In a career spanning more than forty years, Derek Birdsall has established himself as one of Britain's leading book designers. This practical, inspirational and educational book distils a lifetime's experience in designing books, and presents and discusses nearly 50 books he has designed.

This book includes a deep-dive into the mindsets and methods of Co-design. It draws on the authors' experience across Australia and New Zealand, as well as design, trauma-informed practice, collective learning and social movements.

Recording your ideas and observations primarily in pictures instead of words can help you become more creative and constructive on the job, no matter what your level of artistic ability. This show-by-example sourcebook clearly illustrates proven methods and procedures for keeping a highly useful visual notebook. Visual Notes for Architects and Designers demonstrates how to make rapid, notational sketches that serve as visual records for future reference, as well as improve understanding and facilitate the development of ideas. It shows you how to expand your knowledge of a subject beyond what is gained through observation or verbal representation alone. You gain access to simple techniques for collecting, analyzing, and applying information. Crowe and Laseau examine the relationship between note-taking, visualization, and creativity. They give practical guidance on how to develop: Visual acuity—the ability to see more in what you experience Visual literacy—expressing yourself clearly and accurately with sketches Graphic analysis—using sketches to analyze observations Numerous examples demonstrate some of the many uses of visual notes. They help you develop a keener awareness of environments, solve design problems, and even get more out of lectures and presentations. The authors also discuss types of notebooks suitable for taking visual notes. If you want to develop your perceptual and creative skills to their utmost, you will want to follow the strategies outlined in Visual Notes for Architects and Designers. It is a valuable guide for architects, landscape architects, designers, and anyone interested in recording experience in sketch form.

People make use of software applications in their activities, applying them as tools in carrying out tasks. That this use should be good for people--easy, effective, efficient, and enjoyable--is a principal goal of design. In this book, we present the notion of Conceptual Models, and argue that Conceptual Models are core to achieving good design. From years of helping companies create software applications, we have come to believe that building applications without Conceptual Models is just asking for designs that will be confusing and difficult to learn, remember, and use. We show how Conceptual Models are the central link between the elements involved in application use: people's tasks (task domains), the use of tools to perform the tasks, the conceptual structure of those tools, the presentation of the conceptual model (i.e., the user interface), the language used to describe it, its implementation, and the learning that people must do to use the application. We further show that putting a Conceptual Model at the center of the design and development process can pay rich dividends: designs that are simpler and mesh better with users' tasks, avoidance of unnecessary features, easier documentation, faster development, improved customer uptake, and decreased need for training and customer support. Table of Contents: Using Tools / Start with the Conceptual Model / Definition / Structure / Example / Essential Modeling / Optional Modeling / Process / Value / Epilogue

An author and book designer offers a candid look at his own creations.

"These notes are about the process of design: the process of inventing things which display new physical order, organization, form, in response to function." This book, opening with these words, presents an entirely new theory of the process of design. In the first part of the book, Christopher Alexander discusses the process by which a form is adapted to the context of human needs and demands that has called it into being. He shows that such an adaptive process will be successful only if it proceeds piecemeal instead of all at once. It is for this reason that forms from traditional un-self-conscious cultures, molded not by designers but by the slow pattern of changes within tradition, are so beautifully organized and adapted. When the designer, in our own self-conscious culture, is called on to create a form that is adapted to its context he is unsuccessful, because the preconceived categories out of which he builds his picture of the problem do not correspond to the inherent components of the problem, and therefore lead only to the arbitrariness, willfulness, and lack of understanding which plague the design of modern buildings and modern cities. In the second part, Mr. Alexander presents a method by which the designer may bring his full creative imagination into play, and yet avoid the traps of irrelevant preconception. He shows that, whenever a problem is stated, it is possible to ignore existing concepts and to create new concepts, out of the structure of the problem itself, which do correspond correctly to what he calls the subsystems of the adaptive process. By treating each of these subsystems as a separate subproblem, the designer can translate the new concepts into form. The form, because of the process, will be well-adapted to its context, non-arbitrary, and correct. The mathematics underlying this method, based mainly on set theory, is fully developed in a long appendix. Another appendix demonstrates the application of the method to the design of an Indian village.

Interior design legend Paul Fortune opens his design portfolio and shares his inimitable worldview in this monograph-cum-memoir. Arriving in Los Angeles from London during the 1970s, Paul Fortune gradually made his way as a graphic artist, art director of music videos, and even nightclub owner. But with the renovation of his own now legendary Laurel Canyon house in 1978, Fortune's career as an interior designer was born. Fortune Design Studio, based in Los Angeles, has been operating since 1982, enjoying the patronage of discerning clients worldwide, whose ranks include Marc Jacobs, Sofia Coppola, and David Fincher. Exhibiting a distinct style widely recognized for its integration of refinement with lived-in comfort, Fortune's designs are uniquely geared toward accommodating the history and material integrity of each chosen venture. In Notes on Décor, Etc., Fortune--a natural raconteur--not only documents his favorite of these timelessly elegant projects but also his life and times as a designer, an expatriate, and an Angeleno in a one-of-a-kind chronicle that Architectural Digest, in its 2018 AD 100 list, describes as, "A tell-all monograph-cum-memoir detailing significant projects and stories from Fortune's peregrinations through the beau monde."