9781592536320Item # 191718 AQ8.5 x 10 in, 216 x 254 mm192 pages, PB w/CD 300 color photosAll rights availableCt. Qty. 10$35.00 US/£25.00 UK/$39.00 CAN

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BOOKS BY CATEGORY

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Fashion Design Essentials100 Principles of Fashion DesignJay CalderinISBN: 9781592538270Item # 200347 AQ8.5 x 10 in, 216 x 254 mm208 pages, PB 200 color photosRights sold: Chinese, GermanCt. Qty. 10$29.99 US/£20.00 UK/$32.99 CANHC ISBN: 9781592537013$40.00 US/£27.50 UK/$44.00 CAN

Fashion Illustration TechniquesA Super Reference Book for BeginnersZeshu TakamuraISBN: 9781592537952Item # 199803 AQ8.5 x 11 in, 216 x 279 mm224 pages, PB 500 color photosAll rights availableCt. Qty. 20$27.99 US/£18.99 UK/$29.99 CAN

The Fashion Design Reference & Specification BookEverything Fashion Designers Need to Know EverydayJay Calderin and Laura VolpintestaISBN: 9781592538508Item # 210661 AQ5.46 x 7.83 in, 139 x 199 mm288 pages, PB400 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

Field Guide: How to be a Fashion DesignerMarcarena San MartinISBN: 9781592534913Item # 153206 AQ6.75 x 9 in, 171 x 229 mm192 pages, PB 400 color photosRights sold: German, Chinese, English language in AsiaCt. Qty. 10$30.00 US/£18.99 UK/$37.50 CAN

Fashion Design, ReferencedA Visual Guide to the History, Language, and Practice of FashionAlicia Kennedy, Emily Banis Stoehrer, and Jay CalderinISBN: 9781592536771Item # 193940 AQ8.5 x 10 in, 216 x 254 mm416 pages, HC 750 color photosAll rights availableCt. Qty. 6$55.00 US/£35.00 UK/$60.00 CAN

Fashion Details1,000 Ideas from Neckline to Waistline, Pockets to PleatsMacarena San MartinISBN: 9781592537167Item # 193869 AQ9 x 11.5 in, 229 x 292 mm384 pages, PB 1000 color photosRights sold: Hungarian, Italian, Chinese, English language in TaiwanCt. Qty. 10$40.00 US/£27.50 UK/$44.00 CAN

Essential Fashion Illustration: MenChidy WayneISBN: 9781592535057Item # 153133 AQ8.5 x 10 in, 216 x 254 mm192 pages, PB 750 color photosAll rights availableCt. Qty. 10$35.00 US/£19.99 UK/$39.00 CAN

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226

Theatre of Fashion: McQueen

Dissemination

Beyond Presentation

Phot

o by

Eric

Rya

n, G

etty

Imag

es.

Phot

o by

Dom

iniq

ue C

harr

iau,

Wire

Imag

e.Ph

oto

by fi

rstV

IEW

.

Top Alexander McQueen,

Fall/Winter 2006/07

• Middle Fall/Winter

2009/10 • Above Spring/

Summer 1999 Phot

o by

Vic

tor B

oyko

, Get

ty Im

ages

.

Alexander McQueen pushed the fashion show beyond extravagant fan-tasy into the realm of conceptual and performance art. In one ground-breaking show after another, he splattered his models with blood and dirt, surrounded them with fire, drenched them with rain, sent them through water, over a bed of nails, into wind tunnels, and soaring above the audience, had them escort wolves down the catwalk, iceskate in a snowy landscape, and wage battle around a giant chessboard. For one collection in 2001, beautiful madhouse figures inhabited a two-way mirrored box out of which suddenly emerged a tableau vivant of a Joel-Peter Witkins moth-covered nude; for another in 2009, twisted blow-up dolls circumnavigated a blackened scrapyard of props from past shows.

The technical wizardry that McQueen brought to his stagecraft created indelible images: Shalom Harlow spinning in a white strapless trapeze dress, slowly spray painted by robotic guns; Kate Moss’s holographic figure in floating organza materializing within a pyramidal structure; the other-worldly creatures of Plato’s Atlantis quietly parading past the camera tracks that streamed them live online.

The discomforting narratives of McQueen’s dramatic mise-en-scènes, balanced against the exquisiteness of his clothing, challenged as much as enthralled his audience. One particularly evocative show, in 2004, reenacted Sydney Pollack’s They Shoot Horses, Don't They?, a film set against a Depression-era dance marathon. Relentlessly circling the dance floor, couples shimmied, strutted, raced, staggered, and finally collapsed in exhaustion. Never one to water down the raw emotion of his productions, McQueen tantalized with what fashion might have to say about the human condition.


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227Dissemination

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The Poetry of Fashion DesignA Celebration of the World’s Most Interesting Fashion DesignersPaz DimanISBN: 9781592537150Item # 193873 AQ7 x 10 in, 178 x 254 mm384 pages, PB 2000 color photosAll rights availableCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

Form, Fit, and FashionAll the Details Fashion Designers Need to Know But Can Never FindJay CalderinISBN: 9781592535415Item # 158909 AQ5.75 x 8.25 in, 145 x 210 mm288 pages, Vinyl 500 color photosRights sold: German, ChineseCt. Qty. 10$30.00 US/£18.99 UK/$37.50 CAN

What is Fashion Design?Gurmit MatharuISBN: 9782888930082Item # 153443 AQ7 x 9 in, 178 x 229 mm256 pages, PB 200 color photosNorth American rights onlyCt. Qty. 20$30.00 US/£25.00 UK/$33.00 CAN

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ROCKPORT

BOOKS BY SERIES3


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1,000 SERIES



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BOOKSBYSERIES

3

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1,000 Bags, Tags & LabelsDistinctive Designs for Every IndustryKiki EldridgeISBN: 9781592531837Item # 153042 AQ9 x 9 in, 229 x 229 mm320 pages, PB 1000 color photosRights sold: Chinese, English language in Japan, Russia, Asia excluding Japan and India, Germany, Austria, Switzerland, EUCt. Qty. 6$40.00 US/£27.50 UK/$56.00 CAN

1,000 Bags, Tags & Labels (mini)Distinctive Design for Every IndustryKiki EldridgeISBN: 9781592535330Item # 153360 AQ6 x 6 in, 152 x 152 mm440 pages, PB 1000 color photosRights sold: English language in JapanCt. Qty. 20$19.99 US/£12.99 UK/$21.95 CAN

1,000 Icons, Sym-bols, and Pictograms (mini)Visual Communication for Every LanguageBlackcoffee DesignISBN: 9781592535323Item # 153359 AQ6 x 6 in, 152 x 152 mm432 pages, PB 1000 color photosAll rights availableCt. Qty. 20$19.99 US/£12.99 UK/$21.95 CAN

BOOKS BY SERIES

1,000 Ideas by 100 Manga ArtistsCristian CamposISBN: 9781592537143Item # 193871 AQ9 x 9 in, 229 x 229 mm320 pages, Flexi-bind 1000 color photosRights sold: ChineseCt. Qty. 10$24.99 US/£16.99 UK/$27.99 CAN

1,000 Ideas by 100 ArchitectsSergi Costa Duran and Mariana R. EguarasISBN: 9781592535736Item # 158907 AQ9 x 9 in, 229 x 229 mm320 pages, PB 1000 color photosRights sold: ChineseCt. Qty. 6$40.00 US/£24.99 UK/$49.99 CAN

1,000 Ideas by 100 Fashion DesignersCarolina CerimedoISBN: 9781592535729Item # 158947 AQ9 x 9 in, 229 x 229 mm320 pages, PB 1000 color photosAll rights availableCt. Qty. 6$40.00 US/£24.99 UK/$49.99 CAN

1,000 Ideas by 100 Graphic DesignersMatteo CossuISBN: 9781592535743Item # 158906 AQ9 x 9 in, 229 x 229 mm320 pages, PB 1000 color photosRights sold: ChineseCt. Qty. 6$40.00 US/£24.99 UK/$49.99 CAN



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70 1,000 ideas for graffiti and street art

0193 Pariz One. Lisbon, Portugal / 0194 Pos. Muri, Switzerland

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0193 Pariz One. Lisbon, Portugal / 0194 Pos. Muri, Switzerland

Letters and Tags 71

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3

1,000 Ideas for Graffiti and Street ArtMurals, Tags, and More from Artists Around the WorldCristian CamposISBN: 9781592536580Item # 192529 AQ9 x 9 in, 229 x 229 mm320 pages, Flexi-bind 1000 color photosRights sold: English language in EUCt. Qty. 6$40.00 US/£25.00 UK/$44.00 CAN

1,000 Package Designs (mini)A Comprehensive Guide to Packing It InGripISBN: 9781592537051Item # 193872 AQ6 x 6 in, 152 x 152 mm440 pages, PB 1000 color photosRights sold: English language in JapanCt. Qty. 20$19.99 US/£12.99 UK/$21.99 CAN

1,000 Music Graphics (mini)A compilation of packaging, posters, and other sound solutionsStoltz DesignISBN: 9781592536634Item # 192549 AQ6 x 6 in, 152 x 152 mm440 pages, PB 1000 color photosRights sold: English language in JapanCt. Qty. 20$19.99 US/£12.99 UK/$21.99 CAN

1,000 Indie PostersJohn FosterISBN: 9781592536566Item # 192530 AQ9 x 9 in, 229 x 229 mm320 pages, Flexi-bind 1000 color photosRights sold: JapaneseCt. Qty. 6$40.00 US/£25.00 UK/$44.00 CAN

1,000 More GreetingsCreative Correspondence for All OccasionsAesthetic MovementISBN: 9781592536405Item # 192548 AQ9 x 9 in, 229 x 229 mm320 pages, Flexi-bind 1000 color photosRights sold: English language in Japan, EU, Taiwan, AsiaCt. Qty. 6$40.00 US/£25.00 UK/$44.00 CAN

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1000 PRODUCT DESIGNS

136

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CORQUEPortugal

Karim RashidUSA

Will Carey Studio for Design / Will Carey, Shun IshikawaUK

Pollen DesignUSA

Pollen DesignUSA

aruliden / Johan Liden, Emilie BaltzUSA


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albooto / Sebastian Stoddart, Simon Scott-HardenUK

Sid RamnaraceUSA

Smart DesignUSA

aruliden / Johan LidenUSA

Hangar Design GroupItaly


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1,000 Retail GraphicsFrom Signage to Logos and Everything for In-StoreJGAISBN: 9781592533367Item # 153059 AQ9 x 9 in, 229 x 229 mm320 pages, PB 1000 color photosRights sold: English language in Japan, EU, Russia, China, Taiwan, Hong KongCt. Qty. 6$40.00 US/£27.50 UK/$50.00 CAN

