BIS Publishers Catalogue 2013/2014 by BIS Publishers

2013/2014

This book can be regarded as a standard book on design sketching, useful for students in product design.

Koos Eissen and Roselien Steur both teach design drawing techniques. He is an associate professor at the Delft University of Technology and responsible for the freehand drawing classes at the Faculty of Industrial Design Engineering, while she teaches at the Faculty of Visual Art and Design, Utrecht School of the Arts.

100.000th Anniversary Edition “The best book about drawing that I have ever seen” - Professor L. Colani

sketching

Some may think sketching is a disappearing skill, but if you ever enter a design studio, you will find out differently. Studios still make sketches and drawings by hand – and in most cases, quite a lot of them. They are an integral part of the decision-making process, used in the early stages of design, in brainstorming sessions, in the phase of research and concept exploration, and in presentation. Drawing has proved to be, next to verbal explanation, a powerful tool for communicating not only with fellow designers, engineers or model makers but also with clients, contractors and public offices.

koos eissen and roselien steur

Are designers still making drawings by hand? Isn’t it more advanced to use a computer in this computer era?

sketching drawing techniques for product designers koos eissen and roselien steur

www.bispublishers.nl

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Sketching

100,000th Anniversary Edition and Spanish edition

100.000th Anniversary Edition “The best book about drawing that I have ever seen” - Professor L. Colani

Koos Eissen and Roselien Steur

About six years ago, the authors Koos Eissen and Roselien Steur, both sketching teachers at TU Delft and other design schools, felt the need for a good visual book on how to sketch for designers. They decided to create that book themselves, and as they say… the rest is history. Now we are approaching the 100,000th copy sold with no slowdown of sales in sight. Meanwhile, the second book Sketching: The Basics has sold over 40,000 copies and we are announcing the third book in the series on the next pages. Eissen and Steur’s books have

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been translated in Chinese, Taiwanese, Korean, German and French. And we are proud to announce that the Spanish translation of Sketching: The Basics, Bocetaje: Las Bases, can now be added to the list of translations, and this time under our own BIS imprint. You can expect more BIS books in Spanish in the future. These will be distributed in the Spanish-speaking regions by our colleagues at Gustavo Gili who are based in Barcelona and Mexico. We congratulate Koos Eissen and Roselien Steur on their anniversary edition and thank them for their insight and brilliance in creating books that they were not only able to use for their own teaching practice, but which have found their way to hundreds of teachers in design universities and schools and tens of thousands of design professionals and students around the globe.

New titles

This summer, the 100,000th copy of Sketching will be sold somewhere in the world. To celebrate this milestone in the story of the book Sketching, we will be publishing a special Golden 100,000th Anniversary Edition in a limited, one-time print run.

• Now in Spanish as BIS original • Sketching: now 100,000 copies sold • Translated into 7 languages

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Sketching

Product design presentation Koos Eissen and Roselien Steur

For designers, sketching is a daily activity that can serve many goals. You can sketch to brainstorm, to find and articulate ideas or to present

Related Sketching, p. 2 Sketching: the Basics, p. 56 ‘What you always wanted to know but was never explained in a simple and efficient way.’

100.000 Anniversary Edition

sketching drawing techniques for product designers koos eissen and roselien steur

Koos Eissen (Med) and Roselien Steur (MSc BA) both teach drawing techniques. Eissen is an associate professor at Delft University of Technology in the Netherlands, where he is responsible for the freehand and digital drawing classes at the Faculty of Industrial Design Engineering. He also lectures at the Royal Academy of Arts in The Hague. Steur is an experienced lecturer at both university and art academy level who now specialises in design sketching workshops for professionals.

KOOS EISSEN & ROSELIEN STEUR

SKETCHING THE BASICS

All these goals require different sketching techniques, which will be even more effective if you understand how people view your sketches and how you can use your sketches to improve your way of communicating what you want.

• New book by authors of Sketching • From how-to-sketch to why-to-sketch • Destined to become the # 1 go-to book on sketching presentation

SKETCHING THE BASICS

was intended as a reference guide. This new book concerns the study of form. Sketching: The Basics contains many step-by-step guides to making drawings. It is about learning to draw efficiently by employing different techniques, both manual and digital. Drawing an object or idea is not a rigid process but a lively interactive process. Revealing the steps in that process allows us to explain the decisions taken and their impact on the final result. Every chapter contains an exercise for the reader. After all, practice is probably the best way to learn. Can you remember your struggle as a child as you were learning how to write? Developing the skill to write by hand was hard work, but you managed. The same will happen as you learn to draw. Just as in our previous book Sketching, we will illustrate particular aspects of drawing in designer case studies. We have invited contributions from leading international designers from different cultures around the world. We feel it is important to show their drawings in relation to the design process. We believe in active observation and participation from the student. During the drawing process there are many moments when choices alter the outcome. Being aware of those moments and the variety of choices and opportunities makes your attitude more flexible and less rigid. Students learn to start sketching with an open mind instead of a fixed idea. We believe that such an open attitude is key to a good design process.

KOOS EISSEN & ROSELIEN STEUR

This book can be regarded as a standard book on design sketching, useful for students in product design.

Design sketching is embedded in a process involving many colourful aspects. The field of sketching is both lively and th changing, and the importance of drawing in relation to the design process is considerable. Designers need to express their thoughts and ideas in context-driven drawings and sketches. That demands the skill to draw efficiently and with an awareness of the function served by the drawings and of their legibility.“The We think these skills can be acquired. best book about drawing that I have ever seen” - Professor L. Colani This book can be regarded as the ‘prequel’ to our first book, which

sketching

SKETCHING THE BASICS

koos eissen and roselien steur

Are designers still making drawings by hand? Isn’t it more advanced to use a computer in this computer era?

a project to other designers in your team or people from other departments. And of course you sketch to present projects to clients and production companies.

New titles

We are very pleased to announce the third book by our bestselling writers Koos Eissen and Roselien Steur. After the worldwide success of Sketching and Sketching: The Basics the authors now shift their focus from ‘how to sketch’ to ‘why you sketch’.

THE PREQUEL TO

SKETCHING DRAWING TECHNIQUES FOR PRODUCT DESIGNERS

www.sketching.nl www.SketchingForDesigners.com

www.bispublishers.nl

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Product Sketches From rough to refined Andres Parada

Every chapter starts with numerous quick basic sketches, showing the different basic shapes of the products from different angles. These are followed by

sketches with more detail, colors, shades and larger variations. Each chapter finishes with larger computermade renderings in color. So truly: from rough to refined.

New titles

This is a fully illustrated book with over one thousand product sketches organized in chapters covering the main product categories that designers design for, such as furniture, electronic devices, household appliances, accessories, garments, et cetera.

A wonderfully inspirational book for anyone who wishes to improve their sketching abilities. Andres Parada works as an industrial designer at Gravitytank in Chicago.

• 100% visual inspiration • 1000+ sketches • Most popular products covered

Sketching, p. 2 Sketching: the Basics, p. 56 ‘What you always wanted to know but was never explained in a simple and efficient way.’

KOOS EISSEN & ROSELIEN STEUR

SKETCHING

- Professor L. Colani This book can be regarded as the ‘prequel’ to our first book, which was intended as a reference guide. This new book concerns the study of form. Sketching: The Basics contains many step-by-step guides to making drawings. It is about learning to draw efficiently by employing different techniques, both manual and digital. Drawing an object or idea is not a rigid process but a lively interactive process. Revealing the steps in that process allows us to explain the decisions taken and their impact on the final result. Every chapter contains an exercise for the reader. After all, practice is probably the best way to learn. Can you remember your struggle as a child as you were learning how to write? Developing the skill to write by hand was hard work, but you managed. The same will happen as you learn to draw. Just as in our previous book Sketching, we will illustrate particular aspects of drawing in designer case studies. We have invited contributions from leading international designers from different cultures around the world. We feel it is important to show their drawings in relation to the design process. We believe in active observation and participation from the student. During the drawing process there are many moments when choices alter the outcome. Being aware of those moments and the variety of choices and opportunities makes your attitude more flexible and less rigid. Students learn to start sketching with an open mind instead of a fixed idea. We believe that such an open attitude is key to a good design process.

THE BASICS

sketching drawing techniques for product designers koos eissen and roselien steur

SKETCHING THE BASICS

100.000 Anniversary Edition

KOOS EISSEN & ROSELIEN STEUR

This book can be regarded as a standard book on design sketching, useful for students in product design.

sketching

SKETCHING THE BASICS

koos eissen and roselien steur

Are designers still making drawings by hand? Isn’t it more advanced to use a computer in this computer era?

THE PREQUEL TO

SKETCHING DRAWING TECHNIQUES FOR PRODUCT DESIGNERS

www.sketching.nl www.SketchingForDesigners.com

www.bispublishers.nl

Sketching_Basics_cover2.indd 1

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Concentrate more on dynamics and fluency than on accuracy... Dynamics is much more important to ‘’human eye’’ than accuracy. If a drawing looks dynamic, but less accurate, we will still prefer it to a more accurate, but less dynamic one. Look at the following two circles. Our brain judges emotionally. It will prefer the less accurate but dynamically drawn circle on the left and not the more accurate one on the right. It is because dynamic lines express confidence and easiness and these features seems to be more important to humans than accuracy.

If you draw just a bit faster there is no time for small corrections. The lines will be much smoother. It will express dynamics and confidence and it will look much better even if the lines are not exactly where they should be.

Good lighting concepts... If you have curved surfaces you don`t really have sides. In this case we use reflections to make the drawing look more three dimensional. You can use light reflections on dark surfaces or dark reflections on light surfaces. The most important is the reflection line. It is the ’’edge’’ of the reflections.

Single versus multiple lines If you look at professional handmade sketches, you will see, that there are very often multiple lines above each other. If you use only a single line, then all faults are very prominent. When you use multiple lines, your brain will abstractly average the multiple lines and see the perfect one between, even if it is not there at all.

Imagine a 3D wireframe of an object in a 3D computer software. The lines of the wireframe communicate to your brain the form of the 3D object in different sections. You get extra information about the 3D form, so you get more 3D experience.

Usually 2 or maximal 3 multiple lines are enough. More lines will only make your sketch messy. It is also common to use multiple thin lines, and at the end accent the best ones with a thicker pen. It is almost impossible to draw a good looking circle or ellipse with free hand using only one single line.

Look at the difference to the perfect orange circle. The drawing on the right is twice as accurate as the drawing on the left, yet the other looks much better.

The problem is, that when you draw slowly you are very concentrated. You draw the line and your brain checks if it is correct, controlling continuously the movement of your hand. The tension in the muscles in your hand are altering because of the continuous corrections. That is why you will always get a bit crooked lines. The more you try to draw accurate, the less confident lines you will get.

In real, if you put light and dark boards around the object, you will get light and dark reflection lines, which are more or less following a fictive 3D wireframe. These reflection lines will ’’tell’’ your brain the form of the cross section of the object at different places, just as the wireframe did, but more beautifully.

   

Perfect single lines... If you sketch very fine geometric shaped products, like flat screen electric devices there is no space for multiple lines on the fine edges. It all has to be done perfectly with as much possible single lines. You can choose from the following options: You practice a lot until you get confident so you will be able to put the lines to the right place at once . You try it multiple times and you take the best result. You sketch with a light pencil and trace it over with a pen. You use rulers and templates.

 Three steps of creating reflections...



If you would show one sketch with reflections and one sketch without to ordinary people, they would say that the one with reflections look more beautiful. In fact it has nothing to do with aesthetics. They find it more beautiful simply because their brain gets more information about the three dimensional form of the represented object.



One more dimension...

Reflections on complex surfaces...

The line is where it all begins…

The external contour of objects, especially the lines on the shadow side, can be accentuated with a thicker line. In this case your drawing will look much more three dimensional. It is important that you do not accent the internal edges, because then it will go back to a flat drawing with ugly thick lines. Internal edges can be thickened only if they are an internal contour like a hole or an edge of a deepened geometry.

The point is not using the technique, but to figure out where the reflection lines should be. It actually shouldn`t be called marker techniques, but rather lighting techniques. If you can imagine how a 3D wireframe would look like, it is easy to ’’design’’ a nice composition of light and dark areas and smooth transitions by following some lines of the wireframe..

The line is the most important element, because it gives the fundamental character to your drawings. Just a set of some good lines result in a beautiful drawing.

