How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever. Bruno Munari was among the most inspirational designers of all time, described by Picasso as ‘the new Leonardo’. Munari insisted that design be beautiful, functional and accessible, and this enlightening and highly entertaining book sets out his ideas about visual, graphic and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children’s books, advertising, cars and chairs – these are just some of the subjects to which he turns his illuminating gaze.

A gorgeously unique, fully illustrated exploration into the phenomenology of reading—how we visualize images from reading works of literature, from one of our very best book jacket designers, himself a passionate reader. “A playful, illustrated treatise on how words give rise to mental images.” —The New York Times What do we see when we read? Did Tolstoy really describe Anna Karenina? Did Melville ever really tell us what, exactly, Ishmael looked like? The collection of fragmented images on a page—a graceful ear there, a stray curl, a hat positioned just so—and other clues and signifiers helps us to create an image of a character. But in fact our sense that we know a character intimately has little to do with our ability to concretely picture our beloved—or reviled—literary figures. In this remarkable work of nonfiction, Knopf's Associate Art Director Peter Mendelsund combines his profession, as an award-winning designer; his first career, as a classically trained pianist; and his first love, literature—he considers himself first and foremost as a reader—into what is sure to be one of the most provocative and unusual investigations into how we understand the act of reading.

Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics

During America's Gilded Age (dates), the country was swept by a mania for all things Japanese. It spread from coast to coast, enticed everyone from robber barons to street vendors with its allure, and touched every aspect of life from patent medicines to wallpaper. Americans of the time found in Japanese art every design language: modernism or tradition, abstraction or realism, technical virtuosity or unfettered naturalism, craft or art, romance or functionalism. The art of Japan had a huge influence on American art and design. Title compares juxtapositions of American glass, silver and metal arts, ceramics, textiles, furniture, jewelry, advertising, and packaging with a spectrum of Japanese material ranging from expensive one-of-a-kind art crafts to mass-produced ephemera. Beginning in the Aesthetic movement, this book continues through the Arts & Crafts era and ends in Frank Lloyd Wright's vision, showing the reader how that model became transformed from Japanese to American in design and concept. Hannah Sigur is an art historian, writer, and editor with eight years' residence and study in East and Southeast Asia. She has a master's degree from the Institute of Fine Arts, New York University, and is completing a PhD in the arts of Japan. Her writings include co-authoring A Master Guide to the Art of Floral Design (Timber Press, 2002), which is listed in "The Best Books of 2002" by The Christian Science Monitor and is now in its second edition; and "The Golden Ideal: Chinese Landscape Themes in Japanese Art," in Lotus Leaves, A Master Guide to the Art of Floral Design (2001). She lives in Berkeley.

Turn-around book with one side focusing on cover art and the other revealing experimentation with the creation of book design as artistic objects.

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

'The Language of Graphic Design' provides graphic design students and practitioners with an in-depth understanding of the fundamental elements and principles of their language, what they are, why they are important and how to use them effectively.