1,000 Product DesignsForm, Function, and Technology from Around the WorldEric ChanISBN: 9781592536382Item # 192550 AQ9 x 9 in, 229 x 229 mm320 pages, Flexi-bind 1000 color photosRights sold: English language in EUCt. Qty. 6$40.00 US/£25.00 UK/$44.00 CAN

1,000 Restaurant, Bar, and Cafe GraphicsFrom Signage to Logos and Everything in BetweenLuke HerriottISBN: 9781592533329Item # 153058 AQ9 x 9 in, 229 x 229 mm320 pages, PB 1000 color photosRights sold: English language in Japan, Russia, EU, Taiwan, China, SwitzerlandCt. Qty. 6$40.00 US/£27.50 UK/$50.00 CAN

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ANNUALS


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46th Publication Design Annual Society of Publication DesignersISBN: 9781592537501Item # 195027 AQ9 x 12 in, 229 x 305 mm336 pages, POB 1000 color photosAll rights availableCt. Qty. 6$60.00 US/£40.00 UK/$65.00 CAN


One Show Design, Volume 6The One ClubISBN: 9780929837543Item # 200349 AQ9 x 12 in, 229 x 305 mm220 pages, HC 1000 color photosAll rights availableCt. Qty. 6$49.95 US/£35.00 UK/$54.95 CAN

One Show Design, Volume 5The One ClubISBN: 9780929837505Item # 195021 AQ9 x 12 in, 229 x 305 mm304 pages, HC 1000 color photosAll rights availableCt. Qty. 6$49.95 US/£35.00 UK/$54.95 CAN

One Show, Volume 32To Steal is GeniusThe One ClubISBN: 9780929837444Item # 192568 AQ9 x 12 in, 229 x 305 mm448 pages, HC 1600 color photosRights: All rights availableCt. Qty. 6$69.95 US/£45.00 UK/$76.95 CAN


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lotuS Magazine

Creative DireCtor Anton Ioukhnovets DeSiGNer Anton Ioukhnovets Photo eDitorS Andreas Wellnitz, Lou Ulla Brunk PhotoGraPher Tom Schierlitz exeCutive eDitor Markus Ebner StuDio Ioukhnovets Design eDitor-iN-Chief Christian Kaemmerling PubliSher LOTUS Cars, INC ClieNt LOTUS Cars, INC. iSSue Spring 2011 CateGory Design: Feature: Travel/Food/Still Life (story)

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everyday With rachael ray Magazine

Creative DireCtor Jill Armus art DireCtor Chalkley Calderwood DireCtor of PhotoGraPhy Kim Gouggnheim PhotoGraPher James Wojcik haND letteriNG Elliot Stokes eDitor-iN-Chief Liz Vaccariello PubliSher Meredith iSSue August 2011 CateGory Design: Feature: Travel/Food/Still Life (story)

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Greenpeace Magazin 5.11art DireCtorS Jurgen Kaffer, Bettina Rosenow DireCtor of PhotoGraPhy Kerstin Leesch PhotoGraPher Cedric Widmer PubliSher Greenpeace Media GmbH iSSue September/October 2011 CateGory Design: Feature: Travel/Food/Still Life (story)

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the New york times Magazine

DeSiGN DireCtor Arem Duplessis art DireCtor Gail Bichler DePuty art DireCtor Caleb Bennett DeSiGNerS Caleb Bennett, Sara Cwynar, Drea Zlanabitnig, Gail Bichler, Hilary Greenbaum, Arem Duplessis, Rami Moghadam illuStratorS Sarah King, Denis Carrier, Chelsea Cardinal, Wayne Thiebaud DireCtor of PhotoGraPhy Kathy Ryan PhotoGraPherS Gail Albert Halaban, Marcus Nilsson, Paul Hosefros, Gabrielle Plucknette, Niepcs House Museum, Buena Vista/Photofest, Jens Mortensen, Victor Schrager aSSoCiate Photo eDitor Luise Stauss eDitor-iN-Chief Hugo Lindgren PubliSher The New York Times Company iSSue October 2, 2011 CateGory Design: Feature: Travel/Food/Still Life (story)

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real Simple

Creative DireCtor Janet Froelich DeSiGN DireCtor Cybele Grandjean art DireCtor Abbey Kuster-Prokell DeSiGNer Joele Cuyler DireCtor of PhotoGraPhy Casey Tierney Photo eDitor Lauren Epstein PhotoGraPher Sang An PubliSher Time Inc. iSSue July 2011 CateGory Design: Feature: Travel/Food/Still Life (story)

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real Simple

Creative DireCtor Janet Froelich DeSiGN DireCtor Cybele Grandjean art DireCtor Abbey Kuster-Prokell DeSiGNer Cybele Grandjean DireCtor of PhotoGraPhy Casey Tierney Photo eDitor Lauren Epstein PhotoGraPher Christopher Baker PubliSher Time Inc. iSSue May 2011 CateGory Design: Feature: Travel/Food/Still Life (story)

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One Show, Volume 34The One ClubISBN: 9780929837536Item # 200348 AQ9 x 12 in, 229 x 305 mm528 pages, HC 1600 color photosAll rights availableCt. Qty. 6$74.99 US/£50.00 UK/$82.50 CAN

One Show Boxed Set, 2012 AwardsThe One ClubISBN: 9780929837567Item # 200351 AQ9 x 12 in, 229 x 305 mm928 pages, Slipcased 3800 color photosAll rights availableCt. Qty. 2$155.00 US/£105.00 UK/$170.00 CAN

One Show, Volume 33The One ClubISBN: 9780929837499Item # 195023 AQ9 x 12 in, 229 x 305 mm416 pages, HC 1600 color photosAll rights availableCt. Qty. 6$74.99 US/£50.00 UK/$82.50 CAN

47th Publication Design Annual

One Show Interactive, Volume XIVThe One ClubISBN: 9780929837512Item # 195022 AQ9 x 12 in, 229 x 305 mm304 pages, PB 1200 color photosAll rights availableCt. Qty. 6$49.95 US/£35.00 UK/$54.95 CAN

One Show Interactive, Volume XVThe One ClubISBN: 9780929837550Item # 200350 AQ9 x 12 in, 229 x 305 mm304 pages, HC 1200 color photosAll rights availableCt. Qty. 6$49.95 US/£35.00 UK/$54.95 CAN



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BEST OF SERIES


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The Best of Brochure Design 11Kiki EldridgeISBN: 9781592538263Item # 200346 AQ9.25 x 11.25 in, 235 x 286 mm224 pages, PB 450 color photosRights sold: English language in JapanCt. Qty. 10$35.00 US/£22.50 UK/$39.00 CAN


The Best of Cover DesignBooks, Magazines, Catalogs, and MoreAltitude AssociatesISBN: 9781592536894Item # 193886 AQ9 x 11 in, 229 x 279 mm224 pages, HC 300 color photosAll rights availableCt. Qty. 6$45.00 US/£30.00 UK/$49.99 CAN

The Best of Business Card Design 9Rule29ISBN: 9781592537907Item # 199798 AQ9 x 11 in, 229 x 279 mm240 pages, PB 800 color photosRights sold: HungarianCt. Qty. 10$30.00 US/£20.00 UK/$33.00 CAN

The Best of Letterhead & Logo DesignMine Design, Top Studio Design, Stoltz Design, and Sayles Graphic DesignISBN: 9781592537914Item # 199799 AQ9.25 x 11.25 in, 235 x 286 mm352 pages, PB 800 color photosRights sold: English language in EUCt. Qty. 20$19.99 US/£14.99 UK/$21.99 CAN

The Best of the Best of Brochure Design: Volume IIJason Godfrey, Willoughby Design Group, Wilson Harvey, and Cheryl CullenISBN: 9781592537921Item # 199800 AQ9.25 x 11.25 in, 235 x 286 mm352 pages, PB 800 color photosRights sold: English language in EUCt. Qty. 20$19.99 US/£14.99 UK/$21.99 CAN

The Best of News Design 31Society for News DesignISBN: 9781592536672Item # 192555 AQ9 x 12 in, 229 x 305 mm272 pages, HC 800 color photosAll rights availableCt. Qty. 6$60.00 US/£40.00 UK/$65.00 CAN


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thE NEW york tiMESNew York, N.Y.Sam Manchester, Illustrator; Wayne Kamidoi, Art Director;Tom Bodkin, Design DirectorAWArd of ExcEllENcENews Design Page(s)Sports/Broadsheet 175,000 and Over

Al bAyANDubai, United Arab EmiratesLuis Chumpitaz, Information Graphic Director; Liz Ramos Prado, Information Graphic Editor; German Fernandez, Information Graphic Editor; Karina Aricoche, Information Graphic Researcher; Asma Ali, TranslatorAWArd of ExcEllENcENews Design Page(s)Sports/Broadsheet 50,000-174,999

oMAhA World-hErAldOmaha, Neb.Tim Parks, Deputy News & Presentation Editor; Thad Livingston, Sports Editor; Matt Haney, Artist; Dave Elsesser, News & Presentation EditorAWArd of ExcEllENcENews Design Page(s)Sports/Broadsheet 50,000-174,999



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gulf NEWSDubai, United Arab EmiratesDouglas Okasaki, Senior Designer; Ramachandra Babu, Senior Illustrator; Dwyn Ronald Trazo, Senior InfographistLuis Vasquez, Senior Infographist; Alaric Gomes, Reporter; Miguel Angel Gomez, Design Director; Mohammed Al Mezel, M.E.; Abdul Hamid Ahmad, Editor-in-ChiefAWArd of ExcEllENcENews Design Page(s)Sports/Broadsheet 50,000-174,999


Al ShAbibAMuscat, OmanEssa Mohammed Al Zedjali, Chairman; Ahmed Essa Al Zedjali, Editor-in-Chief; Adonis Durado, Design Director; Antonio Farach, Graphic Editor; Marcelo Duhalde, Infographic Designer; Lucille Umali, Illustrator; Majid Al-Wahebi, DesignerAWArd of ExcEllENcENews Design Page(s)Sports/Broadsheet 49,999 and Under



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Politiken — Copenhagen, DenmarkPolitikenCopenhagen, DenmarkCirculation 100,000

politikeN, DeNmark’s secoND-largest morNiNg NeWspaper, has a long history of excellence and an intensely loyal readership. its mission is to engage ordinary people in societal issues.

published for 127 years, politiken launched a redesign in December 2011 to appeal to readers in a fresh and modern way, with the goals of improved navigation and usability. it has succeeded.

The fresh approach is evident in the wrap page that appeared the first day of the redesign. hand-drawn by one of the paper’s illustrators to guide readers through the paper’s changes, this whimsical page immediately set the tone for the new look: sophisticated, enticing, bold, risky.

each front page has an atypical visual approach or solution — from documentary photojournalism to caricature. great attention has been given to type decisions, even down to the smallest detail. a quest for optimum readability — extra white space above and below headlines, and the body text and leading choices — is evidence that the reader comes first. The simplicity of the byline styles and columnist sigs adds to the paper’s elegant visage.

politiken prides itself on the space given to opinion pages as one of the paper’s social engagement tools. The pages are full of multiple entry points and provocative illustrative work, and color is used to move readers through stories and columns.