If you use a ball pen or a thicker felt pen you can use more or less pressure to make lines thicker or thinner. You can push at the begin of your lines harder en let the pressure decrease towards the distance. It results in more dynamics and more three dimensional look.

When a photograph wants to make some beautiful photos of a car, he has to build up a whole scene with light and dark boards to create the desired light-line layout on the surface of the car body. The advantage of sketching is that you can simply put the lines wherever you need it. From that point of view sketching is even much better than computer renderings, where you have to model the same surrounding scene, which the photograph would use, to get the same beautiful reflections.

A line by definition is a geometric figure formed by a point moving along a path in a two (or three) dimensional space. It can be straight or curved. Lines by definition have uniform thickness and variable curvature. The best way to create them is using a computer, as I did it here:

These lines are perfect, but they have much less characteristics than hand drawn lines. That is why, despite their perfection, they are quite boring. They don`t look like something made by a creative mind or something made with special skills. Lines which are drawn by humans have much more characteristics. They have personalities and they are much more alive. They have the ability to express creative skills and craftsmanship, and they have a lot more attributes like variable thickness, accuracy and dynamic features like smoothness, speediness, easiness, fluency etc… That is why they even try to simulate hand made drawings with computer softwares like Sketchbook-pro form Autodesk.

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g concepts...

The Exceptionally Simple Theory of Sketching

es you don`t really have sides. In this case we he drawing look more three dimensional. You on dark surfaces or dark reflections on light rtant is the reflection line. It is the ’’edge’’ of

of an object in a 3D computer software. The mmunicate to your brain the form of the 3D ns. You get extra information about the 3D D experience.

Why professional sketches look beautiful

Three steps of creating reflections...

Some people make fast, nonchalant sketches which look great. Others sweat for hours to make accurate drawings, Intelligent design... yet those might look unprofessional. Why is that? Drawing is visual communication. It allows you to communicate some

flat screen the fine edges. ngle lines.

important suggestions. Visible construction lines suggest, that your sketch is the result of an intelligent creative design process.

Construction lines tell the story of how the drawing was created. That People who cannot well usually is why a sketch with construction lines is muchdraw more interesting and meaningful than without. think that professional sketching is a These extra lines will also help you to orientate yourself on the drawing in the beginning. They hide minor faults and they will increase the complex difficult process. However, illusion of accuracy and even if your drawing is not perfect. after reading this book you will see that even the most complex sketches are just a structure of very simple, yet confidently drawn segments built on each other.

able to put

en.

where it all begins…

ortant element, because it gives the o your drawings. Just a set of some good lines ing.

The author shows which features exactly make drawings look professional and how you can implement those in your own sketches. The book provides you with a very short course, which does not teach you all the details and techniques of sketching, as they are elaborately covered in our other sketching books, but will teach you in a very simple way how to make your sketches look beautiful.

New titles

George Hlavács

d dark boards around the object, you will get lines, which are more or less following a fictive flection lines will ’’tell’’ your brain the form of bject at different places, just as the wireframe

• Simple sketching tips • Great value • Only 64 pages

The main problem of learning sketching is, that most beginners try to focus too much on accuracy. They draw slowly and concentrated.

humans don’t have rulers, compasses and different templates Sketching, p. 2 Because built in their hands, their slow lines never look dynamic and confident, but always a little bit crooked and uncertain. Besides the crooked lines Sketching: the Basics, p.prominent, 56 because they try to draw everything with all tiny faults are

eometric figure formed by a point moving three) dimensional space. It can be straight

uniform thickness and variable curvature. em is using a computer, as I did it here:

one single line.

‘What you always wanted to know but was never explained in a simple and efficient way.’

sketching drawing techniques for product designers koos eissen and roselien steur

THE BASICS

THE PREQUEL TO

SKETCHING DRAWING TECHNIQUES FOR PRODUCT DESIGNERS

www.sketching.nl www.SketchingForDesigners.com

www.bispublishers.nl

y humans have much more characteristics. and they are much more alive. They have the e skills and craftsmanship, and they have a lot able thickness, accuracy and dynamic features ness, easiness, fluency etc… That is why they d made drawings with computer softwares like todesk.

KOOS EISSEN & ROSELIEN STEUR

SKETCHING

SKETCHING THE BASICS

100.000 Anniversary Edition

KOOS EISSEN & ROSELIEN STEUR

This book can be regarded as a standard book on design sketching, useful for students in product design.

but they have much less characteristics than why, despite their perfection, they are quite like something made by a creative mind or ecial skills.

sketching

SKETCHING THE BASICS

koos eissen and roselien steur

Are designers still making drawings by hand? Isn’t it more advanced to use a computer in this computer era?

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These drawings look unprofessional and uncertain despite some of them are quite accurate. There is neither sign of confidence, easiness, dynamics in these drawings or neither a sign of an intelligent creative process.

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Magellan’s expedition holds four lessons for innovators:

1521, the remaining fleet Marianas and Guam. On of April 27, 1521, MagelMactan with a small attack g the resulting battle against troops, Magellan was hit spear and died from his remaining crew of 115 the Maluku Islands (the ) on November 28, 1521. er 6, 1522, the Spaniard Juan ano and the remaining crew expedition arrived in Spain ia, almost three years after arbor.

• There was an urgent need to establish

• Magellan was given unseaworthy ships

direct commercial relations between Spain and the Asian empires. That’s why the expedition got the support of the King of Spain. Be sure there is demand, support and funding for your innovation expedition.

and a crew of criminals. It was his tenacity that enabled Magellan to have the ships repaired and be prepared for the expedition in one and half years. Be sure that your expedition includes real innovators who share the same tenacity as Magellan.

• Magellan was able to communicate

with the native tribes because his Malay interpreter could understand their languages. Be sure the members in your expedition understand new markets and speak their language before entering these new markets.

THE PERFECT INNOVATION TEAM

IFFS

3. 4. 5. 6.

The Visionary — The force b could be - and should be. The Generator — The gener novation rolling. The Iterator — An idea-eng and turns it into an innovat The Customer Anthropolog customers truly hunger for The Tech Guru — The harne novation into reality. The Producer — The champ ideas along.

Full Steam Ahead, Observe and Learn, Raise Ideas, Test Ideas and

Homecoming. Here is a practical 66-point innovation checklist to

help you.

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 500–750 IDEAS 30–40 IDEA DIRECTIONS

➽

14 FINAL  PRESENTATION

13 4 MINI NEW BUSINESS  CASE WORKSHOPS

 AN EFFECTIVE

IDEATION PROCESS

IMPROVED  12CONCEPTS

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



 12 CONCEPTS 10 1ST CONCEPT  IMPROVEMENT

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 INNOVATION CLIMATE ➽  

122 // OBSERVE & LEARN

If you always do what you always did, you will always get what you always got.

PA S

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Source: massive response on a post in 20 LinkedIn Groups.

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➽

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6 DISCOVERING  CUSTOMER

AN OPEN MIND AY

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5 EXPLORING TRENDS &  TECHNOLOGY

ED B

R A I N S TO R M W R EC KS

➽

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How do we guide innovation in line with strategy? 38. We do not have the right people. 39. We do not have the talents needed. 40. Teams cannot think beyond our current successes.

WE INNO VAT EA  M Y B OSS NY W

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BEST INNOVATION

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4 // THE INNOVATION EXPEDITION

WITH INNOVATION

to unfuzzy it. Connect creativity and business reality in five steps: OT

OUR

29. Our innovation process is not organized. 30. There are too many ideas. 31. We do not stick to the idea and take the easy way. 32. How do we decide what is a good idea? 33. We don’t know when to stop ideas. 34. We don’t know how to make ideas happen. 35. How do we select of the right technology? 36. How do we translate user studies into technology?

vague process. It’s considered hard to do. That’s exactly why I like

A VISUAL TOOLKIT TO START INNOVATION

Y B U SY PE HARBOUR

www.forth-innovation.com. or innovation phase. Why? Because getting innovative ideas is a

BUS

Download all the innovation maps and 20 practical checklists to innovate the

The fuzzy front end is the nickname for way thefor start of innovation expedition free at

E ISLAND

26. Our customers don’t know what they want. 27. We struggle to get inside the head of the customer. 28. How do we uncover true customer needs?

THE 66-POINT INNOVATION CHECKLIST

INNOVATION EXPEDITION

and Amundsen, most polar historians generally accept that Amundsen was skilled with skis and dogs, and he had a general familiarity with ice conditions, which gave him a considerable advantage in the race to the Pole. It’s a wonder-

Y CL

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In comparing the achievements of Scott e expedition way!

C U S TO M E R S A R E SCA R

74 // INNOVATE THE EXPEDITION WAY

A VISUAL TOOLKIT TO START INNOVATION

effectively. It gives you practical and success factor of Amundsen was TheTHE remarkable stories of how great preparation; the ability to foresee difercame unexpected setbacks will ficulties and take precautions to meet How Columbus discovered America, or avoid those difficulties. reached the summit of Everest and “I maygot say that thisthe is thefirst greatest fac-on mstrong to be man tor – the way in which the expedition is With 248 pages full of exploration equipped – the way in which every diftes,ficulty charts, cases, and checklists, is foreseen, precautionsformats taken on maps, ‘The Expedition’ for meeting or Innovation avoiding it. Victory awaits him who has everything order – luck, ng visual toolkit to startininnovation call it. Defeat is certain for him . It’speople written for professionals, who has neglected to take the necessary reative and business precautions in time; thisconsultants, is called bad urs and luck.”organization –Amundsen leaders.

GIJS VAN WULFEN GIJS VAN WULFEN

ful source of inspiration for innovators. It has everything to do with preparation. So, you better choose the right innovation challenge at the right moment with the right team going on the right track with the right equipment and the right support. You can only start an innovation project once for the first time.

THE INNOVATION EXPEDITION

a slit opening for the eyes (the Bjaaland patent). They gavetoperfect protection and s highly relevant every no one on the team experienced signs of n. Yet, eighty percent of innovation snow blindness. In contrast to the tragic ver reach the market. Many have a misfortunes of Scott’s team, Amundsen’s The polar Innovation Expedition is written trek proved relatively smooth and to withuneventful. practical tools on HOW to start

o we communicate ideas to the eople? o we convince stakeholders enefit? s not work in our company. o we get consensus on ion?

Source: “Innovation: Putting Ideas into Action 2009 (Best Practices Report)”, APQC, Houston, USA.

soles and the seven pairs of stockings.

o I share my ideas? o we create sponsorship at the

spices of the Maluku Islands were a strong motivator. The spices left on a single ship were valuable enough to pay for the entire voyage. Be sure that your innovation journey will be prosperous.

careful preparation also inionAmundsen’s Expedition’ is an inspiring visual cluded his study of innovations in snow artgoggles. innovation successfully. He chose leather goggles with

o we get support on the work

The Mayo Clinic’s Center for Innovation, a bestpractice organization which was researched in APQC’s Innovation: Putting Ideas into Action 2009 study, favors a specific combination of personalities when it builds innovation teams. The Mayo Clinic strives to include the following nine personality types when composing innovation teams:

• Commercial profits from the valuable

agellan’s intention to cirthe world; he only intended he Spanish ships safely along oute to the Spice Islands. It who, after Magellan’s death, ush westward, thereby comrst voyage around the entire the Victoria, the last surf the fleet, returned to the or after circumnavigating ly 18 men from the original men were on board.

UGGLE

88 // FULL STEAM AHEAD

f parent

Innovators Look for Problems

STAGES ACTIVITIES DELIVERABLES

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One of the main reasons innovation is difficult, is because your potential users need to change their behavior. They will have to find, buy and use your innovation. And why should they? That’s the question! You will have to give them a strong reason why! This applies both to consumers and B2B markets.

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Ask yourself the question: last time I changed my ow We are all stuck in our hab things in fixed patterns. W do this as well. For years, ing the same journals, buy cars and staying with the s ance company. The only re change is if a new, simple solution comes along that our lives. I guess I can ma as that.

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I’d like to inspire you with practical problems and in products or services solvin

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1. 2. 3. 4. 5. 6.

The Visionary — The force behind creating the world as it could be - and should be. The Generator — The generator of the idea who gets an innovation rolling. The Iterator — An idea-engineer who takes the original idea and turns it into an innovation. The Customer Anthropologist — The keen observer of what customers truly hunger for. The Tech Guru — The harnesser of technology to turn the innovation into reality. The Producer — The champion of flow. The master of moving ideas along.

