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

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

"Children's culture has become a boom industry, generating tons of accoutrements from toys to school supplies to interactive computer programs. To be successful, such materials must be designed in a way that speaks directly to a young audience yet pleases - and doesn't alienate - adults. That said, what is good design for children? What criteria does a designer follow in creating products that will appeal to kids without compromising on quality or aesthetics? Steven Heller and Steven Guarnaccia address these and many other related questions in Designing for Children, the first and only book devoted to an increasingly important subject." "Heller and Guarnaccia analyze and celebrate recent advances in child-oriented design and show examples of new work that represent the growing sophistication in this arena. The authors look at hundreds of case studies in which graphics play a major role, specifically in the realms of television, video, and radio; museums and environments; novelties and gifts; toys and games; newspapers and magazines; computers and electronics; theater and performances; and books and posters. Packaging and promotional materials for the various products and activities are also discussed." "In response to the burgeoning children's market, clients like Sony, Nickelodeon, Esprit/Kids, Hasbro, Stride Rite, Levi Strauss, Hallmark, Pentech, The Nature Company, Mattel, Milton Bradley, Broderbund, and numerous publishers are increasingly employing the talents of innovative designers with an eye toward reaching a young audience. Today among their ranks are such well-known and highly respected graphic artists as Seymour Chwast, Maira Kalman, April Greiman, Paula Scher, and Richard McGuire, many of whose designs for children are featured here." "Designing for Children is an important book for designers of all kinds, but it's also of interest to parents seeking well-made, thoughtfully designed alternatives to standard mass-market toys, books, and other childhood fare for their kids."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

This collection of groundbreaking campaigns and industry insights from the world's leading design studios shows how today's graphic designers are thinking, collaborating, and breaking the rules. This guide explores ways in which graphic designers can successfully collaborate with other creative professionals and sectors, whether it be a more sophisticated logo for a product, a better-designed lookbook for a fashion brand, or a more intuitive wayfinding system for a museum. The book features exceptionally conceived design solutions across a variety of industries--from architecture and product design to art, fashion, and film. Through dynamic spreads, readers will discover the Berlin-based studio Hort's transformative campaign for Nike; Base's responsive, flexible logo for Munich's Haus der Kunst museum; how design agency Bond worked with ArtRabbit, a website and app that catalogs contemporary art exhibitions, on a clever identity rollout; and how John Haslam, managing director of bespoke paper company G.F Smith, feels about the process of working with designers. Each example illustrates the significance of the graphic designer's role in making a campaign marketable and successful. Insights from clients and the designers themselves reveal the inner workings of the design process. An indispensable reference for the graphic design industry, this visually arresting and informative volume shows how excellence can be achieved when creative minds work together.

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

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

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