There is thoughtfulness to the cropping and editing of photographs, with designers using the full width of pages for impact. oftentimes, we turned pages to find an unexpected and delightful grouping of photographs or illustrations, as seen in a story about a young entrepreneur who had to restart a career after an illness.

politiken is a model for the power of visual consistency throughout a newspaper. a previous winner in this category, politiken again deservedly joins the ranks of World’s Best.

politikeN, el seguNDo perióDico matiNal eN circulacióN De DiNamarca, tiene una larga historia de excelencia y de una lectoría intensamente leal. su misión es generar compromiso entre la gente común y corriente y los asuntos de la sociedad.

publicado hace 127 años, este diario lanzó un rediseño en diciembre de 2011 para atraer a lectores de forma fresca y moderna, con los objetivos de una mejorada navegación y una mayor usabilidad. sí que lo ha logrado.

esta fresca aproximación es evidente en la página que envolvió el diario el primer día de su rediseño. Dibujada a mano por uno de los ilustradores del periódico para guiar a los lectores sobre los cambios, esa página juguetona inmediatamente fijó el tono del nuevo look; sofisticado, tentador, atrevido y arriesgado. cada portada o tapa tiene un enfoque o solución visual fuera de lo común, desde el fotoperiodismo documental hasta la caricatura. se presta atención a las decisiones tipográficas hasta el mínimo detalle. una búsqueda de lecturabilidad óptima –espacio blanco extra encima y debajo de los títulos, y el texto y las alternativas de artículo principal–, es evidencia de que se privilegia al lector. la simplicidad del estilo para nombrar los autores de los artículos y de las firmas de las columnas de opinión da un toque al elegante rostro del diario.

politken se enorgullece del espacio que da a las páginas de opinión como una de sus herramientas de compromiso social. las páginas tienen muchos puntos de entrada e ilustraciones provocativas. el color se usa para que los lectores puedan navegar por los artículos y las columnas.

el recorte y la edición de las fotografías están hechas con consideración, y los diseñadores usan todo el ancho de la página para dar impacto. a menudo, dimos vuelta la página y nos encontramos con agrupaciones de fotos o ilustraciones inesperadas y encantadoras, tal como se ve en un artículo sobre un joven emprendedor que debió recomenzar su carrera después de una enfermedad.

politiken es un modelo del poder de la consistencia visual a lo largo de un periódico. ya había ganado en esta categoría de la competencia y nuevamente merece formar parte de lo mejor del mundo.


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Politiken — Copenhagen, Denmark


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The Best of News Design 33Society for News DesignISBN: 9781592538232Item # 200343 AQ9.25 x 12.25 in, 235 x 311 mm272 pages, HC 800 color photosAll rights availableCt. Qty. 6$65.00 US/£40.00 UK/$72.00 CAN

The Best of News Design 33

The Best of News Design 33



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DESIGN: PAPER 14

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CanadaDUO


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GermanyJudith Augustin


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DESIGN: SERIES


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Design: PaperA Seductive Collection of Alluring Paper DesignPublic SchoolISBN: 9781592537716Item # 195056 AQ8 x 10 in, 203 x 254 mm272 pages, Flexi-bind 1000 color photosRights sold: English language in AsiaCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

Design: PortfolioSelf Promotion at its BestCraig WelshISBN: 9781592538409Item # 210770 AQ8 x 11 in, 203 x 280320 pages, Flexi-bind500 color photosAll rights availableCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

Design: TypeA Seductive Collection of Alluring Type DesignsPaul BurgessISBN: 9781592537983Item # 199806 AQ8 x 10 in, 203 x 254 mm272 pages, Flexi-bind500 color photosRights sold: English language in AsiaCt. Qty. 6$45.00 US/£30.00 UK/$49.99 CAN

Design: Paper


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74 d e s i g n e l e m e n t s Typography Fundamentals

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Examine the design of typefaces. Look for legible, well-proportioned, and acutely crafted characters. When typeset, words and lines read fluidly. Reliable typefaces have consistent styles (posture, weight, and width) to provide for typographic variation and emphasis. Depending on the quantity and variety of text, a range of styles—from light to bold weights and condensed to extended widths—add versatility. Likewise, ligatures, swash characters, and alternate glyphs offer diversity. Certain typefaces, including Minion by Robert Slimbach, have optical styles, commonly caption, body, subhead, and display. Optical styles feature subtle adjustments in letter- form contrast, proportion, and weight that enhance appearance at specific point sizes. For example, if setting type above 24 point, use the display style, which appears too thin at small sizes. Conversely, 6- to 8-point type size requires caption styles, which look too heavy at large sizes. Optical styles represent fine attention to detail. No matter the type size needed, optimal forms exist. Ample typefaces offer typographic opportunities.

Slight adjustments in contrast, proportion, and weight optimize typefaces used at specific point sizes. Caption and body styles designed for comfortable and extended reading perform well at small sizes. They are too dense and muddy enlarged. Subhead and display styles crafted to shine at large sizes fall short when they are reduced. Stroke quality is lost. Optical styles maintain typeface legibility and elegance at all sizes when used as planned.

Caption 6 to 8 point 8 pt Minion

Body 9 to 14 point14 pt Minion

Subhead 14 to 24 point24 pt Minion

Display 24 point and up48 pt Minion

Display, Subhead, Body L to r

Display, Subhead, Caption L to r

Display, Body, Caption L to r

Subhead, Body, Caption L to r


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In this student project, changes in point size and weight create variation and emphasis. The contrast is simple and effective with just one typeface—Helvetica. Confident type settings convey the Knoll brand.

kr is t ín agnarsdót t ir


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Design ElementsA Graphic Style ManualTimothy SamaraISBN: 9781592532612Item # 153185 AQ8 x 10 in, 203 x 254 mm272 pages, Flexi-bind 300 color photosRights sold: Russian, Spanish, Italian, Japanese, Czech, German, Korean, Chinese, Portuguese, English language in Asia excluding Japan, India, KoreaCt. Qty. 10$30.00 US/£19.99 UK/$37.50 CAN

Design Elements, Typography FundamentalsA Graphic Style Manual for Understanding How Typography Affects DesignKristin Cullen ISBN: 9781592537679Item # 195050 AQ8 x 10 in, 203 x 254 mm160 pages, Flexi-bind 300 color photosAll rights availableCt. Qty. 20$24.99 US/£16.99 UK/$27.99 CAN


Design Elements, Form & SpaceA Graphic Style Manual for Understanding Structure and DesignDennis PuhallaISBN: 9781592537006Item # 193875 AQ8 x 10 in, 203 x 254 mm168 pages, Flexi-bind 300 color photosRights sold: KoreanCt. Qty. 20$24.99 US/£16.99 UK/$27.99 CAN

Design Elements, Using Images to Create Graphic ImpactA Graphic Style Manual for Effective Image Solutions in Graphic DesignAaris SherinISBN: 9781592538072Item # 199836 AQ8 x 10 in, 203 x 254 mm168 pages, Flexi-bind 250 color photosAll rights availableCt. Qty. 20$35.00 US/£22.50 UK/$39.00 CAN

Design Elements, Typography Fundamentals



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(RAY) Job:11-15877/15287 Title:RP-Design Matters Portfolios12-C54244 (204) #175 P DTP:216 Page:56

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Showcase Showdown MAKE YOU R PORTFOLIO R EALLY SH I N E

Creative professionals have one thing in common—they strive to capture the attention of their potential audience through powerful visual messages. They want to make an impact on a viewer, to entice them to buy their product, attend their theatrical production, or simply marvel at the

architectural prowess of a building. And for many, using digital elements can inform, delight, and inspire their audience like never before.

With each new day, technology brings exciting opportunities for growth and success. As businesses

grow, designers encounter tough decisions regarding how to best use the technology available for portfolio development and self-promotion.

√π Housed in a beautifully etched metallic case, this promotional portfolio is where technology and traditional portfolio strategies meet. The metallic case contains a personalized metallic covered notebook, promotional CD, and a Velcro-enhanced folder, which includes a series of portfolio postcards. FAcTor Tr ES coM u N IcAc IoN

® When sending email introductions, Monderer Design attaches a twelve-page promotional PDF. The PDF presents a mini portfolio of print, branding, and interactive design work. MoN DE r E r DES IG N

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Design MattersAn Essential Primer- Brochures, Logos, Packaging, PortfoliosCapsule, Michelle Taute, and Maura KellerISBN: 9781592537389Item # 195013 AQ8 x 10 in, 203 x 254 mm448 pages, PB 900 color photosRights sold: Chinese, KoreanCt. Qty. 10$40.00 US/£27.50 UK/$44.00 CAN

Design Matters: Logos 01An Essential Primer for Today’s Competitive MarketCapsuleISBN: 9781592533411Item # 153316 AQ8.25 x 10.25 in, 210 x 260 mm192 pages, PB 220 color photosRights sold: Spanish, Russian, German, KoreanCt. Qty. 20$24.99 US/£16.99 UK/$29.95 CAN

Design Matters: Portfolios 01An Essential Primer for Today’s Competitive MarketMaura KellerISBN: 9781592536023Item # 191712 AQ8.25 x 10.25 in, 210 x 260 mm192 pages, Flexi-bind 250 color photosRights sold: KoreanCt. Qty. 20$24.99 US/£16.99 UK/$31.99 CAN

Design Matters: Portfolios 01


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Essential Elements for Brand Identity100 Principles for Designing Logos and Building BrandsKevin Budelmann, Yang Kim, and Curt WozniakISBN: 9781592537938Item # 199801 AQ8.5 x 10 in, 216 x 254 mm208 pages, PB 300 color photosRights sold: Japanese, Korean, Chinese, English language in Asia, French, ItalianCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

Layout Essentials100 Design Principles for Using GridsBeth TondreauISBN: 9781592537075Item # 193879 AQ8.5 x 10 in, 216 x 254 mm208 pages, PB 250 color photosRights sold: Spanish, Por-tuguese, Japanese, Korean, German, Dutch, French, ChineseCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

Packaging Essentials100 Design Principles for Creating PackagesSarah Roncarelli and Candace EllicottISBN: 9781592536030Item # 191716 AQ8.5 x 10 in, 216 x 254 mm208 pages, HC 250 color photosRights sold: Portuguese, Korean, ChineseCt. Qty. 6$40.00 US/£25.00 UK/$50.00 CAN

Fashion Design Essentials100 Principles of Fashion DesignJay CalderinISBN: 9781592538270Item # 200347 AQ8.5 x 10 in, 216 x 254 mm208 pages, PB 200 color photosRights sold: Chinese, GermanCt. Qty. 10$29.99 US/£20.00 UK/$32.99 CANHC ISBN: 9781592537013$40.00 US/£27.50 UK/$44.00 CAN