7. 8. 9.

The Communicator — Amplifies and clarifies the idea in the minds of others outside the team. The Roadblock Remover — With a hammer - or velvet glovesknocks away organization, political, and financial roadblocks. The Futurecaster — The forecaster and modeler of the economic and social value of the future of innovation.

The Innovation Expedition A visual toolkit to start innovation Gijs van Wulfen

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he main reasons innovation is is because your potential usto change their behavior. They to find, buy and use your inn. And why should they? That’s tion! You will have to give trong reason why! This applies onsumers and B2B markets.

The book is based on the metaphor of the innovation process as an exciting expedition. In 9 steps and with the help of maps of islands to be explored the author takes the reader along on a journey towards concrete, ready-toimplement concepts for innovative products and services. Along the way you learn how to tackle setbacks, unexpected disasters, dramatic moments and how to make the right decisions.

“Man cannot discover new oceans unless you have the courage to lose sight of the shore.” [André Gide]. It is essential to get fresh insights before you start creating ideas. Ask questions. Use web searching and crowd sourcing to open up the minds of the innovation team: what do we learn from this? Postpone your judgement. Ask the most important question again and again: why? What are the trends among potential target groups? Why? What are emerging relevant new technologies? Why? Visit customers, observe their behaviour and ask yourself the question: why? Visit companies in other sectors that serve as a source of inspiration to discover innovation opportunities. Ask yourself: what do I learn from this? Look for problems: start discovering relevant customer frictions to solve.

The Innovation Expedition does for innovation what Alexander Osterwalder’s mega-bestseller Business Model Generation did for business modeling: it makes a complicated business subject accessible by telling the story in a visual way and by being one of the first books on the market to present a tried and tested method specifically for the front end of innovation.

forth innovation method

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“If you always do what you always did, you will always get what you always got.” [Albert Einstein]. Create momentum for your innovation project. There must be urgency otherwise innovation is considered as playtime and nobody will be prepared to go outside the box. Manage the expectations of your bosses and the line management before you start your innovation project(s). It is essential to start your innovation journey with a clear and concrete innovation assignment to give focus. Be concrete about the market/target group for which the innovations must be developed. Define which criteria the new concepts must meet. This forms the guidelines throughout the process. Use a team approach to improve innovation results and increase internal support for the innovative outcome. “They always say time changes things, but you actually have to change them yourself.” [Andy Wharhol]. Invite people for whom the innovation assignment is personally relevant. Invite people for both content and decision-making. Be sure to invite people who think outside the box. Also include a few outsiders. Get a good mix of men and women, young and old, and so on. Let top management participate in the innovation team. Identify potential target groups for innovation. “The reasonable man adapts himself to the world; the unreasonable persists in trying to adapt the world to himself. Therefore all progress depends on the unreasonable man.” [G. Bernard Shaw].

This is one of the first books on the market that deals with the difficult, fuzzy front end of innovation in a very visual way. This makes it a very inspiring, accessible and practical tool box for anyone interested in getting started with innovation.

TO CREATE ATTRACTIVE INNOVATIVE PRODUCTS

New titles

6-POINT ATION LIST

Gijs van Wulfen is an internationally acclaimed innovation specialist, author, blogger and speaker. In 2012, he was chosen by LinkedIn as one of their 150 thought leaders and he is number 2 on the International Top 40 Innovation Bloggers list of 2012.

AND SERVICES WITH GREAT Design: Frederik de Wal | English |

• First illustrated business 500 illustrations | 240 pages | INTERNAL SUPPORT WITH

19 x 24 cm | Hardcover | € 34 | A MULTIDISCIPLINARY ISBN 978 90 6369 313 8 TEAM

IN YOUR ORGANIZATION Related

This Is Service Design Thinking, p. 57 75 Tools For Creative Thinking, p. 57 “Service design is one of the core topics on the agenda of companies in almost every industry. This book provides you with the tools to understand and tackle the issue.”

Ask yourself the question: when was the last time I changed my own behavior? We are all stuck in our habits; doing things in fixed patterns. We as innovators do this as well. For years, we go on reading the same journals, buying the same cars and staying with the same insurance company. The only reason for us to change is if a new, simple and attractive #TiSDT solution comes along that is relevant to our lives. I guess I can make it as simple as that. — Alexander Osterwalder, author of the global bestseller, “Business Model Generation”

“Marc and Jakob have not only applied their wellconsidered method to study and describe the elements of Service Design; they have also used it in designing the book, making it a piece of metadesign. A thoughtful, useful and good-looking book.” — Erik Spiekermann, Edenspiekermann

“Pretty sure this book is about to change my life. Respects!” — Tweet from Mitch Kapler, NYC, 10 June 2011

This is Service Design Thinking introduces an inter-disciplinary approach to

designing services. Service design is a bit of a buzzword these days and has gained a lot of interest from various fields. This book, assembled to describe and

illustrate the emerging field of service design, was brought together using exactly the same co-creative and user-centred approaches you can read and learn about inside. The boundaries between products and services are blurring and it is time for a different way of thinking: this is service design thinking.

innovation book • Tells you exactly how to take the first steps • Author was chosen as one of LinkedIn’s 150 Thought Leaders

Problem

Solution

Consultant: I need new assignments. How do I expand my business network in an efficient way?

Music lovers: I love listening to music for free, but I hate to be a pirate downloading it illegally.

Spotify

Consumer cleaning: I’m sick and tired of a poorly performing vacuum cleaner.

Dyson Cyclone vacuum cleaner

Consumer: Is this bed clean and free of bugs I can hardly see?

The Bed Bug Detective

Snowboarder: I’d like to go downhill fast, but I am afraid of nasty accidents.

The Katal Landing Pad

Consumer painting: If there is one thing that really annoys me, it’s cleaning used brushes and rollers.

Dulux PaintPod

Green consumer: I hate wasting water and money flushing the toilet.

Brondell Perfect Flush

3rd world countries: We lack clean drinking water due to flooding.

Filtrix Filterpen

Full-time mother: Now that the kids are older, I’d like to re-enter the workforce, but who is looking for someone like me?

Work4Women

Green consumer: I love to celebrate Christmas with a real tree, but don’t like destroying nature.

Lease a living Christmas tree

Besides an introduction to service design thinking through five basic principles, a

service design tools, exemplifying the practice of service design with five international case studies. The book concludes with an insight into the current state of service design research and sets service design thinking in a philosophical context. www.thisisservicedesignthinking.com

ISBN 978-90-6369-279-7

Twenty-three international authors from the vibrant service design community invested their knowledge, experience and passion together to create this book. It introduces service design thinking to beginners and students, and will be a valuable resource for consultants, marketers, innovators, and design professionals.

Simply put, effective innovation is all about matching relevant problems with simple solutions. You can approach it two different ways. One way is to create the ideas and solutions first and later try to match these to target groups with problems relevant to your solutions. Or you can do it the other way by first identifying the relevant problems of the target groups and then creating ideas and solutions to solve those problems. I’d like to inspire you with a list of ten practical problems and innovative new products or services solving them.

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But how should you go about finding relevant problems among your target groups? Here are five ways to help you in practice: • Visit customers at their homes or companies and get acquainted with them. • Have your customers demonstrate how they use your product and observe how it’s used in practice. Invite customers to focus groups and • listen to their issues. • Ask customers which products in your domain are their favorites and why. • Crowdsource customer problems by asking customers to post their input on issues, suggestions, improvements or ideas on relevant places on the web.

Get out there and just do it.

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Mrs. Consmer shifts loyalties quickly

rs uncomplex n.

ensify insights

And again, in every easy to follow Q&A’

What’s the most important pattern that you found in the NoCompromise index? The volatility. In 82% of the sectors the number of stores changed more than 10% in the past 10 years. Up or down. That affects 163 sectors of the 200 in our dataset. Of these, 78 sectors went up with more than 10%, and 85 sectors declined with the same 10%. Conclusion: substantial change is the rule, nothing stands still.

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Do you know if the same volat exists in the 10 years before t dataset? We can’t tell. These data started at the end of the century, but had to grow into a reli set first. That’s why we only use the figures after 2003. Even if there were such a volatility the years before 2003, the main argument, nothing stands still, will remain. In the 1950s and 1960s a sharp dec of Mom & Pop stores took place, an the 1990s a sharp increase of retail space. The NoCompromise game describe economic Darwinism. The rule of th survival of the fittest is not limited any period.

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NoCompromise

The new retail positioning game

In this new, exciting off-the-wall retail book, international retail specialist Hans Eysink Smeets introduces the NoCompromise Retail Model. This model helps retailers and retail consultants and students understand the major sweeping changes that consumer goods retail and brands are now facing. The NoCompromise retail revolution is happening right now and all over the world. The market doesn’t compromise anymore. Mr. and Mrs. Consumer want high quality and low prices! How do you respond as a retailer?

n every chapter, ow Q&A’sWhether in plain English. you have a supermarket chain

the street corner, being tangled up in everyday retail can blur the long-term focus on your game. NoCompromise presents a simple method to clarify the changes that are happening in your sector and show you where you and your direct opponents are on the game board. And more importantly: if that’s a future-proof position, or perhaps a very lethal one. Hans Eysink Smeets is one of the most sought-after, controversial retail experts in the world. He has worked for virtually all large retailers of the globe and has used the NoCompromise Retail Model on many of them. The outcome of those games formed the base of the strategy of many retailers we see today.

New titles

Hans Eysink Smeets, Karin Montagne, Rik Eysink Smeets

in two countries, or a flower stand on

Do you know if the same volatility exists in the 10 years before this dataset? 1:1 One to One - The Essence We can’t tell. of Retail Branding and Design, These data started at the end of the last entury, but had to grow into a reliable et first. That’s why we only use the igures after 2003. Even if there were such a volatility in he years before 2003, the main rgument, nothing stands still, will emain. n the 1950s and 1960s a sharp decline of Mom & Pop stores took place, and he 1990s a sharp increase of retail pace. The NoCompromise game describes conomic Darwinism. The rule of the urvival of the fittest is not limited to ny period.

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p. 59

• Business book that looks and feels like an action game • With NoCompromise Sector Index - see who’s winning and who’s losing • Practical models to develop your own strategy

That means that it’s only in a minority of the sectors Didn’t show much change in the numbers of stores? Right. Only 11% of the sectors. Out of our reliable data set of 200, only 21 sectors changed between -5% and +5% from 2003 to 2013. They balance each other out nicely; 11 went up and 10 went down. Even if you would put the cut-off point at 10%, 41 sectors, meaning 21%, went up or down 10%. They balance out quite nicely to0: 21 grow between 0 and 10%, 20 decline between 0 and -10%.

Is the index all bad news? No. on the contrary. The volatility is both ways. It’s true that in 28 sectors the number of stores declined more than 40% per sector in the past 10 years. Those sectors lost 51% of their stores. Down from 20,763 to 10,200. That’s bad news if you are in one of those 28 sectors. But if you are in one of the 50 sectors that grew with more than 40% each, life looks rosy. Their number of stores grew impressively: with 92%. They ended up with 26,850 stores in 2013, from a start of 13,990 stores in 2003. There are losers as well as winners in the NoCompromise Game.

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33 PSYCHOLOGICAL INFLUENCE TECHNIQUES IN ADVERTISING

HIDDEN PERSUASION ANDREWS / VAN LEEUWEN / VAN BAAREN

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Hidden Persuasion 33 psychological influence techniques in advertising Marc Andrews, Dr. Van Leeuwen and Prof. Dr. Van Baaren

This book analyzes advertising beyond the persuasive power of the imagery itself. It explains the psychology behind 33 effective influence techniques in visual persuasion and how to apply them. The techniques range from influencing essentials to more obscure and insidious ones. The reader will gain deep insights into how visual means are constructed

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to influence behavior and decisionmaking on an unconscious level. All techniques are supported by rich visual references and additional information on the psychology of behavior change. This publication is not just an eye-opener for professionals and students in the communications and design field, but also for anybody who wants to understand how our behavior is influenced unconsciously by advertising, social campaigns and governmental messages. The book is co-authored by leading figures in social influence and visual persuasion. It is designed as an accessible modern reference book for creating and understanding persuasive visual imagery. It will open your eyes, we promise!