Typography Essentials100 Design Principles for Working with TypeIna SaltzISBN: 9781592537402Item # 195003 AQ8.5 x 10 in, 216 x 254 mm208 pages, PB 300 color photosRights sold: German, Portuguese, Korean, Czech, ChineseCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN



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Contemporary Fashion Illustration TechniquesNaoki WatanabeISBN: 9781592535569Item # 153319 AQ7.87 x 10 in, 200 x 254 mm128 pages, PB 500 color photosRights sold: GermanCt. Qty. 40$22.99 US/£14.99 UK/$23.95 CAN

Essential Fashion IllustrationMaite LafuenteISBN: 9781592532537Item # 153124 AQ8.5 x 10 in, 216 x 254 mm192 pages, PB 250 color photosAll rights availableCt. Qty. 10$35.00 US/£27.50 UK/$48.00 CAN

Essential Fashion Illustration: Color and MediumEstel Vilaseca ISBN: 9781592534302Item # 153132 AQ8.5 x 10 in, 216 x 254 mm192 pages, PB 250 color photosAll rights availableCt. Qty. 10$35.00 US/£19.99 UK/$38.95 CAN

Essential Fashion Illustration: MenChidy WayneISBN: 9781592535057Item # 153133 AQ8.5 x 10 in, 216 x 254 mm192 pages, PB 750 color photosAll rights availableCt. Qty. 10$35.00 US/£19.99 UK/$39.00 CAN

Fashion Illustration TechniquesA Super Reference Book for BeginnersZeshu TakamuraISBN: 9781592537952Item # 199803 AQ8.5 x 11 in, 216 x 279 mm224 pages, PB 500 color photosAll rights availableCt. Qty. 20$27.99 US/£18.99 UK/$29.99 CAN

Essential Fashion Illustration: DigitalLoreto Binvignat StreeterISBN: 9781592536320Item # 191718 AQ8.5 x 10 in, 216 x 254 mm192 pages, PB w/CD 300 color photosAll rights availableCt. Qty. 10$35.00 US/£25.00 UK/$39.00 CAN


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Job:01301 Title: Letterhead Logo Design II (Rockport) Page:148

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LETTERHEAD & LOGO DESIGN 11148

DESIGN FIRM

Korn DesignART DIRECTORS

Denise KornJavier CortesDESIGNERS

Melissa WehrmanBen WhitlaCLIENT

Sage Restaurant Group

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HANDCRAFTED 149

DESIGN FIRM

Chen Design AssociatesART DIRECTORS

Joshua C. ChenLaurie CarriganDESIGNER

Max SpectorCLIENT

Yoshi’s Jazz Club & Japanese Restaurant

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Letterhead & Logo Design 9MINEISBN: 9781592533893Item # 153196 AQ9 x 11 in, 229 x 279 mm240 pages, PB 500 color photosAll rights availableCt. Qty. 10$30.00 US/£19.99 UK/$41.95 CAN

Letterhead & Logo Design 10Sussner DesignISBN: 9781592535798Item # 158910 AQ9 x 11 in, 229 x 279 mm240 pages, PB 800 color photosRights sold: Spanish, English language in Russia, EU, Swit-zerland, NorwayCt. Qty. 10$30.00 US/£0.00 UK/$37.50 CAN

Letterhead & Logo Design 11Design ArmyISBN: 9781592537617Item # 195029 AQ9 x 11 in, 229 x 279 mm240 pages, PB 350 color photosRights sold: English language in Japan, Germany, Austria, SwitzerlandCt. Qty. 10$30.00 US/£20.00 UK/$33.00 CANHC ISBN: 9781592535347$45.00 US/£27.50 UK/$56.00 CAN

Letterhead & Logo Design 12Oxide Design Co.ISBN: 9781592537174Item # 193942 AQ9 x 11 in, 229 x 279 mm240 pages, HC 350 color photosAll rights availableCt. Qty. 6$45.00 US/£30.00 UK/$49.99 CAN

Letterhead & Logo Design 11



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LOGOLOUNGE SERIES


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LogoLounge (mini)2,000 International Identities by Leading DesignersCatharine Fishel and Bill GardnerISBN: 9781592532247Item # 153349 AQ5.62 x 6.38 in, 143 x 162 mm356 pages, PB 2000 color photosRights sold: Chinese, English language in Japan, EU, Swit-zerland, Indian Subcontinent, Sri Lanka, Pakistan, Russia, HungaryCt. Qty. 20$19.99 US/£12.99 UK/$27.95 CAN

LogoLounge 62,000 International Identities by Leading DesignersCatharine Fishel and Bill GardnerISBN: 9781592538249Item # 200344 AQ9 x 11 in, 229 x 279 mm192 pages, PB 2000 color photosRights sold: English language in Taiwan, EUCt. Qty. 10$35.00 US/£22.50 UK/$39.00 CANHC ISBN: 9781592536184$50.00 US/£35.00 UK/$55.00 CAN

LogoLounge 52,000 International Identi-ties by Leading DesignersCatharine Fishel and Bill GardnerISBN: 9781592537358Item # 194983 AQ9 x 11 in, 229 x 279 mm192 pages, PB 2200 color photosRights sold: English language in Japan, RussiaCt. Qty. 10$30.00 US/£20.00 UK/$33.00 CANHC ISBN: 9781592535279$50.00 US/£34.99 UK/$55.00 CAN

LogoLounge 3 (mini)2000 International Identities by Leading DesignersCatharine Fishel and Bill GardnerISBN: 9781592535101Item # 153358 AQ5.62 x 6.38 in, 143 x 162 mm376 pages, PB 2050 color photosRights sold: English language in Japan, EUCt. Qty. 20$19.99 US/£12.99 UK/$21.95 CAN

LogoLounge 4 (mini)2000 International Identities by Leading DesignersCatharine Fishel and Bill GardnerISBN: 9781592536689Item # 192561 AQ5.62 x 6.38 in, 143 x 162 mm376 pages, PB 2000 color photosAll rights availableCt. Qty. 20$19.99 US/£0.00 UK/$21.99 CAN


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D Odney C MBT’s D Jerron Ames C Arteis D R&R Partners C MGM/Mirage D Odney

D Roy Smith Design C Grizedale Lodge D Roy Smith Design C Grizedale Lodge D bigoodis C Deerta D Donation Design C Al’s Wine

D Alphabet Arm Design C Josh McFadden D Joseph Blalock C Trophy Hunting Systems D Steve DeCusatis Design C JEG D RawRender C wdo advertsing agency

D Wissam Shawkat Design D GeniusLogo C Mustangs D Emilio Correa C Arteis, Inc. D Dwayne Design C Murray State College

D Elixir Design C Vaguely Noble Horse-Keeping D Pixonal C Stallion D Communication Agency C Kidko D Hirschmann Design C Tim Trapp


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D Little Box Of Ideas C Zia Choudhary D Impact Visual Communications C Mooberry Winery D Rudy Hurtado Global Branding C Siga La Vaca Restaurant D Sabingrafik, Inc. C ECOV

D Oronoz Brandesign C Toreto D Diaconu Felix Ionut D R&R Partners C Airwave D Odney C Bull Run Honey

D 144design C Minot Minotauros D SGNL Studio C Cycle Prophet D Jerron Ames C Moovers D Design Laurels C 4 Steer Ranch and Kennels

D Ruport C RAMO group of companies D Haller Design D HebelerGraphics C Buffalo Books and More.com D Sabingrafik, Inc. C Andaz Hotel, Shanghai

D El Paso, Galeria de Comunicacion C MASCOMPANY D Joseph Blalock C Texas Early Hearing Detection and Intervention D Rudy Hurtado Global Branding C WildSmart D pandabanda C pandabanda design


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LogoLounge Master Library, Volume 33,000 Shapes and Symbols LogosCatharine Fishel and Bill GardnerISBN: 9781592536900Item # 193880 AQ7.25 x 9 in, 184 x 229 mm296 pages, POB 3000 color photosRights sold: JapaneseCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

LogoLounge 72,000 International Identities by Leading DesignersBill Gardner and Anne HellmanISBN: 9781592537273Item # 199819 AQ9 x 11 in, 229 x 279 mm192 pages, HC 2000 color photosRights sold: English language in Taiwan, Czech, ChineseCt. Qty. 6$50.00 US/£35.00 UK/$55.00 CAN

LogoLounge Master Library, Volume 43000 Type and Calligraphy LogosCatharine Fishel and Bill GardnerISBN: 9781592537648Item # 195053 AQ7.25 x 9 in, 184 x 229 mm296 pages, POB 3000 color photosAll rights availableCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

LogoLounge Master Library, Volume 13,000 Initials & Crest LogosCatharine Fishel and Bill GardnerISBN: 9781592535675Item # 158937 AQ7.25 x 9 in, 184 x 229 mm296 pages, HC 3000 color photosRights sold: JapaneseCt. Qty. 6$40.00 US/£24.99 UK/$49.99 CAN

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The Interior Design Reference & Specification BookEverything Interior Designers Need to Know EverydayChris Grimley, Mimi Love, and Linda O’SheaISBN: 9781592538492Item # 210660 AQ5.46 x 7.83 in, 139 x 199 mm288 pages, PB600 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

The Graphic Design Reference & Specification BookEverything Designers Need to Know EverydayPoppy EvansISBN: 9781592538515Item # 210655 AQ5.46 x 7.83 in, 139 x 199 mm336 pages, PB400 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN


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Color Design WorkbookA Real World Guide to Using Color in Graphic DesignAdamsMoriokaISBN: 9781592534333Item # 153299 AQ9 x 9 in, 229 x 229 mm240 pages, PB 350 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$27.50 CAN

Information Design WorkbookGraphic Approaches, Solutions, and Inspiration + 30 Case StudiesKim BaerISBN: 9781592536276Item # 191707 AQ9 x 9 in, 229 x 229 mm240 pages, PB 500 color photosAll rights availableCt. Qty. 20$20.00 US/£14.99 UK/$25.00 CAN

Layout WorkbookA Real-World Guide to Building Pages in Graphic DesignKristin Cullen ISBN: 9781592533527Item # 153293 AQ9 x 9 in, 229 x 229 mm240 pages, PB 500 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$29.95 CAN

Logo Design WorkbookA Hands-On Guide to Creating LogosSean Adams and Noreen MoriokaISBN: 9781592532346Item # 153283 AQ9 x 9 in, 229 x 229 mm240 pages, PB 500 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$35.00 CAN

Package Design WorkbookThe Art and Science of Successful PackagingSteven DuPuis and John SilvaISBN: 9781592537082Item # 193882 AQ9 x 9 in, 229 x 229 mm240 pages, PB 450 color photosRights sold: RussianCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

Typography WorkbookA Real-World Guide to Using Type in Graphic DesignTimothy SamaraISBN: 9781592533015Item # 153289 AQ9 x 9 in, 229 x 229 mm240 pages, PB 500 color photosRights sold: PortugueseCt. Qty. 10$25.00 US/£16.99 UK/$33.00 CAN



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SPRING2013TITLES

NEW

The Graphic Design Reference & Specification BookEverything Designers Need to Know EverydayPoppy EvansISBN: 9781592538515Item # 210655 AQ5.46 x 7.83 in, 139 x 199 mm336 pages, PB400 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN

Essential Elements for Brand Identity100 Principles for Designing Logos and Building BrandsKevin Budelmann, Yang Kim, and Curt WozniakISBN: 9781592537938Item # 199801 AQ8.5 x 10 in, 216 x 254 mm208 pages, PB 300 color photosRights sold: Japanese, Korean, Chinese, English language in AsiaCt. Qty. 10$25.00 US/£16.99 UK/$28.00 CAN


Design: PortfolioSelf Promotion at Its BestCraig WelshISBN: 9781592538409Item # 210770 AQ8 x 11 in, 203 x 280320 pages, Flexi-bind500 color photosAll rights availableCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN





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Provoking the question, “What is art?”

Designer/Photographer: Gabriel Gonzalez


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Color: a study of how color in urban environments can affect type

Designer/Photographer: Samantha Russo


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SPRING2013TITLES

NEW

Playing with Type50 Graphic Experiments for Exploring Typographic Design PrinciplesLara McCormickISBN: 9781592538171Item # 211090 AQ9 x 9 in, 229 x 229 mm192 pages, Flexi-bind300 Color PhotosAll rights availableCt. Qty. 10$40.00 US/£25.00 UK/$44.00 CAN


Logo CreedThe Magic Behind Making a Great LogoBill GardnerISBN: 9781592538287Item # 210275 AQ8 x 10 in, 203 x 254 mm240 pages, Flexi-bind500 color photosAll rights availableCt. Qty. 6$40.00 US/£27.50 UK/$44.00 CAN

The Interior Design Reference & Specification BookEverything Interior Designers Need to Know EverydayChris Grimley, Mimi Love, and Linda O’SheaISBN: 9781592538492Item # 210660 AQ5.46 x 7.83 in, 139 x 199 mm288 pages, PB600 color photosAll rights availableCt. Qty. 10$25.00 US/£16.99 UK $28.00 CAN

Playing with Type



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Index:

30 Essential Typefaces for a Lifetime 2845th Publication Design Annual 41, 6446th Publication Design Annual 41, 6447th Publication Design Annual 41, 64100 Habits of Successful Freelance Designers 48365 Habits of Successful Graphic Designers 481,000 Bags, Tags & Labels 44, 611,000 Bags, Tags & Labels (mini) 44, 611,000 Icons, Symbols, and Pictograms (mini) 611,000 Ideas by 100 Architects 52, 611,000 Ideas by 100 Fashion Designers 55, 611,000 Ideas by 100 Graphic Designers 611,000 Ideas by 100 Manga Artists 51, 611,000 Ideas for Graffiti and Street Art 51, 621,000 Indie Posters 44, 621,000 More Greetings 44, 621,000 Music Graphics (mini) 44, 621,000 Package Designs (mini) 38, 621,000 Product Designs 52, 631,000 Restaurant, Bar, and Cafe Graphics 631,000 Retail Graphics 63

A Adams, Sean 36, 77AdamsMorioka 30, 77Aesthetic Movement 44, 62Alexander, Kathie 31Altitude Associates 12-13, 41, 66Anatomy of Design, The 49Anvil 31 Architecture Reference & Specification Book, The 52, 76, 78Arrizabalaga, Heidi 31Atlas of Fashion Designers 55Atlas of Graphic Designers 49

BBaer, Kim 46, 77Berger, Joshua 28, 48Best of Brochure Design 11, The 12-13, 42, 66Best of Brochure Design 12, The 12-13, 42, 66, 78Best of Business Card Design 9, The 12-13, 42, 66Best of Cover Design, The 12-13, 41, 66Best of Letterhead & Logo Design, The 12-13, 34, 66Best of News Design 31, The 12-13, 41, 66Best of News Design 33, The 12-13, 41, 67Best of the Best of Brochure Design: Volume II 12-13, 42, 66Best Practices for Graphic Designers, Grids and Page Layouts 40Blackcoffee Design 61

Borras, Montse 53Brand Bible 38Budelmann, Kevin 39, 71, 78Building Design Portfolios 44Burgess, Pau 28, 68Butler, Jill 6-7, 27 C Calderin, Jay 14-15, 56, 57, 71, 76, 78Campos, Cristian 51, 61, 62Capsule 25, 34, 70Cerimedo, Carolina 55, 61Chan, Eric 52, 63Chan, Yenna 54Color Design Workbook 30, 77 Color Harmony Compendium 16-17, 30Color, Space, and Style 53Complete Color Harmony, The 30Contemporary Fashion Illustration Techniques 55, 72Cossu, Matteo 61Creating Comics! 51Cuffaro, Dan 54, 76, 79Cullen, Cheryl 12-13, 42, 66Cullen, Kristin 25, 28, 40, 69, 77 D Deconstructing Product Design 53Design Army 34, 73Design Elements 10-11, 25, 69Design Elements, Color Fundamentals 25, 30, 69

Design Elements, Form & Space 25, 69Design Elements, Typography Fundamentals 25, 28, 69Design Elements, Using Images to Create Graphic Impact 25, 69Design Entrepreneur, The 48Design for Special Events 44Design Matters 25, 70Design Matters: Logos 01 34, 70Design Matters: Portfolios 01 45, 70Design School 50Design: Paper 49, 68Design: Portfolio 45, 68, 78Design: Type 28, 68Designer’s Research Manual, A 46Digital Design Essentials 25, 71, 78Diman, Paz 57Dougher, Sarah 48Drawing for Graphic Design 26DuPuis, Steven 39, 77Duran, Sergi Costa 52, 61 E Eceiza, Laura 55Edwards, Bronwen 39Eguaras, Mariana R. 52, 61Eisenman, Sara 44Eldridge, Kiki 12-13, 42, 44, 61, 66Ellicott, Candace 39, 71Essential Elements for Brand Identity 39, 71, 78Essential Fashion Illustration 55, 72Essential Fashion Illustration: Color and Medium 55, 72

Essential Fashion Illustration: Digital 55, 72Essential Fashion Illustration: Men 56, 72Evans, Poppy 26, 27, 76, 78 F Fashion Design Essentials 56, 71Fashion Design Reference & Specification Book, The 56, 76, 78Fashion Design, Referenced 14-15, 56Fashion Details 56Fashion Illustration Techniques 56, 72Field Guide: How to be a Fashion Designer 56Fishel, Catharine 8-9, 34, 35, 36, 74, 75Form, Fit, and Fashion 57Forms, Folds, and Sizes, Second Edition 26Foster, John 44, 45, 62 G Gardner, Bill 8-9, 34, 35, 36, 74, 75, 79Godfrey, Jason 12-13, 42, 66Gomez-Palacio, Bryony 14-15, 27Gordon, Steve Jr. 48,Graphic Design and Architecture, A 20th-Century History 26, 53Graphic Design Reference & Specification Book, The 27, 76, 78Graphic Design That Works 48Graphic Design, Referenced 14-15, 27


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Design Elements, Form & Space 25, 69Design Elements, Typography Fundamentals 25, 28, 69Design Elements, Using Images to Create Graphic Impact 25, 69Design Entrepreneur, The 48Design for Special Events 44Design Matters 25, 70Design Matters: Logos 01 34, 70Design Matters: Portfolios 01 45, 70Design School 50Design: Paper 49, 68Design: Portfolio 45, 68, 78Design: Type 28, 68Designer’s Research Manual, A 46Digital Design Essentials 25, 71, 78Diman, Paz 57Dougher, Sarah 48Drawing for Graphic Design 26DuPuis, Steven 39, 77Duran, Sergi Costa 52, 61 E Eceiza, Laura 55Edwards, Bronwen 39Eguaras, Mariana R. 52, 61Eisenman, Sara 44Eldridge, Kiki 12-13, 42, 44, 61, 66Ellicott, Candace 39, 71Essential Elements for Brand Identity 39, 71, 78Essential Fashion Illustration 55, 72Essential Fashion Illustration: Color and Medium 55, 72

Essential Fashion Illustration: Digital 55, 72Essential Fashion Illustration: Men 56, 72Evans, Poppy 26, 27, 76, 78 F Fashion Design Essentials 56, 71Fashion Design Reference & Specification Book, The 56, 76, 78Fashion Design, Referenced 14-15, 56Fashion Details 56Fashion Illustration Techniques 56, 72Field Guide: How to be a Fashion Designer 56Fishel, Catharine 8-9, 34, 35, 36, 74, 75Form, Fit, and Fashion 57Forms, Folds, and Sizes, Second Edition 26Foster, John 44, 45, 62 G Gardner, Bill 8-9, 34, 35, 36, 74, 75, 79Godfrey, Jason 12-13, 42, 66Gomez-Palacio, Bryony 14-15, 27Gordon, Steve Jr. 48,Graphic Design and Architecture, A 20th-Century History 26, 53Graphic Design Reference & Specification Book, The 27, 76, 78Graphic Design That Works 48Graphic Design, Referenced 14-15, 27

Graphic Designer’s Electronic-Media Manual, The 20-21, 27Graphic Designer’s Essential Reference 27Graver, Amy 40Grimley, Chris 53, 54, 76, 79Grip 38, 62 H Haber, Karen 51Haley, Allan 14-15, 29Hanington, Bruce 6-7, 46Heller, Steven 29, 46, 48, 49, 50Hellman, Anne 8-9, 35, 75Herriott, Luke 63Holden, Kritina 6-7, 27Hotel Spaces 53 I Ilic, Mirko 29, 49Industrial Design Reference & Specification Book, The 54, 76, 79Information Design Workbook 46, 77Inside Out 54Inside the World of Board Graphics 51Interactive Design 20-21, 27Interior Design Reference & Specification Book, The 54, 76, 79 J JGA 63Jura, Ben 40