New titles

Visual messages are omnipresent in our daily life. They are constantly attempting to persuade us to buy, learn and act. Some are more successful than others in influencing our behavior and choices. What is the secret power of these messages? How do they succeed in changing our behavior?

• The psychology behind communication • Eye-opening for professionals and the general public • Leading authors in social influence and visual persuasion

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DUTCH ORANGE

PREMIUM WHITE

IDENTITY COLOUR CODES

POWERED BLACK TRUST BLUE

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TRUST BLUE

Identity Colour Codes Felix Janssens

In search of the most accessible common denominator in identity, the author selected colour as the vehicle through which people easily and globally connect. This publication collects 100 of these colour-based identity codes, each labelled with a specific name, indicating the values and meanings that the colour transmits.

TRUST BLUE

Related Dynamic Identities, p. 60 Logo Life, p. 60 Ron van der Vlugt

LIFE HISTORIES OF 1OO FAMOUS LOGOS

Brands and logos populate our visual landscape; the most successful have become such an intrinsic part of society that it seems as though they’ve always been there. Revealing the

For example: Premium white, Pristine white and Sensation white; Infinite blue, Trust blue and Peace blue; Irish green, Islam green and Army green; or Dutch orang, Guantanamo orange and Hindu orange. In this publication a hidden organisation of our reality along the lines of colour becomes visible. New visual patterns and SENSATION WHITE unseen thematic relations appear. This book is an explorative journey through all kinds of (sub)cultures and shows along the way how companies, governments and people use colour to identify themselves. It is a 100% visual style atlas for creative professionals, forecasters and anthropologists; an image book for people who look with their brains and think with their eyes.

New titles

Identity Colour Codes is the 100% visual result of a thorough study into corporate and social identity. Corporate identities are traditionally based on exclusiveness and their symbols are privately owned. However, in these times of social media, open source and open design, it is the more generic and public domain elements that shape social identities.

• 100 colour identities • 1000+ illustrations • 100% visual atlas for designers, forecasters and anthropologists

Ron van der Vlugt

LIFE HISTORIES OF 1OO FAMOUS LOGOS

life histories of 100 logos for world-famous brands, LogoLife shows the little steps and great leaps in the visual evolution of these iconic symbols that we often take for granted.

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Storytelling on Steroids 10 stories that hijacked the cultural conversation

Right now, this very minute, there is a junior copywriter somewhere adding ‘storyteller’ to his/her Facebook profile. A gaming developer is doing the same on LinkedIn. A PR agent is casually adding ‘teller of stories’ to his/her Twitter bio. Graphic designers, CEOs, journalists, schoolteachers, creative consultants, astronauts, editors and trend-watchers are peppering their websites, blogs and email signatures with the word ‘storytelling’. In this captivating book, American writer and branding specialist John Weich explains why. He explores the campaigns, stunts, exhibitions and visualizations that helped transform storytelling from a fringe communication movement into a pop culture

Related Make Design Matter, p. 39

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phenomenon. From Microsoft’s ambitious storytelling agenda to the popular provocations of elusive artist Banksy… from the New York Times infographics to the launch of Jay-Z’s autobiography… Weich offers an original perspective on how storytelling became the favorite buzzword of global communication and creativity. Along the way he wittily reconstructs the emotional quirks of human nature and offers no-nonsense advice for anyone harboring storytelling ambitions. However, he leaves little doubt as to who’s most complicit in the rebirth of storytelling… You! You and the billion others engaged in the most massive and shamelessly personal storytelling experiment in the history of humankind: social media.

New titles

John Weich

• Explains culture of storytelling • In-depth analyses of 10 top cases • Expert tips for storytellers

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Design Transitions

Inspiring stories. Global viewpoints. How design is changing. Joyce Yee, Emma Jefferies and Lauren Tan With a foreword by Tim Brown

In their journey across the globe, the authors have constantly asked “how are design practices transitioning today?” Each creative shop and design organisation has opened up their design world to give an insight into their stories, histories, cultures, methods, tools, values, people, thinking and philosophies. Read this book and join Design Transitions on

Related This Is Service Design Thinking, p. 57 The Designer as..., p. 43 “Service design is one of the core topics on the agenda of companies in almost every industry. This book provides you with the tools to understand and tackle the issue.” — Alexander Osterwalder, author of the global bestseller, “Business Model Generation”

their journey to discover what design practice is about today and where it is going in the future.

“

This book captures all the exciting changes that are currently happening in design. It’s great to read so many inspiring stories from around the world. - Tim Brown, ideo

New titles

Design Transitions brings together 42 stories and viewpoints illustrating how design practice is changing today and where it is going in the future.

“

”

This is a must-read for anyone interested in knowing where design is headed. - Jon Kolko

”

• Must-read for anyone interested in the future of design • 42 stories, 14 experts, 6 design disciplines • With a foreword by Ideo’s Tim Brown

— Erik Spiekermann, Edenspiekermann

“Pretty sure this book is about to change my life. Respects!” — Tweet from Mitch Kapler, NYC, 10 June 2011

This is Service Design Thinking introduces an inter-disciplinary approach to designing services. Service design is a bit of a buzzword these days and has gained a lot of interest from various fields. This book, assembled to describe and illustrate the emerging field of service design, was brought together using exactly the same co-creative and user-centred approaches you can read and learn about inside. The boundaries between products and services are blurring and it is time for a different way of thinking: this is service design thinking.

#TiSDT

Besides an introduction to service design thinking through five basic principles, a selection of individual perspectives demonstrate the similarities and differences between various disciplines involved in the design of services. Additionally, the book outlines an iterative design process and showcases 25 adaptable service design tools, exemplifying the practice of service design with five international case studies. The book concludes with an insight into the current state of service design research and sets service design thinking in a philosophical context. www.thisisservicedesignthinking.com

ISBN 978-90-6369-279-7

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Delft Design Guide

Design strategies and methods Annemiek van Boeijen, Jaap Daalhuizen, Jelle Zijlstra, Roos van der Schoor

Product design at Industrial Design Engineering in Delft is regarded as a systematic and structured activity, purposeful and goal-oriented. Due to its complexity, designing requires a structured and systematic approach, as well as moments of heightened creativity. In this guide you will find some 70 strategies, techniques and methods that are taught in Delft. Some are unique to Delft, but many are more commonly known and widely used. The methods and techniques are each described in a practical one-page text,

Related: Universele Ontwerpmethoden, p. 86 This Is Service Design Thinking, p. 57

— Alexander Osterwalder, author of the global bestseller, “Business Model Generation”

Universele ontwerpmethoden:

designing services. Service design is a bit of a buzzword these days and has gained a lot of interest from various fields. This book, assembled to describe and illustrate the emerging field of service design, was brought together using exactly the same co-creative and user-centred approaches you can read and learn about inside. The boundaries between products and services are blurring and it is time for a different way of thinking: this is service design thinking.

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Universele ontwerpmethoden distilleert uit elke methode de krachtigste essentie in een formaat dat ontwerpteams helpt de onderzoeksmethoden te selecteren en te implementeren die het betrouwbaarst zijn en beste aansluiten bij hun ontwerpcultuur binnen de grenzen van hun projecten. ‘Universele ontwerpmethoden is een geweldig nuttig overzicht van de onderzoeken ontwerpmethoden in de hedendaagse toppraktijk en is een cruciaal naslagwerk voor als designers worstelen met grote problemen. Dit boek hoort in de kast van elke ontwerper, ook die van u!’ — David Sherwin, hoofdontwerper bij frog en auteur van Creative Workshop: 80 Challenges to Sharpen Your Design Skills

stAkehOlder WAlkthrOUgh stOryBOArds stOrytellIng tAAkAnAlyse terrItOry mAps themAtIsche netWerken tIJdBeWUst OnderzOek trIAde-OnderzOek dOen trIAngUlAtIe User JOUrney mAp vAlUe OppOrtUnIty AnAlysIs (vOA) vrAgenlIJsten WeBAnAlyse WIzArd Of Oz WOrd clOUds

‘Universele ontwerpmethoden is een uitstekend methodenboek op het gebied van ontwerpen… een essentiële bron voor ontwerpers ongeacht niveau en specialisatie, en hoort als naslagwerk in de gereedschapskist van elke ontwerper.’ — William Lidwell, auteur van Universal Principles of Design, docent industrieel ontwerpen aan de Universiteit van Houston

selection of individual perspectives demonstrate the similarities and differences between various disciplines involved in the design of services. Additionally, the book outlines an iterative design process and showcases 25 adaptable service design tools, exemplifying the practice of service design with five international case studies. The book concludes with an insight into the current state of service design research and sets service design thinking in a philosophical context. www.thisisservicedesignthinking.com

ISBN 978-90-6369-279-7

Twenty-three international authors from the vibrant service design ook beschikbaar Universele ontwerpprincipes community invested their knowledge, experience and passion together IsBn: 978-90-6369-141-7 to create this book. It introduces service design thinking to beginners and students, and will be a valuable resource for consultants, marketers, innovators, and design professionals.

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Universele ontwerpmethoden

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The Delft Design Guide serves three goals: / Design students can use it as a reference manual in their design projects, managing their personal development in becoming a designer; / Design tutors can use it as a reference manual to support students in their learning process; and / Professional designers can use the design guide as a reference manual to support their design processes.

• Everything they teach you at Delft • Easy go-to reference for students and design professionals • Illustrated methods and techniques

Bella Martin Bruce Hanington

crItIcAl IncIdent technIqUe (cIt) crOWdsOUrcIng cUltUrAl prOBes dAgBOekOnderzOek desIgn chArette desIrABIlIty testIng elItO-methOde enqUêtes ergOnOmIsch AnAlyse ervArIngssteekprOeven evAlUerend OnderzOek evIdence-BAsed desIgn experIence prOtOtypIng experImenten explOrAtIef OnderzOek flexIBle mOdelIng fly-On-the-WAll-OBservAtIe fOcUsgrOepen fOtOstUdIes gedrAg In kAArt Brengen gemOdereerd OnderzOek Op AfstAnd generAtIef OnderzOek geWOgen mAtrIx

Bella Martin • Bruce Hanington

Besides an introduction to service design thinking through five basic principles, a

#TiSDT

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rApId IterAtIve testIng & evAlUAtIOn (rIte)

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• Weerlegt de mythe dat methoden voor gebruikersonderzoek gecompliceerd, duur en tijdrovend zijn. • Is van gezamenlijke betekenis voor multidisciplinaire ontwerpteams. • Illustreert methoden met overtuigende visualisaties en casestudies. • Geeft van elke methode overzichtelijk de kenmerken weer. • Geeft aan wanneer methoden het beste helpen bij het prioriteren van de juiste strategie voor ontwerponderzoek.

— Erik Spiekermann, Edenspiekermann

This is Service Design Thinking introduces an inter-disciplinary approach to

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pArtIcIperende OBservAtIe (pO) persOOnlIJke InventArIsAtIe prOtOtypIng remOte mOderAted reseArch

Universele ontwerpmethoden voorziet in een grondige en kritische presentatie van 100 onderzoekmethoden, synthese-/analysetechnieken en onderzoeksproducten voor mensgericht ontwerpen in een bondig en toegankelijk formaat, perfect voor ontwerpers, docenten en studenten. Of onderzoek al wordt of is beoefend, of dat het daar helaas nog niet van is gekomen door beperkte tijd, kennis of middelen, Universele ontwerpmethoden is een compendium van onschatbare waarde met methoden die eenvoudig op te zoeken en te gebruiken zijn door multidisciplinaire teams in bijna elk ontwerpproject.

“Pretty sure this book is about to change my life. Respects!” — Tweet from Mitch Kapler, NYC, 10 June 2011

pArAllel prOtOtypIng pArtIcIpAtIeve OntWerpmethOde pArtIcIpAtOry ActIOn reseArch (pAr) persOnA’s

Universele ontwerpmethoden

“Service design is one of the core topics on the agenda of companies in almost every industry. This book provides you with the tools to understand and tackle the issue.”

illustrated for further clarification and enriched with further reading suggestions.

New titles

The Delft Design Guide presents an overview of product design approaches and methods used in the Bachelor and Master curriculum at the faculty of Industrial Design Engineering in Delft.

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100 manieren voor het onderzoeken van complexe problemen, het ontwikkelen van innovatieve ideeën en het ontwerpen van effectieve oplossingen

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PLC Universele ontwerpmethoden.indd 1

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THIN KIN G

ve been someone eats a lot of takeaway ed web users’ eyes y speculate what the arge proportion of Anyway, the research on blondes in bikinis in areas of the screen. to know about, if you importance on an item

Everything you design has to ‘do’ something. A business card ‘does’ something, it says something about you and the company you work for. But a business card has a low level, short term interaction. It goes like this - “Hello, my name is Drew, I am a Director of a design group called Navig8’, here’s my card” and Jocasta takes my card, she can feel the quality of the paper, she looks at the design and makes a judgement. That just about covers the interactivity of a business card. With a website, there is way more stuff going on. For starters, it is rare that people just arrive at your or your client’s site; they will probably have come from a few sources. They may have been given your business card, they may have searched for something they are looking for or they may have heard about the site. Either way, they already have a purpose. And that purpose is gold. That is your brief. And, depending where they have come from and what they want to do, and what kind of person they are, underpins everything you want to achieve.

y advice to you is t to share this sort of ormation with clients they will try to get u to put everything these areas, ‘a little owledge is a bad ing’ and all that. I had e client, ex-banker hom I am not saying ted any ex-banker pe of stereotype but d, who started a gold ying website, which thought was going to a ‘cash goldmine’. He nd findings and this nline, which of course gn so much he ended med the fact that the d the website and didn’t would have tried to ing data instead of his m, I can’t tell you what

P t y w t c t a

Try to think this way from now on; you have to be in the mind set of your client’s customers, they are the brief. Give them what they want and you are on to a winner. I’ll give you four diverse examples of imaginary web design projects that will help you understand how to define your brief with your client. In my experience, with web design, the more questions you have asked and understood the answers, the more likely you will design an amazing and effective website. Project one: Accountancy firm Project two: Band Project three: Charity Project four: Gentleman’s outfitter I’ve picked these four because they cover a lot of bases and a good range of likely scenarios, something that could be a brochure site, something cool, something that needs to

The anatomy of a web page

Logo and masthead This is where the Every webpage on every site is different. And so it should be. But there are common main site branding sits elements and structures that make up a typical page. The illustrations to the right only shows a few examples of some content types with a view to helping you understand the terminology and general placement of these elements on a very typical page structure. See page 53 for all you need to know about 960 grids

Like I say, these elements move around, change shape and are not always appropriate, generally websites have some or all of these elements. Shown here they all align perfectly with matching gutters held together on the 960 grid. The page includes: H1: Headline The main headline for the page H2: Second headline This style can also be used for a standfirst

Horizontal navigation The toplevel navigation, perhaps with dropdowns for sub-sections

An advert or sign up panel Usuall a fairly high profile peice of content, but may fall below the fold.

Lefthand navigation Can be used as the sole navigation or in combination with the horizontal nav

Logo

The illustration below shows the heat zones after a Google search. Even without using eye-tracking technology, it makes sence that users eyes will linger in the areas shown.

Masthead with branding

H1: Headline H2: Second headline

Body text: Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. This is a call to action, down here at the end:

Do sometihng now!

Image The main image on the page, often a carousel

Body text The main text style and I have chosen an underline to show a link and a small inset image Call to action A highlighted call to action, which could of course be anything from ‘Buy me’ to ‘Donate’ or a link to a more in-depth article

Footer This tends to hold repeast ‘live text links’ from the main navigation set, the T&Cs and site map and credits. That sort of thing.

Promo panels These little panels take centree stage, after the main content has been read, usually below the fold.

Righthand or acssociated conent panels These panels could be adverts, or highlighted products that relate to main page conent..

The shapes indicate the length of time viewing a certain area. Red being the longest.

Hot spots and zones Somebody, I’m not sure who, must have been someone with time on their hands and perhaps eats a lot of takeaway pizza, ran some experiments that tracked web users’ eyes whilst searching the internet. I can only speculate what the results looked like bearing in mind a large proportion of internet traffic is of the ‘adult’ nature. Anyway, the research showed that users’ eyes tend to linger on blondes in bikinis and shiny six-packs, no, sorry, on certain areas of the screen. This creates ‘hot zones’ that are handy to know about, if you want to highlight something or place importance on an item navigation, for instance. My advice to you is not to share this sort of information with clients as they will try to get you to put everything in these areas, ‘a little knowledge is a bad thing’ and all that. I had one client, ex-banker whom I am not saying fitted any ex-banker type of stereotype but did, who started a gold buying website, which he thought was going to be a ‘cash goldmine’. He used to go on and on about research and findings and this and that. He essentially read articles online, which of course must be true, and so directed ‘my’ design so much he ended up with a poor interface. He then blamed the fact that the users kept bouncing when they visited the website and didn’t pay his bill. God only knows what he would have tried to make me do if he had proper user testing data instead of his conspiracy theories. Good luck to him, I can’t tell you what his site is, of course.

74 but generally recognised as not quite as good. Verdana (designed by Mathew Carter for Microsoft in 1996, and so was Georgia) is a web safe font to be designed specifically for use on screen use. It renders really well at small sizes, where as Times does not. But then it was never designed to. Georgia has become popular recently as designers try to move on from sans serifs and search for a serif that still looks good on screen, for a 90’s kid, it has been a slow burner. Again, designed for screen use and displays really well at all sizes and looks jolly nice italicised. [Tip: colour you type a dark grey rather than black, it makes it just a bit easier on the eye without affecting the legibility.]

WEB DESIGN

Jet propel yourself into the driving seat of a top-class web designer and hurtle towards creative stardom

So that’s your tool kit when it comes to fonts. It is remarkable what you can do with such a small suite. As things change is the world of the web, and change at a very quick pace they do, more and more fonts get added to the web safe palette. Both HTML and CSS come in versions and as the versions get higher, more and more things can be done. There are some third party font systems that enable you to choose any font you like and have them display on any website you like and any time you like - except the technology just isn’t quite there yet (as I write). Cufon allows you to use any font, the render isn’t perfect (what is?) and the ability to select the type in the page isn’t quite there. But it is a big step (and there are others out there) in helping designers get a better truer type rendition and give you more creative scope when it comes to typography. Talk to your developer and watch them roll their eyes as you discuss your ‘i’s.

Measurements with type w Drew de Soto

Catalogus2013.indd 24

Type is measured in points, the same way it is in print design. And points are relative. A point in one font is not the same in

PR I N C IPLE S O F C O LO UR Colour, or course, plays a huge part in the life and times of a designer. There are lots of theories about colour out there - people say lilac makes you fall in love with cats and orange can be used to simulate a sun tan. I’ll not go into that here. I will go into some tricks when using colour to get easily achievable effects as well as helping you to understand the different ‘spaces’ colours work in. It is a massive subject. You’d be very surprised the number of designers in full time employment who don’t know the basics of colour and the ‘types’ of colour. So, don’t be in the dark, see the light and read on!

Colours for screen and print First things first, no matter how expensive your kit is, what you see on screen will not be what you see on the printed sheet. It is also unlikely that it will look the same on other people’s monitors either. Macintosh and PC monitors can vary hugely, then there are lighting conditions, the monitor settings and whether the user is wearing rose-tinted glasses or not. Web designers have to aim for the best possible compromise, print designers will aim for perfection and never really achieve it. There is a thing called gamut, it means the ‘space’ or the range of colours that can be seen in a certain gamut. Our eyes have a very wide gamut and can see a massive range of colours. However, any output device, a printer or a screen for example has a limited gamut; they cannot display the full range of colours the eye can see, just yet. As far as the web designer is concerned, there are two main modes, spaces or whatever you want to call them that you need to be aware of – RGB and Hexadecimal. There is also HSB, hue, saturation and brightness, I’ll enlighten you shortly.

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Yo h cy ye w d a bu m th a w th

design has to ‘do’ something. A business hing, it says something about you and the ork for. But a business card has a low level, ction. It goes like this - “Hello, my name is ector of a design group called Navig8’, here’s asta takes my card, she can feel the quality looks at the design and makes a judgement. overs the interactivity of a business card.

here is way more stuff going on. For starters, ple just arrive at your or your client’s site; y have come from a few sources. They may your business card, they may have searched ey are looking for or they may have heard ther way, they already have a purpose. And old. That is your brief. And, depending come from and what they want to do, and son they are, underpins everything you want

Purpose: The reason these people visit your site. Combined with the kind of user they are gives you a clear vision of what the site should be and do.

Know Your Onions: Web Design

way from now on; you have to be in the client’s customers, they are the brief. Give want and you are on to a winner.

diverse examples of imaginary web design help you understand how to define your lient. In my experience, with web design, ns you have asked and understood the e likely you will design an amazing and

Jet propel yourself into the driving seat of a top-class web designer and hurtle towards creative stardom

ccountancy firm and harity entleman’s outfitter

four because they cover a lot of bases and ikely scenarios, something that could be omething cool, something that needs to

Drew de Soto

ho, must have been someone nd perhaps eats a lot of takeaway nts that tracked web users’ eyes et. I can only speculate what the in mind a large proportion of ult’ nature. Anyway, the research d to linger on blondes in bikinis rry, on certain areas of the screen. t are handy to know about, if you ng or place importance on an item

Know Your Onions: Web Design will show you how to get your head around web design without getting your hands dirty in code.

My advice to you is not to share this sort of information with clients as they will try to get you to put everything in these areas, ‘a little knowledge is a bad thing’ and all that. I had one client, ex-banker whom I am not saying fitted any ex-banker type of stereotype but did, who started a gold buying website, which he thought was going to be a ‘cash goldmine’. He ut research and findings and this d articles online, which of course ed ‘my’ design so much he ended He then blamed the fact that the they visited the website and didn’t ws what he would have tried to per user testing data instead of his luck to him, I can’t tell you what

Other books claim to be about web design and then harp on about code. There is no code in this book, only the hidden secrets that will make you an excellent web designer and very popular. The book is written in a conversational style and more resembles having a chat with a bloke that knows his stuff than any kind of ‘how to’ manual.

This book is the sequel to Know Your Onions: Graphic Design by the same author. Amazon 5* review: “This book is so much more than I expected. As mentioned in one of the previous reviews, I agree that it is like talking to an experienced designer, picking his brains. And yes, he is witty. The binding is beautiful, the quality of the paper inside too. I will read this book from cover to cover and keep it by my desk. Thanks for sharing 25 years of experience.”

New titles

nes

L E S O F COLO LOUR UR

e, plays a huge part in the life and times re are lots of theories about colour out y lilac makes you fall in love with cats and ed to simulate a sun tan. I’ll not go into that o some tricks when using colour to get effects as well as helping you to understand es’ colours work in. It is a massive subject. prised the number of designers in full time o don’t know the basics of colour and the So, don’t be in the dark, see the light and

screen and print

no matter how expensive your kit is, what n will not be what you see on the printed likely that it will look the same on other either. Macintosh and PC monitors can there are lighting conditions, the monitor her the user is wearing rose-tinted glasses or

Your printer probably has four cartridges, cyan, magenta, yellow and black, which are all designed to run out at different times, but seriously, this mode of colour is not the same mode as a screen and that is why it will never look the same.

Related: Know Your Onions: Graphic Design, p. 60 Shaping Text, p. 61

ve to aim for the best possible compromise, ill aim for perfection and never really

shapes of text

691332

isbn 978 90 6369 133 2

Shaping Text is a pratical guide for designers, authors, publishers, editors and students – for any user of fonts and typography who wants to know more about their tools. Shaping Text provides background information on reading and selecting information, on typefaces and typographic conventions. Without being normative, the book discusses how typographic decisions influence the impact of a text, what ‘rules’ exist and how to effectively break those rules.

9 789036

designer is concerned, there are two main whatever you want to call them that you of – RGB and Hexadecimal. There is also ion and brightness, I’ll enlighten you shortly.