K Keller, Maura 25, 45, 70Kennedy, Alicia 14-15, 56Kim, Yang 39, 71, 78Klimchuk, Marianne 39 L Lafuente, Maite 55, 72Lal, Rajesh 25, 71, 78Language of Graphic Design, The 27Layout Essentials 40, 71Layout Workbook 40, 77Leonidas, Gerry 14-15, 29Letterhead & Logo Design 9 34, 73Letterhead & Logo Design 10 34, 73Letterhead & Logo Design 11 34, 73Letterhead & Logo Design 12 34, 73Lidwell, William 6-7, 27, 53Lipavsky, Corin 49Logo Creed 36, 79Logo Design Workbook 36, 77Logo Savvy 36LogoLounge (mini) 8-9, 34, 74LogoLounge 3 (mini) 8-9, 35, 74LogoLounge 4 (mini) 8-9, 35, 74LogoLounge 5 8-9, 35, 74LogoLounge 6 8-9, 35, 74LogoLounge 7 8-9, 35, 75LogoLounge Master Library, Volume 1 8-9, 36, 75LogoLounge Master Library, Volume 3 8-9, 36, 75LogoLounge Master Library, Volume 4 8-9, 36, 75Love, Mimi 53, 54, 76, 79

M Making and Breaking the Grid 18-19, 27, 40Malamed, Connie 46Manacsa, Gerry 53Managing the Design Process- Concept Development 48 Managing the Design Process- Implementing Design 48Marks, Terry 16-17, 30Martin, Bella 6-7, 46Martin, Macarena San 56,Masters of Science Fiction and Fantasy Art 51Materials, Structures, and Standards 54Matharu, Gurmit 57McCormick, Lara 28, 79McMorrough, Julia 52, 54, 76, 78Mehl, Richard 32Millman, Debbie 38MINE Design 12-13, 16-17, 30, 34, 66, 73Morioka, Noreen 36, 77 N Nakamura, Shigeki 32New Masters of Poster Design 45New Masters of Poster Design, Volume 2 45Nunes, Jason 20-21, 27 O O’Donnell, Timothy 50O’Grady, Jenn Visocky 46O’Grady, Ken Visocky 46



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Contact Information:

QUAYSIDE PUBLISHING GROUP OFFICES www.quaysidepub.com Quayside Publishing Group-Minneapolis, MN (Cool Springs Press, Creative Publishing international, Motorbooks, MVP Books, Voyageur Press, Zenith Press, and Quayside Distribution Services)400 First Avenue North, Suite 400Minneapolis, MN 55401Phone: 612-344-8100Fax: 612-344-8691 [email protected] Quayside Publishing Group-Beverly, MA (Fair Winds Press, Quarry Books, Quiver,and Rockport Publishers) 100 Cummings Center, Suite 406-L Beverly, MA 01915Phone: 978-282-9590Fax: 978-283-2742 Quayside Publishing Group - New York, NY (Book Sales, Inc. and Race Point Publishing)276 Fifth Avenue, Suite 206New York, NY 10001Phone: 212-779-4972 Quayside Publishing Group-Irvine, CA (Walter Foster Publishing)3 Wrigley, Suite A Irvine, CA 92618Phone: 949-380-7510Fax: 949-380-7575 Quayside Publishing Group-UK (RotoVision SA) Sheridan House112-116A Western Road Hove, East Sussex BN3 1DD EnglandPhone: +44 (0) 1273 727268Fax: +44 (0)1273 727269 www.rotovision.com

One Club, The 64, 65One Show Boxed Set, 2012 Awards 65One Show Design, Volume 5 64One Show Design, Volume 6 64One Show Interactive, Volume XIV 65One Show Interactive, Volume XV 65One Show, Volume 32 64One Show, Volume 33 65One Show, Volume 34 65Origin 16-17, 30O’Shea, Linda 54, 77, 79Oxide Design Co. 34, 73 P Package Design Workbook 39, 77Packaging Essentials 39, 71Pao, Imin 28Pattern and Palette Sourcebook 31Pattern and Palette Sourcebook 2 31Pattern and Palette Sourcebook 4 31Pattern Sourcebook: Around the World 32Pattern Sourcebook: Chinese Style 32Pattern Sourcebook: Japanese Style 2 32Pattern Sourcebook: Nature 32Playing with Color 32Playing with Type 28, 79

Poetry of Fashion Design, The 57Poulin, Richard 14-15, 26, 27, 29, 53Pratt, Andy 20-21, 27Public 12-13, 42, 66, 78Public School 49, 68Puhalla, Dennis 25, 69 Q Quartino, Daniela Santos 54 R Raye, Robynne 51Rayner, Harvey 31Really Good Packaging Explained 39Roncarelli, Sarah 39, 71Rule29 12-13, 42, 66 S Saltz, Ina 14-15, 29, 71Samara, Timothy 10-11, 18-19, 25, 26, 27, 29, 40, 69, 77Saville, Laurel 48Sayles Graphic Design 12-13, 34, 66Seddon, Tony 14-15, 29Sherin, Aaris 25, 26, 30, 69Silva, John 39, 77Sketchbook 50Society for News Design 12-13, 41, 66, 67 Society of Publication Designers 41, 64Stanic, Elena 49,Stoehrer, Emily Banis 14-15, 56Stoltz Design 12-13, 34, 44, 62, 66

Stone, Terry Lee 48Stop, Think, Go, Do 29Strassburger, Michael 51Streeter, Loreto Binvignat 55, 72Sussner Design 34, 73Sustainable Environments 54Sutton, Tina 16-17, 30 T Takamura, Zeshu 56, 72Talarico, Lita 48, 50Taute, Michelle 25, 70Tondreau, Beth 40, 71Top Studio Design 12-13, 34, 66Top, Peleg 44Tselentis, Jason 14-15, 20-21, 27, 29Type, Form & Function 29Typography Essentials 29, 71Typography Referenced 14-15, 29Typography Workbook 29, 77 U Universal Methods of Design 6-7, 46Universal Principles of Design 6-7, 27 V Vilaseca, Estel 55, 72Visual Language for Designers 46Vit, Armin 14-15, 27Volpintesta, Laura 56, 76, 78

W Wallace, Rob 39Watanabe, Naoki 55, 72Wayne, Chidy 56, 72Welsh, Craig 45, 68, 78Werner, Sharon 39What is Fashion Design? 57Wheeler, Dan 52, 76, 78Whelan, Bride M 30Willoughby Design Group 12-13, 42, 66Wilson Harvey 12-13, 42, 66WOW Branding 36Wozniak, Curt 39, 71, 78Writing and Research for Graphic Designers 46 ZZaksenberg, Isaac 54, 76, 79


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Contact Information:

QUAYSIDE PUBLISHING GROUP OFFICES www.quaysidepub.com Quayside Publishing Group-Minneapolis, MN (Cool Springs Press, Creative Publishing international, Motorbooks, MVP Books, Voyageur Press, Zenith Press, and Quayside Distribution Services)400 First Avenue North, Suite 400Minneapolis, MN 55401Phone: 612-344-8100Fax: 612-344-8691 [email protected] Quayside Publishing Group-Beverly, MA (Fair Winds Press, Quarry Books, Quiver,and Rockport Publishers) 100 Cummings Center, Suite 406-L Beverly, MA 01915Phone: 978-282-9590Fax: 978-283-2742 Quayside Publishing Group - New York, NY (Book Sales, Inc. and Race Point Publishing)276 Fifth Avenue, Suite 206New York, NY 10001Phone: 212-779-4972 Quayside Publishing Group-Irvine, CA (Walter Foster Publishing)3 Wrigley, Suite A Irvine, CA 92618Phone: 949-380-7510Fax: 949-380-7575 Quayside Publishing Group-UK (RotoVision SA) Sheridan House112-116A Western Road Hove, East Sussex BN3 1DD EnglandPhone: +44 (0) 1273 727268Fax: +44 (0)1273 727269 www.rotovision.com

U.S. BOOK TRADE SALES REPRESENTATIVES West Book Travelers West2701 California Ave. SW PMB #233Seattle, WA 98116Phone: 206-932-7865Fax: 800-440-0818 [email protected] Mid Atlantic Chesapeake & Hudson, Inc115 W Potomac StreetBrunswick, MD 21716Phone: 800-231-4469Fax: 800-307-5163 [email protected] South (TX, LA, AR, OK)

Fujii AssociatesTom Bowen4151 Cobblers LaneDallas, TX 75287Phone: 972-381-1828Fax: 972-381-1829 [email protected] Southeast Southeastern Book Travelers1920 Valleydale Road Suite 220Birmingham, AL 35244Phone: 205-682-8570Fax: 770-804-2013 [email protected] Midwest Abraham Associates5120-A Cedar Lake RdMinneapolis, MN 55416Phone: 800-701-2489Fax: 952 –927-8089 [email protected] New England (CT, MA, ME, NH, RI, VT) Northeast Publishers RepsBill Palizzolo81 Indian Ridge RoadContoocook, NH 03229Phone: 603-746-3547Fax: 603-746-3547 [email protected]

U.S. GIFT SALES REPRESENTATIVES Allan Vayle & Associates CT, MA, ME, RI, VT, NHMain Office and Showroom:2 Cabot RoadHudson MA 01749Phone: (978) 568-0040Fax: (978) 568-0044 [email protected] Ron Leonard & Associates, Inc. VA, WV, NC, SC, KY, TN, GA, AL, FL, MS4215 Troon PlaceFort Pierce, FL 34947Phone: (772) 466-6338Fax: (772) 466-6339 [email protected] Ruth Stein & Associates New York City metropolitan area135 East 83rd St. Apt 9B New York, NY 10028Phone: (212) 988-1163Fax: (212) 988-8886 [email protected] McLemore / Hollern AR, LA, OK, TX3538 Maple Park DriveKingwood, TX 77339Phone: (281) 360-5204Fax: (281) 360-5215 OPEN TERRITORY: CO, NM, NJ, PA, IA, IL, IN, KS, OH, MI, MN, MO, ND, NE, SD, WI, AK, CA, HI, NV, OR, WA, Virgin Islands Contact Quayside Publishing Group HOME IMPROVEMENT, GIFT,GARDEN & COOKING REPRESENTATIVES Toni Gattone & Associates CA, NV317 Holcomb AveLarkspur, CA 94939Phone: (415) 924-8666Fax: (415) 924-8038Cell: (415) 505-6340 [email protected]

INTERNATIONAL CO-EDITION & RIGHTS TEAM Quayside Publishing Group ALL IMPRINTS

Nicole KembleForeign Rights DirectorAll lists: France, French-speaking Canada, and ItalyPhone: +44 1273 [email protected] Philippa PainterDeputy Foreign Rights DirectorAll lists: Central & Eastern Europe, Scandanavia & Asia English language RotoVision only: Page OnePhone: +44 1273 [email protected] Marta BlancoAll lists: Spain, Latin America, Brazil, Portugal, Netherlands, India & the Middle East, Greece, and TurkeyPhone: +44 (0) 1273 716013 [email protected] Anja EndemannAll lists: Germany, Austria & SwitzerlandPhone: +49 30 22 494 489 [email protected] Okkyun ChoiAll lists: KoreaPhone: +44 20 7700 6700 [email protected] Yukiko OhataAll lists: JapanPhone: 44 20 770 6700 [email protected] Meixia WangAll lists: China & TaiwanPhone: +61 2 9634 6220 [email protected] Susan MearsAll lists (except RV): South East Asia & AustraliaPhone: +001 978 282 [email protected]

W Wallace, Rob 39Watanabe, Naoki 55, 72Wayne, Chidy 56, 72Welsh, Craig 45, 68, 78Werner, Sharon 39What is Fashion Design? 57Wheeler, Dan 52, 76, 78Whelan, Bride M 30Willoughby Design Group 12-13, 42, 66Wilson Harvey 12-13, 42, 66WOW Branding 36Wozniak, Curt 39, 71, 78Writing and Research for Graphic Designers 46 ZZaksenberg, Isaac 54, 76, 79



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Booksellers, We admire your commitment to maintaining a strong selection of design titles as part of your core stock offering. Rockport would like to support your efforts and invite you to participate in our Premier Customer Program. Bookstores joining Rockport’s Premier Customer Program receive benefits such as special terms, customized collateral material, featured placement on RockPaperInk.com, promotion through our social media channels, and inclusion in our annual catalog. For more information, please contact your Rockport sales rep.