There are millions of well-made and attractive

but some work better than others. Thanks to the cooperation of an international cast of cutting-edge designers, the arguments put forward in this book are illustrated with brilliant examples. Featuring work by Reza Abedini, Philippe Apeloig, Marian Bantjes, Luca Barcellona, Blotto, Irma Boom, Wim Crouwel, Sara De Bondt, Catherine Dixon, Gert Dooreman, Studio Dumbar, Emery Studio, EdenSpiekermann, Faydherbe/ DeVringer, Nicholas Felton, Piet Gerards, Grey 318, Klaus Hesse, Jessica Hische, House Industries, Enric Jardí, Lava, Anette Lenz / Vincent Perrottet, Seb Lester, Letman, David Pearson, Mark Porter, Nick Sherman, Mark Thompson, Alex Trochut, Büro Uebele, Xplicit, and many others.

aspects

of Bshaping

Text How do we read? • VIsual rhetoric • Navigation Dramaturgy • Organizing text on the page • Grid systems Choosing fonts • Type design: revival and reinterpretation Classification and the development of printing type The emanicipation of the sans-serif • Type for the web Details in typesetting: rules and ‘crimes’ • Design strategies A short history of typographic technologies

www.bispublishers .nl

What people said of other typography books by Jan Middendorp Dutch Type ‘A standard work’

Lettered ‘Premier Award’ istd, london

Made with FontFont (with Erik Spiekerman) ‘Our favourite type book’

A Line of Type (with Alessio Leonardi) ‘Hysterically funny’

s h T Jan Middendorp

alled gamut, it means the ‘space’ or the that can be seen in a certain gamut. Our wide gamut and can see a massive range of , any output device, a printer or a screen limited gamut; they cannot display the full the eye can see, just yet.

• Sequel to successful KYO: Graphic Design • Same recipe: fun and very useful • Web design book without the code

This book will show you how

shaping Text can help you grab, hold, direct and manipulate the observer’s or reader’s attention. Within its pages you will find a rich resource of information about reading behaviour, typefaces, design strategies, technical possibilities and technical challenges. This book was written and designed by Jan Middendorp and contains visual contributions from a wide range of international designers. Shaping text is a guide for designers, writers, publishers, editors and students – anyone who works with fonts or is curious to know more about typography in its context.

Creative Characters ‘Intelligent … Admirable’

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Per Mollerup

WAYSHOWING >WAYFINDING Basic & Interactive

WAYSHOWING > WAYFINDING

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Wayshowing > Wayfinding Basic & interactive

This is the completely renewed edition of the standard reference book Wayshowing, which was published in 2005 by Lars Mars Müller Publishers. This new edition by Per Mollerop is fully updated with digital signage systems and has much more tool-oriented, practical content. Moreover, all signage examples are newly selected for this edition. Wayshowing > Wayfinding is divided into three parts. These deal with problems, principles and practices. First, the book discusses the problems of wayfinding. What are we looking for when we try to find our way in an un-known country? The answers are richer than you might initially expect.

Catalogus2013.indd 27

The section on principles takes its point of departure in non-signs acting as signs. It then goes on to discuss the concepts of wayfinding and wayshowing. Next, it presents several theoretical and practical aspects of signs and their functions. After a discussion on signposting for people with impaired vision, this section of the book ends with a chapter on planning. The section on practices examines cases from environments that depend on signage, including hospitals, airports, railways, museums, and cities. The cases include traditional print solutions, as well as all types of digital wayfinding/ wayshowing.

New titles

Per Mollerup

• New edition of the famous Lars Muller book • Now includes digital signage systems • Completely rewritten and with new images

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1.2

The prospects are clear: we will live longer. The number of people aged 65 and up will increase over the next few decades. Society will change as a result, but how? Connectedness is a powerful tool rooted in human nature. By unfolding the nature of relationships and age-based transitions in life, we invite the reader to join us in an effort to design for connectedness. And to reframe the picture, rethink our options and reinvent how to Connect.

5. Give... Do something nice for a friend, or a stranger. Thank someone. Smile. Volunteer your time. Join a community group. Look out, as well as in. Seeing

Transitions as new approaches for identifying needs

nterest. Sign up for a bike. Learn to play

Returning to Charlie and Marie’s A Tale of Ageing, we see how needs related to life after retirement have always been dealt with as they came up, rather than anticipated and planned for.

1.5

yourself, and your happiness, linked to the wider community can be incredibly rewarding and creates connections with the people around you.

The three E’s of relationships

1.6

If connectedness com perceive being conne implicit expectations – in relation to initia the encounter.

9. THE RELATIONSHIP PROCESS

PRECONDITIONS

EFFECTS

AWARENESS OPENNESS OCCASION

IDENTITY INDEPENDENCE EMOTIONAL ATTACHMENTS ACKNOWLEDGEMENT

So where do we mee other. At school, in t events and at flea m at a party, at a family working events, at h ling, at seminars, on work, in a women’s o anytime, anywhere.

EXCHANGES

EXPECTATIONS

ENCOUNTERS

The overall pattern f distinguish between the public domain. It colleagues and as cit challenges and new

Studies show that the number of contacts is crucial, but that the quality of these contacts is even more important. 7 It seems apparent that the composition of social networks is likely to differ widely between individuals over time. A person may have a broad social network and socialise with many different people, but their relationships may not be close or may lack depth. 15% of adults aged 65 years and over and living in Europe feel lonely all the time or most of the time. 17 Almost one-fifth of the same target group never meets others socially or has social encounters with others less than once a month. A quarter meets others several times a month. A person may have strong social relationships but have few connections with people outside of their core network. Strong social relationships are supportive, encouraging and meaningful. Broader, more ‘superficial’ relationships are important for feelings of connectedness, familiarity and sense of self-worth associated with an individual’s position in a community.

1.2

Connectedness and wellbeing

1. Connect... With the people around you. With family, friends, colleagues and neighbours. At home, work, school or in your local community. Think of these as the cornerstones of your life and invest time in developing them. Building these connections will support and enrich you every day.

6. FIVE WAYS TO WELLBEING CONNECT

BE ACTIVE

GIVE

WELLBEING TAKE NOTICE

2. Be active... Go for a walk or run. Step outside. Cycle. Play a game. Garden. Dance. Exercising makes you feel good. Most importantly, discover a physical activity you enjoy and that suits your level of mobility and fitness.

KEEP LEARNING

AN INTERPRETATION OF FIVE WAYS OF WELLBEING, NEW ECONOMICS FOUNDATION

an instrument or how to cook your favourite food. Set a challenge you will enjoy achieving. Learning new things will make you more confident as well as being fun.

Catalogus2013.indd 28

Viewed from this economic and health-related perspective, increasing the overall wellbeing of people, working proactively to slow their decline and eventual demise, may be more cost-efficient than treating illnesses. Viewed from this health-related perspective, social connectedness is seen as a precondition for social wellbeing. Based on evidence from psychological and economic literature, the New Economics Foundation (NEF) 10 identified the five most important drivers that support and facilitate mental capital and wellbeing. A combination of all of these behaviours helps to enhance individual wellbeing: 11

3. Take notice... Be curious. Catch sight of the beautiful. Remark on the unusual. Notice the changing seasons. Savour the moment, whether you are walking to work, eating lunch or talking to friends. Be aware of the world around you and what you are feeling. Reflecting on your experiences will help you appreciate what matters to you.

It is evident that an an experience. These rumours and hearsay that an experience is be impossible for us

A relationship is an a fleeting to enduring. clubs, neighbourhoo custom, or mutual ag whole. A relationship or more, such as a ro Individuals also have Interpersonal relatio

4. Keep learning... Try something new. Rediscover an old interest. Sign up for that course. Take on a different responsibility at work. Fix a bike. Learn to play an instrument or how to cook your favourite food. Set a challenge you will enjoy achieving. Learning new things will make you more confident as well as being fun. 5. Give... Do something nice for a friend, or a stranger. Thank someone. Smile. Volunteer your time. Join a community group. Look out, as well as in. Seeing yourself, and your happiness, linked to the wider community can be incredibly rewarding and creates connections with the people around you.

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1.2

Connect

Design for an Empathic Society

d to the wider community can be incredibly with the people around you.

2.5

Europe – and, in fact, probably the world – faces the challenge of preventing loneliness and isolation amongst a growing group of senior people. The oldest part of the population is at particular risk of becoming isolated and lonely as they grow older and their work-related networks erode. While working in the field of technology and aging, the authors discovered that there is a whole new field to be explored, namely the phenomenon of connectedness.

If connectedness comes from being connected, how does someone experience or perceive being connected? It starts with an encounter and is preceded by explicit or implicit expectations. The encounter is evaluated – in the moment and afterwards – in relation to initial expectations. This equation determines the perceived value of the encounter.

ECTS

NTITY ENCE ENTS MENT

So where do we meet? Of course there are many arenas where people meet each other. At school, in the fitness centre or health club, in the museum, at sporting events and at flea markets, in the book club, in a singles group, while volunteering, at a party, at a family dinner, when learning a craft, in business association networking events, at high school/college reunions, while walking the dog, when travelling, at seminars, on ski holidays, at wine tastings, while doing yoga or Tai Chi, at work, in a women’s or men’s group, while acting in a play… when talking to anyone, anytime, anywhere. The overall pattern for encounters follows the domains of modern society, which distinguish between home (private space), work (the domain of production) and the public domain. It’s within these areas that we meet – as family, as friends, as colleagues and as citizens. It’s within these areas that transitions in later life hold challenges and new possibilities.

ty of these

It is evident that an experience is personal, and that a number of factors influence an experience. These factors include previous experiences, information received, rumours and hearsay, and the context in which the experience takes place. Given that an experience is the result of a process performed by the individual, it would be impossible for us to design the experience, but we can design for an experience.

differ widely work and be close or may feel lonely group never nce a month. A g social relanetwork. Strong der, more familiarity and unity.

r k

The prospects are clear: we will probably live longer. The number of people aged 65 and up will increase enormously over the next few decades. Society will change as a result, but in what manner?

A relationship is an association between two or more people that may range from fleeting to enduring. The context can vary from family relations, associates, work, clubs, neighbourhoods, and places of worship. They may be regulated by law, custom, or mutual agreement, and are the basis of social groups and society as a whole. A relationship is normally viewed as a connection between two individuals or more, such as a romantic or intimate relationship, or a parent-child relationship. Individuals also have relationships with groups of people. Interpersonal relationships are dynamic systems that change continuously during

AUTHORS

MICHIEL SCHWARZ co-created Sustainism is the New Modernism: A Cultural Manifesto for the Sustainist Era (with Joost Elffers, 2010) that provides the framework for this guide. His international work as an independent cultural thinker, strategy consultant and innovator focuses on how the future is being shaped by culture. DIANA KRABBENDAM is a social designer and cultural innovator. She is co-founder and director of The Beach, a network of creative innovators. She leads a social innovation hub in the Nieuw-West area of the city of Amsterdam.

Related: Sustainist Design Guide, p. 40 This Is Service Design Thinking, p. 57 Convivial Toolbox, p. 57 BY THE CO-AUTHOR OF SUSTAINISM IS THE NEW MODERNISM MICHIEL SCHWARZ & SOCIAL DESIGN INNOVATOR DIANA KRABBENDAM OF THE BEACH

Social innovation is experiencing a resurgence at a time when cultural boundaries are shifting. A wave of new social initiatives is coming into view worldwide, where millions of dedicated people are beginning to “design” different kinds of living environments that are more collaborative, more socially just, and more sustainable. This movement is what this Sustainist Design Guide is all about. As the authors say: “It is no longer a matter of designing for society, but within it.” This exploratory guide travels the new landscape of social design thinking and practice. It does so from the perspective of an emerging culture of “sustainism,” which The New York Times has called a “new ethos for design.” The Sustainist Design Guide presents an agenda for social innovation, based on values such as sharing, connectedness, localism and proportionality, as well as sustainability. It challenges us to transform these and other sustainist qualities into design criteria and include them in our design briefs. The Sustainist Design Guide maps out best practices and explores how designers can become more socially and ecologically responsible. It opens the debate on what it means to be “sustainist designers.”

“

— Alexander Osterwalder, author of the global bestseller, “Business Model Generation”

How sharing, localism, connectedness and proportionality are creating a new agenda for social design “Pretty sure this book is about to change my life. Respects!”

the same co-creative and user-centred approaches you can read and learn about inside. The boundaries between products and services are blurring and it is time for a different way of thinking: this is service design thinking.

• Aging-driven design • International multi-disciplinary team of authors • Ties in with social design interest

SUSTAINIST DESIGN QUALITIES

SHARING Collaboration Open exchange Commons

LOCALISM Community Local experiences Rootedness

CONNECTEDNESS Connectivity Interdependence Connections

Michiel Schwarz Besides an introduction to service design thinking through five basic principles, a selection of individual perspectives demonstrate the similarities and differences Diana Krabbendam

#TiSDT

By unfolding the very nature of relationships and age-based transitions in life, the authors invite the reader to join them in an effort to design for connectedness: to reframe the picture, rethink our options and reinvent how to connect!

Sharing is increasingly becoming a valued quality of life. It informs new forms of social interaction, business practice, and consumption. Shareability centres around collaboration and exchange, often linked to mobile and Internet technologies. Bringing shareable assets into the design of products, media, places and information is driving new forms of “collaborative consumption” and open source innovation.

“Local” is becoming a quality in itself. New forms of localism are less concerned with local as a geographical marker, focusing instead on local experiences and belonging. Sustainist design focuses on localist attributes, such as sense of place, nearness, locally rooted experiences, and community building. It is grounded in the local, whilst willing to embrace the global.

Sustainism represents the culture of connectivity and networks, where everyone and everything is interconnected. As a design requirement, connectedness focuses on building connections between people, their living environments, and nature. Relationships, communities and peer networks are becoming core attributes to designing for connectedness.

between various disciplines involved in the design of services. Additionally, the book outlines an iterative designINCLUDES process and showcases 25 adaptable

WITH THE BEACH NETWORK

12 CHANGE-MAKING CASES service design tools, exemplifying the practice of service design with five RANGING FROM international case studies. The book concludes with an insight into the current URBAN FARMING AND

Sustainism will drive the creativity of the twenty-first century

≥ TIM BROWN, CEO and President of design and innovation consulting firm IDEO

“Service design is one of the core topics on the agenda of companies in almost every industry. This book provides you with the tools to understand and tackle the issue.”

SUSTAINIST DESIGN GUIDE — Tweet from Mitch Kapler, NYC, 10 June 2011

Michiel Schwarz Diana Krabbendam

THE BEACH is an Amsterdam-based network of social designers. The Beach initiates and produces projects that are geared at building a more social and sustainable society in collaboration with creative partners, companies, and institutions.

2.3

SUSTAINIST DESIGN GUIDE

5. Give... Do something nice for a friend, or a stranger. Thank someone. Smile. Volunteer your SUSTAINIST DESIGN time. Join a community group. GUIDE Look out, as well as in. Seeing yourself, and your happiness, linked to the wider community can be incredibly rewarding and creates connections with the people around you.

This book is written by a group of authors with very different backgrounds, varying from business, ICT, marketing, anthropology, medicine, design and computer interaction. They all felt the urge to explore this field of connectedness and they discovered new opportunities for the emerging market of ‘aging-driven design’.

New titles

Sabine Wildevuur, Dick van Dijk, Anne Äyväri, Mie Bjerre, Thomas Hammer-Jakobsen, Jesper Lund

state of service design research and sets service design thinking in a CROWDSOURCED philosophical context.

PUBLIC ARCHITECTURE TO FAIR BUSINESS AND COLLABORATIVE CRAFTS

www.thisisservicedesignthinking.com

”

ISBN 978-90-6369-279-7

PROPORTIONALITY Proportion Appropriate scale Human scale

Sustainist design shifts our focus onto questions of appropriateness: from scale to proportionality. It goes beyond modernist design approaches where bigger

(and faster)international is always better. Focusing on Twenty-three authors from the vibrant service design proportionality moves the design agenda towardsinvested questions oftheir selective slowness community knowledge, experience and passion together (rather than speed) and to appropriate to create this book. It introduces service design thinking to beginners and human dimensions (rather than unquestioned and students, andupscaling). will be a valuable resource for consultants, marketers, innovators, and design professionals.

Catalogus2013.indd 29

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terrorism, to name just a few.12 You then need to be able to detect tendencies. Remember in the first chapter I asked you to analyse three tendencies relevant to your reality? Think about them. To give you a few more examples: microproducts (products getting smaller), micromobility (urban transport), healthcare (ageing society), eco-everything, life-long learning, etc. Or consider designing new services, a discipline known as

CREATIVITY IS THE MENTAL PROCESS OF DEVELOPING IDEAS.

BR AND IN G — CR E ATE

probably the one you are closest to, for insights, then you develop

C R EAT IV E

PER SONAL

service design13. Remember the global trend towards service and its power to revitalise existing products and categories. Don’t you think there is a need to design services at airports, say, in hospitals or in government administration? How many hours have you spent ‘waiting’ in your life? Is it fair to say that you wait for at least half an hour every time you go to the doctor? And from that arises another question: what can we do to avoid waiting? First you research a specific target market, most ideas which could solve the problem. For example, assuming that the majority of patients have mobile phones today, why do I always have to wait in my doctor’s waiting room? Wouldn’t it be great to be informed via text or, even better, a cost-free email to your smartphone, so you, as a patient, can use your time more constructively than in waiting? I know it means investment, time and money for the health service or doctor, but wouldn’t that be a useful service which would respect people’s

URNEY FROM UNCERTAINTY NEW VISION

time? Another example can be found in the airline industry. Why are airlines still not capable of informing you right away when they have lost your luggage? Why do you have to wait first for ages at

Personal Branding aims to develop creative p, helping you to identify where to go, how to and with whom.

INNOVATION IS THE WAY YOU APPLY IDEAS.

baggage retrieval, then talk to someone at the information desk who

DESIGN IS THE FORM OR STYLE YOU GIVE THE IDEA.

has no idea what has happened, and finally negotiate with someone at a call centre until you are told what is going on? 88 89

is Spain, where, at the end of 2012, unemployment reached 26,6%

4. CREATIVE THINKING NEEDS DIVERSITY

and even 56,5% among people under 25, according to Eurostat.2

Many companies still retain the strange habit of choosing candidates with similar profiles for their jobs, and the same happens with business and design schools. So what do you expect from the same

everything changes. History is full of change. But today it seems

group of people? The same answers. Diversity is the mother of

our economy and, therefore, our society is affected by a new form

creativity, however. See diversity as an opportunity. Multicultur-

of change, something more radical and faster than ever before. And

alism is the answer and not the problem. My experience is that

the most visible sign of change is clearly defined: nothing is long-

culturally diverse teams, if well managed, have the highest potential

BR AN D I N G— C R E AT E

Whatever you read or watch, the key message is always the same: change is a fact of life. One of the key Buddhist beliefs is that

term. Work and life seem to change at a pace never seen before. If you are confused, have doubts or are sometimes frustrated by this, you are definitely not alone. In Spaceballs, the science fiction parody of Star Wars (starwars.com), there were four levels of speed: sublight, light, ridiculous and ludicrous. We are already working at a ridiculous speed. No wonder so many of us are confused.

PE R S O N AL

OK, but what is new that makes today’s change so important? How does change affect our economy and our society today and in the future? What are the consequences for the individual? For our future work and life? Our education and career? How can

C R E AT I V E

we prepare and adapt? Most important of all, how can we develop a strategy to answer ‘what’s next’?

DIVERSITY IS THE MOTH CREATIVITY.

to create and innovate, while having a much higher learning curve and, incidentally, more fun.

5. CREATIVE THINKING NEEDS VERSATILE RESOURCES Observation, research and visualisation are important skills. It is important to collect articles, advertisements, pictures, objects, movies, music, bits and pieces of daily life. Read different newspapers and design magazines. They may be from New York, Barcelona, Buenos Aires or Tokyo. Are you familiar with The Senken (senken-intl.com), Japan’s most widely read fashion daily? Alternatively, visit a museum, of history or design, whatever you please. Become a design detective – visit shops all over the world. This will be the material that will enable you to create a mood board. A mood board is the visual illustration tool used either to represent

WWW: THE WORLD CUP …

the atmosphere or the feel of an idea. It helps to inspire you and your team, and to create momentum.

I felt I needed to look back to understand what is influencing our changing lives in such a profound way. Within only a few months

See diversity as an opportunity. Mul are the answer and not the problem.

in the year 1990, I found a constellation of three clustered events, each symbolising a different aspect of the nature of that change.

26 27

1 - Reflect: a) On the three most important changes in your industry and in your market over the last fifteen years.

ment — 1: T’S NEXT? IDENTIFY THREE VA N T T E N D E N C I E S I N MARKET

RESEARCH IS THE TRANSFORMATION OF MONEY INTO KNOWLEDGE.

One problem here is that people tend to give politically correct answers when they know they are being observed. Almost everyone answers ‘yes’ when asked if they clean their teeth three times a day. It’s equally easy to say you would potentially buy a product, but something different happens if you are asked to get the money out and buy it now. My recommendation is, therefore, to use market research in order to understand your category and gain insights, but once you have an idea take it straight to a test-market in which you will see in reality if people like your product or service and whether they will pay for it. I have focused here on creative thinking as a thought process to generate new ideas and solutions that have business value. By creative thinking I mean a process of building up ideas while defer-

b) On the changes you predict will happen in the next fifteen years.

ring judgement on them, in order to eliminate fear of failure and increase motivation to participate in this process. In such a process we need a hybrid mindset to bridge the distances between heart and head, right and left brain hemisphere, passion and production.

ng exercise is the basis for answering the question: what’s

Our best ideas are based on intuition and insights, emotions and

with your own reality, past and future. Be precise and go

feelings. It’s a question of combining pleasure and intelligence, a way

. Search for numbers and statistics.

of thinking which has to be cultivated at all kinds of schools and

y personal suggestion This isn’t an easy assignment, I know,

l worth doing. Talk to other people, exchange ideas, read

alyse, synthesise and write everything down. A few years

d myself stuck, unfocused and without markets in which

universities as well as in companies. But the best thing about it is, c) Think about any threats and opportunities that will affect your

you have everything you need to succeed – your brain and your

industry and therefore your aims.

heart! That’s all it takes.

fter carrying out this assignment, applying it to new

where I could spread my knowledge, I came up with

kets, including healthcare, education and energy. So for

ed well.

Innovation is the transformation of knowledge into money.

Catalogus2013.indd 30 34 35

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VITY MENTAL PROCESS ELOPING IDEAS.

Creative Personal Branding

ATION WAY YOU APPLY

The strategy to answer: what’s next?

N FORM OR STYLE VE THE IDEA.

Jürgen Salenbacher

After eight years of work in creative personal branding, Jürgen Salenbacher DIVERSITY has distilled his ideas and methods in a book. IS THE MOTHER OF

CREATIVITY.

Salenbacher looks at the origins of today’s crisis and examines the work of leading theorists in business culture, before explaining how our success in exploring change depends on our ability to think creatively. Branding practices,

See diversity as an opportunity. Multicultural societies are the answer and not the problem.

s that people tend to give politically correct

now they are being observed. Almost everyone

sked if they clean their teeth three times a day.

ay you would potentially buy a product, but

happens if you are asked to get the money out

he suggests, can help us, but we also need to cultivate creative thinking. Creative Personal Branding offers over 200 pages of insights, graphics and challenging assignments. The book is a unique resource for creative minds, entrepreneurs and teams, but may also be used by anyone facing major life decisions.

New titles

88 89

• Use creative thinking to define your career • Self-help book for creative professionals and thinkers • Packed with insights and assignments

recommendation is, therefore, to use market

understand your category and gain insights, but

a take it straight to a test-market in which you

eople like your product or service and whether

ed here on creative thinking as a thought proc-

deas and solutions that have business value. By

mean a process of building up ideas while defer-

hem, in order to eliminate fear of failure and

to participate in this process. In such a process

mindset to bridge the distances between heart

eft brain hemisphere, passion and production.

ased on intuition and insights, emotions and

on of combining pleasure and intelligence, a way

as to be cultivated at all kinds of schools and

s in companies. But the best thing about it is, you need to succeed – your brain and your

kes.

Catalogus2013.indd 31 92 93

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your name here

these three questions with

with a mini-interview. Answer and !

What makes you happy?

diary, offline blog and hat will lead you off the it private, share it with beginning or from the s that there is none, and you need to do is pick fill this diary with your d collages.

If you stain your clothes, there’s no need cry; applying a few easy tricks can save hopeless stain situations. Here is how to be the savior of your clothes!

If you were a character in a movie, who would you be?

contents, turn to the d the right pages for ams and learning how to r clothes!

Salt for absorbing liquids Dishwashing soap Piece of cloth for blotting Milk to give ink stains a milky bath

What’s your favorite source of inspiration?

Show us what you did with your diary and share your creativity online at Facebook.com/DearFashionDiary or Twitter.com/DearFashionBook!