US

Alexander Book Company50 Second StreetSan Francisco, CA 94105415-495-2992 www.alexanderbook.com

Builders Booksource1817 Fourth StreetBerkeley, CA 94710510-845-6874www.buildersbooksource.com

The FIDM StoreThe Fashion Institute of Design & Merchandising919 South Grand AvenueLos Angeles, CA 90015213-624-1200thefidmstore.com

Bookstores We Recommend:

Leah SelwoodRights AssistantPhone: +44 1273 716020 [email protected] DISTRIBUTION SALES UK and Ireland Orders and enquiries to: Aurum Press Ltd7 Greenland Street London NWI 0ND Phone: 020 72847160Fax: 020 74854902 [email protected] United Kingdom and Ireland ORDERS TO: Grantham Book ServicesIsaac Newton WayAlma Park Industrial Estate Grantham, Lincolnshire NG31 9SD, UKPhone: +44 (0) 1476 541 080Fax: +44 (0) 1476 541 061 [email protected] Australia ALL IMPRINTS including ROTOVISION Capricorn Link (Australia) Pty. Ltd.2 Dowling PlaceSouth Windsor NSW 2756Phone: +61 0245 601600Fax: +61 0245 775288 [email protected] www.capricornlink.com.au New Zealand ROCKPORT, QUARRY, FAIR WINDS, QUIVER, WALTER FOSTER, CPiDavid Bateman Ltd.30 Tarndale GrovePO Box 100-242 NSMC Auckland 1330New ZealandPhone: (64 9) 415 7664Fax: (64 9) 415 8892 [email protected] New Zealand MOTORBOOKS, VOYAGEUR, ZENITH Bookreps New Zealand Ltd.P.O. Box 34 989BirkenheadAuckland 1330

New ZealandPhone: +64 09 419 2635Fax: +64 09 419 2635 [email protected] Singapore, Malaysia, Indonesia, Philippines, Vietnam, Cambodia, Brunei & ThailandALL IMPRINTS APD Singapore Pte LtdIan Pringle52 Genting Lane #06-05Ruby Lane Complex 1Singapore 349560Phone: (65) 6749 3551Fax: (65) 6749 [email protected] or [email protected] South Africa, Namibia, Botswana, Zimbabwe, Swaziland & LesothoALL IMPRINTS Real BooksHelena Groeneveld137 Smit Street Braamfontein, South Africa Phone: +011 403-3700Fax: +011 339-3169 [email protected] INTERNATIONAL SALES REPRESENTATIVES: EXPORTS SALES ONLY CanadaALL IMPRINTS Canadian Manda Group165 Dufferin Street Toronto, Ontario Canada, M6K 3H6Phone: +1 888 563 8327Fax: +1 416 516 0917Orders and Inquiries: [email protected] www.mandagroup.com South America, Central America, Caribbean & MexicoALL IMPRINTS Cranbury International Ethan Atkin7 Clarendon Ave, Suite 2Montpelier, VT 05602 USA Phone: +1 802 223 6565Fax: +1 802 223 6824 [email protected]

Denmark, Finland, Iceland, Norway & SwedenALL IMPRINTS Angell EurosalesThe Old Whaling House, The Walls Berwick-upon-Tweed TD15 1HP United KingdomPhone: +44 1289 332934Fax: +44 1289 332935 [email protected] Central & Eastern Europe, Belgium, France, Luxembourg, Monaco, NetherlandsALL IMPRINTS Austria, Germany & Switzerland ALL IMPRINTS EXCEPT ROCKPORTBill Bailey Publishers Representatives16 Devon SquareNewton Abbot, TQ12 2HR Phone: +44 1626 331079Fax: +44 1626 331080 [email protected] Italy, GreeceALL IMPRINTS Penny Padovani Padovani Books N.A La Chiesa no.052044 Pergo Cortona (AR) ItalyPhone: +39 0575 614338Fax: +39 0575 614338 [email protected] Spain, Portugal, GibraltarALL IMPRINTS Jenny Padovani Padovani Books Rambla Poblenou 11Escalera A 4, 2a Barcelona 08005 Spain Phone: +34 93 2218561Fax: +34 93 2218561 [email protected] China, Taiwan, and Hong KongALL IMPRINTS Asia Publishers ServicesUnits B&D, 17F Gee Chang Hong Centre,65, Wong Chuk Hang Road, Aberdeen, Hong KongPhone: +1 (852) 2553 9289 [email protected]

Sub-Saharan AfricaALL IMPRINTS Kelvin van HasseltWillow House, The Street Birmingham, Norfolk NR24 2PY, U.K.Phone: 44 1263 862724Fax: 44 1263 862803 [email protected] Japan ALL IMPRINTS Tim Burland Sangenjaya 2-38-12 Setagaya Ward,Tokyo 154-0024 JapanPhone: +81 (0)3-3424-8977Fax: +81 (0)3-3424-8977Mobile: +81 (0)90-1633-6643 [email protected] All other territories please contact:Aurum Publishing Group47-77 White Lion StreetIslington, London N1 9PF Phone: +44 0207 284 9339 Adrian Greenwood, International Sales [email protected] Anne Bowman, Export Sales [email protected] Ella Camps-Linney, Export Sales [email protected] Marketing and Educator Inquiries: US and Canada Susan [email protected] UK Andrew [email protected]


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Booksellers, We admire your commitment to maintaining a strong selection of design titles as part of your core stock offering. Rockport would like to support your efforts and invite you to participate in our Premier Customer Program. Bookstores joining Rockport’s Premier Customer Program receive benefits such as special terms, customized collateral material, featured placement on RockPaperInk.com, promotion through our social media channels, and inclusion in our annual catalog. For more information, please contact your Rockport sales rep.

Green Apple Books506 Clement StreetSan Francisco, CA 94118415-387-2272www.greenapplebooks.com

Hennessey + Ingalls (multiple locations)214 Wilshire Blvd.Santa Monica, CA 90401310-458-9074www.hennesseyingalls.com

Kinokuniya Bookstore (multiple locations)1581 Webster StreetSan Francisco, CA 94115 415-567-7625 www.kinokuniya.com

Kinokuniya Bookstore (multiple locations)123 Onizuka StreetLos Angeles, CA 90012213-687-4480 www.kinokuniya.com

The Museum Store at SFMOMA151 Third StreetSan Francisco, CA 94103415-357-4035museumstore.sfmoma.org

Vroman’s Bookstore695 E. Colorado Blvd.Pasadena, CA 91101626-449-5320www.vromansbookstore.com

William Stout Books804 Montgomery StreetSan Francisco, CA 94133415-391-6757www.stoutbooks.com

Tattered Cover Book Store (multiple locations)2526 East Colfax AvenueDenver, CO 80206303-322-7727www.tatteredcover.com

US

Alexander Book Company50 Second StreetSan Francisco, CA 94105415-495-2992 www.alexanderbook.com

Builders Booksource1817 Fourth StreetBerkeley, CA 94710510-845-6874www.buildersbooksource.com

The FIDM StoreThe Fashion Institute of Design & Merchandising919 South Grand AvenueLos Angeles, CA 90015213-624-1200thefidmstore.com

Bookstores We Recommend:

Sub-Saharan AfricaALL IMPRINTS Kelvin van HasseltWillow House, The Street Birmingham, Norfolk NR24 2PY, U.K.Phone: 44 1263 862724Fax: 44 1263 862803 [email protected] Japan ALL IMPRINTS Tim Burland Sangenjaya 2-38-12 Setagaya Ward,Tokyo 154-0024 JapanPhone: +81 (0)3-3424-8977Fax: +81 (0)3-3424-8977Mobile: +81 (0)90-1633-6643 [email protected] All other territories please contact:Aurum Publishing Group47-77 White Lion StreetIslington, London N1 9PF Phone: +44 0207 284 9339 Adrian Greenwood, International Sales [email protected] Anne Bowman, Export Sales [email protected] Ella Camps-Linney, Export Sales [email protected] Marketing and Educator Inquiries: US and Canada Susan [email protected] UK Andrew [email protected]

Ex Libris Bookstore228 Martin Luther King Blvd.Savannah, GA 31401912-525-7550www.bkstr.com

The Art Institute of Chicago Museum Shop111 South Michigan AvenueChicago, IL 60603855-301-9612www.artinstituteshop.org

Brookline Booksmith279 Harvard StreetBrookline, MA 02446617-566-6660www.brooklinebooksmith.com

MIT Press Bookstore292 Main StreetCambridge, MA 02142617-253-5249web.mit.edu/bookstore

New England Mobile Book Fair82 Needham StreetNewton Highlands, MA 02461617-964-7440www.nebookfair.com

Fashion Design Books250 West 27th StreetNew York, NY 10001212-633-9646www.fashiondesignbooks.com

Kinokuniya Bookstore (multiple locations)1073 Avenue of the AmericasNew York, NY 10018212-869-1700www.kinokuniya.com

McNally Jackson Books52 Prince StreetNew York, NY 10012212-274-1160mcnallyjackson.com

MoMA Design and Book Store11 West 53rd StreetNew York, NY 10019212-708-9700www.momastore.org

Rizzoli Bookstore31 West 57th StreetNew York, NY 10019212-759-2424www.rizzoliusa.com/bookstore

St. Mark’s Bookshop31 Third AvenueNew York, NY 10003212-260-7853www.stmarksbookshop.com

Strand Book Store828 BroadwayNew York, NY 10003212-473-1452www.strandbooks.com

Powell’s Books (multiple locations)1005 W. BurnsidePortland, OR 97209503-228-4651www.powells.com

AIA Bookstore and Design Center1218 Arch StreetPhiladelphia, PA 19107215-569-3188www.aiabookstore.com

Carnegie Mellon University Bookstore5032 Forbes AvenuePittsburgh, PA 15213412-268-2966bookstore.web.cmu.edu

RISD Store30 North Main StreetProvidence, RI 02903401-454-6464www.risdstore.com



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A Book For All Seasons703 Highway 2Leavenworth, WA 98826509-548-1451www.abookforallseasons.indiebound.com

The Elliott Bay Book Company1521 Tenth AvenueSeattle, WA 98122206-624-6600www.elliottbaybook.com

Peter Miller Books1930 First AvenueSeattle, WA 98101206-441-4114www.petermiller.com

CANADA McNally Robinson Booksellers1120 Grant AvenueWinnipeg, MB R3M 2A6800-561-1833 www.mcnallyrobinson.com

The Montreal Museum of Fine Arts Bookstore1390 Sherbrooke Street WestMontreal, QC H3G 2T9514-285-2000www.mbam.qc.ca/en/boutique

Oscar’s Art Books1533 Broadway W.Vancouver, BC V6J 1W6604-731-0553www.oscarsartbookstore.com

Swipe Design401 Richmond Street WestToronto, ON M5V 3A8416-363-1332www.swipe.com

University of Alberta BookstoreStudent Union BuildingEdmonton, AB T6G 2J7 780-492-4215 www.bookstore.ualberta.ca

University of Manitoba Bookstore140 University Centre, Fort Garry CampusWinnipeg, MB R3T 2N2204-474-8321www.umanitoba.ca/bookstore AUSTRALIA Folio Books80 Albert StreetBrisbane 400007 3221 1368www.foliobooks.com.au

Metropolis Bookshop252 Swanston StreetMelbourne 300003 9663 2015www.metropolisbookshop.com.au

BELGIUM Copyright BookshopJakobijnenstr 8 BGhent 9000+32 (0)9 223 57 94www.copyrightbookshop.be

FINLAND Keski-Töölön Paperikauppa OyRuusulankatu 18Helsinki 00250(09) 490 086www.paperikauppa.fi

FRANCE Librairie Artazart83 Quai de ValmyParis 75010+33 (0)1 40 40 24 00www.artazart.com/fr

Librairie Eyrolles61 Boulevard Saint-GermainParis 75005+33 (0)1 44 41 11 74 www.eyrolles.com

Librairie La Hune170 Boulevard Saint-GermainParis 75006+33 (0)1 45 48 35 85

Librairie Leks19 Rue Pierre LescotParis 75001+33 (0)1 40 26 21 83

GERMANY Bücherbogen (multiple locations)Savignyplatz GmbHStadtbahnbogen 593Berlin 10623030 31 86 95 11www.buecherbogen.com

Buchhandlung L. Werner GmbHResidenzstrasse 18München 80333089 226 979www.buchhandlung-werner.de

Buchhandlung Rita Limacher GmbHKleiner Schloßplatz 11Stuttgart 70173 0711 292 509www.limacher.de

Buchhandlung Walther KönigEhrenstraße 4Köln 50672 0221 20 59 6-0www.buchhandlung-walther-koenig.de

Cohen+Dobernigg Buchhandel Sternstraße 4Hamburg 20357 040 40185110www.codobuch.de

Kopp Fachbuch und Medienversand GmbHMartin-Luther-King-Strasse 2bHanau 63452045 075 6181www.koppmedien.de

Sautter + Lackmann Admiralitätsstraße 71-72Hamburg 20459 040 373196www.sautter-lackmann.de

soda. Internationale Magazine und BücherRumfordstrasse 3München 80469 0049 89 20 24 53 53www.sodabooks.com

HOLLAND American Book CenterSpui 12Amsterdam 1012 XA+31 (0)20 625 55 37www.abc.nl

HUNGARY Alexandra Könyvesház7th West SquareBudapest 1055(06-1) 428-7077www.alexandrakonyveshaz.hu

Bookstores Cont.

INDONESIA Periplus Bookshop (multiple locations)Kawasan Industri PulogadungJl. Rawa Geiam Iv No. 9Jakarta 1393062-21646821088periplus.co.id

ITALY Books Import S.R.L.Via Achille Maiocchi, 11Milan 20129+39 02 29400478www.booksimport.it

JAPAN Aoyama Book Center (multiple locations)Cosmos Aoyama Garden Floor B2F5-53-67 Jingu-maeShibuya-ku, Tokyo03-5485-5511www.aoyamabc.co.jp

Design BooksTokyo Design Center5-25-19 Higashi-Gotanda Shinagawa-ku, Tokyo03-3445-1341www.design-center.co.jp

Junkudo Bookstore (multiple locations)2-15-5 Minami-ikebukuroToshima-ku, Tokyo03-5956-6111www.junkudo.co.jp

Tsutaya Tokyo Roppongi6-11-1 Roppongi Hills KeyakizakaMinato, Tokyo03-5775-1515store.tsutaya.co.jp


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Buchhandlung Walther KönigEhrenstraße 4Köln 50672 0221 20 59 6-0www.buchhandlung-walther-koenig.de

Cohen+Dobernigg Buchhandel Sternstraße 4Hamburg 20357 040 40185110www.codobuch.de

Kopp Fachbuch und Medienversand GmbHMartin-Luther-King-Strasse 2bHanau 63452045 075 6181www.koppmedien.de

Sautter + Lackmann Admiralitätsstraße 71-72Hamburg 20459 040 373196www.sautter-lackmann.de

soda. Internationale Magazine und BücherRumfordstrasse 3München 80469 0049 89 20 24 53 53www.sodabooks.com

HOLLAND American Book CenterSpui 12Amsterdam 1012 XA+31 (0)20 625 55 37www.abc.nl

HUNGARY Alexandra Könyvesház7th West SquareBudapest 1055(06-1) 428-7077www.alexandrakonyveshaz.hu

INDONESIA Periplus Bookshop (multiple locations)Kawasan Industri PulogadungJl. Rawa Geiam Iv No. 9Jakarta 1393062-21646821088periplus.co.id

ITALY Books Import S.R.L.Via Achille Maiocchi, 11Milan 20129+39 02 29400478www.booksimport.it

JAPAN Aoyama Book Center (multiple locations)Cosmos Aoyama Garden Floor B2F5-53-67 Jingu-maeShibuya-ku, Tokyo03-5485-5511www.aoyamabc.co.jp

Design BooksTokyo Design Center5-25-19 Higashi-Gotanda Shinagawa-ku, Tokyo03-3445-1341www.design-center.co.jp

Junkudo Bookstore (multiple locations)2-15-5 Minami-ikebukuroToshima-ku, Tokyo03-5956-6111www.junkudo.co.jp

Tsutaya Tokyo Roppongi6-11-1 Roppongi Hills KeyakizakaMinato, Tokyo03-5775-1515store.tsutaya.co.jp

PHILIPPINES Fully Booked/Bibliarch/Sketchbooks (multiple locations)Bldg 6, Bonifacio High StreetBonifacio Global City, Taguig City 1634632-858-7000www.fullybookedonline.com

PHILIPPINES National Book Store (multiple locations)Quad Alpha Centrum Building125 Pioneer St.Mandaluyong City 1550632-631-8061www.nationalbookstore.com

POLAND Top Mark CentreUl. Emilii Plater 4Warsaw+48 22 428 3014www.tmc.com.pl

SINGAPORE AND AUSTRALIA, INDONESIA, JAPAN, MALAYSIA, TAIWAN, THAILAND, UAE Kinokuniya Bookstore (multiple locations) www.kinokuniya.com.sg

SINGAPORE AND CHINA, HONG KONG, TAIWAN Page One (multiple locations) www.pageonegroup.com

SPAIN Graphic BookC/ Booksellers, 3Madrid 2800434 91 521 0019www.graphicbook.com

La Central del RavalC/ Elisabets, 6Barcelona 0800100 34 902 884 990www.lacentral.com

Laie CCCBC/ Montalegre, 5Barcelona 0800193 481 38 86www.laie.es/cccb

Llibreria MediosC/ Valldonzella, 7Barcelona 08001934 12 33 88

a RheiC/ Hernán Cortés, 7Madrid 2800434 91 319 89 02www.panta-rhei.es

SWEDEN Akademibokhandeln, Vasagatan26-30 CentrumStockholm +46 31 60 96 80www.akademibokhandeln.se

THAILAND Asia Books Co., Ltd (multiple locations)65/66, 65/70 Chamnan Phenjati Business CenterRama 9 Road, 7th FloorHuaykwang, Bangkok 10320(662) 715-9000www.asiabooks.com

UK Artwords Bookshop (multiple locations)Shoreditch69 Rivington StreetLondon EC2A 3AY+44 (0) 20 7729 2000www.artwords.co.uk

Blackwell’s Art and Poster Shop27 Broad StreetOxford OX1 3BS+44 (0) 1865 333641www.bookshop.blackwell.co.uk

Castor + Pollux165 King’s Road Arches, Lower PromenadeBrighton BN1 1NB+44 (0) 1273 773776www.castorandpollux.co.uk

Design Museum Shop28 Shad ThamesLondon SE1 2YD+44 (0) 207 940 8775www.designmuseumshop.com

Foyles (multiple locations)113-119 Charing Cross RoadLondon WC2H 0EB+44 (0) 20 7437 5660www.foyles.co.uk

Magma Books (multiple locations)117-119 Clerkenwell RoadLondon EC1R 5BY+44 (0) 20 7242 9503www.magmabooks.com

Tate ModernBanksideLondon SE1 9TG+44 (0) 20 7401 5167www.tate.org.uk/shop



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American Institute of Architects (AIA)www.aia.org

American Institute of Graphic Arts (AIGA)www.aiga.org

Art Directors Club (ADC)www.adcglobal.org

Association of Registered Graphic Designers of Ontario (RGD Ontario)www.rgdontario.com

Association Typographique Internationale (ATypI)www.atypi.org

D&ADwww.dandad.org

Design Councilwww.designcouncil.org.uk

Fashion Group Internationalwww.fgi.org

Industrial Designers Society of America (IDSA)www.idsa.org

International Council of Graphic Design Associations (Icograda)www.icograda.org

Design Associations:

International Council of Societies of Industrial Design (Icsid)www.icsid.org

International Society of Typographic Designers (ISTD)www.istd.org.uk

The One Clubwww.oneclub.org

Society for Environmental Graphic Design (SEGD)www.segd.org

Society for News Design (SND)www.snd.org

Society of Graphic Designers of Canada (GDC)www.gdc.net

Society of Publication Designers (SPD)www.spd.org

Type Directors Club (TDC)www.tdc.org


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RockpoRt publisheRs100 Cummings Center, suite 406-LBeverLy, mA 01915www.roCkpuB.Com

isBn-13: 978-1-59253-900-0 item # 213531

ROCKPORT

THE COMPLETE DESIGN LIST20

13

publishers

(RAY) Job: 03-30084 Title: RP-Backlist Graphic Design Catalog#175 DTP: 216 Page: Cover

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