Red wine & blood stains: Sprinkle salt on the stained area in order to soak up the liquid. Then let cold water do the trick. Remove blood stains by blotting the area with cold water until the stain fades away and get rid of wine smudges by soaking the fabric in cold water for an hour. Finish by washing as usual. Lipstick: Apply dish wash detergent. Greasy spots: Tackle fresh oil stains and grease smudges by covering them with salt. After the salt has done its duty and absorbed the grease, remove it gently and apply another layer to salt the stain until it fades away. After that, launder as usual.

Ink: Rub the fresh stain with salt, take the milk from your fridge and prepare a milk bath for your garment. Soak it overnight and wash as usual in the morning. Bubblegum: Put your clothing in the freezer and wait for an hour. Take it out and simply scratch the frozen chewing gum away! Stubborn stains on white fabric: In extreme cases of stubborn stains, try ox gall soap, a natural stain remover. If that doesn’t help, you can try bleaching the stain with chlorine, but remember to be careful – chemicals are not to be messed around with!

wardrobe look like the closet of a colorful chameleon or that of a black panther? Reveal the colors inside your wardrobe.

For trickier stains, questions and mental support, call your personal helpline (mothers are recommended).

The predominant colors inside my closet are:

Write the number down here!

When I was young, my favorite clothes were I loved them because I

liked

disliked dressing up, and

always

Everyone makes mistakes, also with fashion. What are the clothes that you are most ashamed of? Fill this gallery with your mispurchases, the clothes that you never wear and shouldn’t have bought to begin with.

never wanted to wear

and the his timeline!

ve memories of:

My first style icon

When I started school, these things were trendy:

Item: Item: Why you have it

in your closet:

Why you have it

Why you never wear it: Why you never wear it:

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in your closet:

Dear Fashion Diary

If you stain your clothes, there’s no need to cry; applying a few easy tricks can save many hopeless stain situations. Here is how to become the savior of your clothes!

Ink: Rub the fresh stain with salt, take the milk from your fridge and prepare a milk bath for your garment. Soak it overnight and wash as usual in the morning.

Discover Your Taste - Become Your Own Style Guru Bubblegum: Put your clothing in the freezer and wait for an hour. Take it out and simply scratch the frozen chewing gum away!

Lipstick: Apply dish wash detergent.

Salt for absorbing liquids Dishwashing soap Piece of cloth for blotting Milk to give ink stains a milky bath

Tackle fresh oil Ojala stains and grease and In extreme cases of stubbornde stains, Jong Emmi Laura smudges by covering them with salt. try ox gall soap, a natural stain Greasy spots:

Stubborn stains on white fabric:

After the salt has done its duty and absorbed the grease, remove it gently and apply another layer to salt the stain until it fades away. After that, launder as usual.

remover. If that doesn’t help, you can try bleaching the stain with chlorine, but remember to be careful – chemicals are not to be messed around with! For trickier stains, questions and mental support, call your personal helpline (mothers are recommended). Write the number down here!

Dear Fashion Diary is an illustrated diary full of fashion assignments for young fashionistas to entrust with their deepest fashion longings. It is a creative activity book which encourages you to collect your personal favorite outfits, create lists of your seasonal must-haves, collect clippings for your fashion accessory wish list, tidy up the content of your wardrobe and much more.

When your diary is full, you will have a wonderful collection of your fashion life of the past year and will be ready to start filling a new volume. Attractively illustrated and produced. A real wannahave for young fashionistas at a grab-away price! 55

Emmi Ojala and Laura de Jong are two young fashion designers, illustrators and bloggers.

New titles

ook like the closet t of a black ide your wardrobe.

my closet are:

• Keri Smith meets fashion • Wonderful gift for fashion girls • Authors are active bloggers

Related My Wonderful World Of Fashion, p. 87 Street Style Memory Game II, p. 71

em: Why you have it

hy you never wear it:

in your closet:

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hard on the ProBl soft on the PeoPl

Mr. Wolf in Pulp Fiction: ’So pretty please, with sugar on top, cl

Be hard when it comes to the issue at hand, but be ge son across from you: this may be the most valuable le management. Being hard means that you stand by yo what is essential for you. You don’t make any unacc sions. No tampering with market access, artistic fre obligations, and so on. But be gentle on the person. I him, you’ll create a conflict. While if you’re gentle on end up regretting the concessions you make. By being sue and gentle on the person, you’ll be successful in y and gain what there is to be gained.

#16

never asume you’re smarter

’t e

sonally

ss, creditor or a annoying client. And he is not e’s letting you have it: insidious insinuations, t insults. Don’t take it personally. Stay cool. representative of your own virtual limited myself and I, Inc.” All those words will flow of ’s back. ■

#11

Patients don’t sue doctors they like US insurers investigated which doctors are more likely to be taken to court for their blunders. Their conclusion: the unpleasant ones. Patients don’t sue doctors they like. The decisive factor was not related to the doctors’ training or the gravity of the error; no, it was the way they treated their patients. By listening well, being reasonable, explaining and, even, frankly admitting mistakes, you too can minimize the chance of a conflict. ■

Catalogus2013.indd 34

In 1989, in the semi-finals of the French Open, the world’s number one, Ivan Lendl, played Michael Chang, ranked 15th. Lendl only had to get by tiny Chang, and he’d be defending his title in the final against Stefan Edberg. Then the amazing upset happened. Chang beat Lendl. But what was more unbelievable, or hilarious, was how he did it. At game point in the second last game, Chang hit an underhand serve to the world’s top player, and won the game. At match point, Chang befuddled the champion again by standing on the service line to receive serve. Lendl tapped his forehead with his finger indicating what he thought of his opponent’s mental state, and promptly served a double fault which lost him the match. You’ve got to be pretty smart to play stupid. ■

# 23

know what you’re not going to say Knowing what you’re going to say: useful. Knowing what you’re not going to say: crucial. Saying what you shouldn’t have said: fatal.

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ard on he ProBlem oft on he PeoPle

Think Like A Lawyer, Don’t Act Like One Aernoud Bourdrez

Think Like a Lawyer, Don’t Act Like One offers 75 successful strategies for avoiding or solving conflicts. Developed with input from e.g. Winston Churchill, Al Capone, Harvard University, several obliging lawyers, three bonobos, two kissing boxers, one cowboy, Mikhail Gorbachev, Sun Tzu and John Rambo. # 21 Think Like a Lawyer, Don’t Act Like One can be consulted when dealing with surly officers, angry neighbors, reluctant debtors, negligent clients, sly lawyers and other troublemakers. Each strategy is thoroughly tried and tested by the author and can be used at the kitchen table, on the street and in the board room.

This is a complete and ready-to-use guide to preventing and solving conflicts. All 75 rules in this book are accompanied by humorous illustrations and will certainly teach you a thing or two. Once you have read this book, you will be able to solve almost any conflict in a simple manner. Aernoud Bourdrez is a copyright lawyer and negotiator. He acts on behalf of visual artists, photographers, designers and architects. He has successfully negotiated in conflicts across more than 40 countries and lives in Amsterdam.

know your enemy

New titles

lp Fiction: ’So pretty please, with sugar on top, clean the fuckin’ car’

en it comes to the issue at hand, but be gentle on the perrom you: this may be the most valuable lesson in conflict t. Being hard means that you stand by your principles, by ential for you. You don’t make any unacceptable concesmpering with market access, artistic freedom, payment and so on. But be gentle on the person. If you’re hard on reate a conflict. While if you’re gentle on the issue, you’ll etting the concessions you make. By being hard on the istle on the person, you’ll be successful in your negotiations ■ at there is to be gained.

If you know the enemy and know yourself you need not fear the results of a hundred battles. (The Art of War, Sun Tzu, sixth-century Chinese general and philosopher)

Knowledge is power – especially at the negotiating table. So make sure you know all there is to know. Before you start, lay out all the details and circumstances that led to the conflict. Immerse yourself in your opponent: What kind of person is he? What are his weaknesses? Where lie his vulnerabilities? Is he vain? What’s he scared of? What gets him excited? Why is he fighting you? What does he want? And then address these same questions regarding yourself. You have to know yourself too. Sounds pretty obvious, but very few actually do this. Know yourself, know the enemy and know the facts – through and through. Because a poorly prepared case is a lost case. ■

• 75 rules to solve conflicts • Smart insights, strong visuals • For peacekeepers and winners in business and personal life

now hat u’re ot oing

ou’re going to say: useful. ou’re not going to say: crucial. u shouldn’t have said: fatal.

Catalogus2013.indd 35 ■

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316

Mickery At Mickery in Loenersloot, the foundations were laid for a pioneering international centre for avant-garde drama, performance art and experience theatre avant la lettre. Ritsaert ten Cate was the driving force. The breakthrough of Mickery came in 1967, when Ten Cate succeeded in booking the New

York theatre company La Mama. Their involvement, the intensity with which they acted and the social commitment of their shows were eye openers for both spectators and reviewers. After several years, Mickery moved to Amsterdam. I was allowed to make the posters and other printed matter.

338

Armour I made this logo for the exhibition ‘Armour, the Fortification of Man’ in Fort Asperen, where Lidewij Edelkoort was guest curator. Fifty renowned international artists, fashion and graphic

designers portrayed what the – far reaching – repercussions could be of 9/11.

James Victore

Naked Ladies Alphabet from 1969, later renamed Body type This alphabet was a reaction to the computer alphabet made by Wim Crouwel. I admit: it’s absolutely unreadable and hence

Ovomaltine

unusable. But if you’re going to make something unusable, you can at least make something people are able to enjoy.

120

Anthon Beeke – The Play Is the Thing

playing Catalogus2013.indd 36

Anthon Beeke is a player. When so many graphic designers are more like accountants with colour swatches, designing for business, unaware of their larger influence on the world, Anthon plays. He plays to make himself happy and surprise himself. His work is not for a client or commission or lucre, it’s not even about work or design – it’s about him. And because it’s about

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u’re going to make something unusable, ake something people are able to enjoy.

Anthon Beeke Troilus and Cressida In Troilus and Cressida, Cressida and Helena are abused as whores. That is the age-old image of the woman: a whore without any other qualities. Troilus and Cressida also allowed themselves to be used; they had to in order to survive. But Helena had one more possibility: to

provide misleading information. For me that is the symbol of the Trojan Horse. The women’s movement thought it was a disgrace. Even the actresses put stickers on the poster. But this is the poster for the women’s movement. The strap is a clamp.

It’s a Miracle!

Lidewij Edelkoort a.o.

One of the characteristics of his work is that Beeke has always tried to make his work not look like graphic design. He gives the world outside of the language of design a central place in his work and that probably is the reason why his posters, for example, resonated James Victore so strongly with the public and still do.

His unique voice has always been and still is a true inspiration for younger generations of graphic designers. The book includes contributions by Esther Cleven, Alston Purvis, Steve Heller, Lidewij Edelkoort, Erwin Olaf, Marian Bantjes, James Victore, Erik Kessels and others.

“

I don’t know a single maker of images who thinks more freely and is more all-round than Anthon Beeke. As far as I am concerned, he is the freest spirit in Dutch design history. – Erik Kessels

”

New titles

Anthon Beeke is one of the prolific designers in the Netherlands that shaped the history of Dutch Design in the 20th century. This landmark book celebrates his impressive body of work through the stories that define the different aspects of Anthon Beeke’s life in design, including Amsterdam, jazz, erotica, collecting, typography, photography, provocation and communication.

Anthon Beeke – Het spel, niet de knikkers

spelen

Anthon Beeke is altijd blijven spelen. Terwijl veel grafisch ontwerpers op boekhouders lijken, opzichtige horloges dragen en zich niet afvragen welke impact hun werk heeft op de wereld om hen heen, speelt Anthon. Hij speelt voor zijn eigen plezier en om zichzelf te verrassen. Hij maakt zijn werk niet voor een klant, niet in commissie en niet voor de poen, het gaat hem niet eens om de opdracht of het ontwerp – het gaat over hem. En omdat het over hem gaat, gaat het over ons. Hoe authentieker en persoonlijker hij wordt, des te indrukwekkender worden zijn ontwerpen en des te gelaagder wordt zijn werk; het spreekt tot ons, we horen hem grinniken van plezier. Hij spreekt tot ons omdat hij zichzelf aan ons geeft. Anthon speelt. Anthon speelt met onze verwachtingen, onze zintuigen, onze opvattingen en vooroordelen. Hij vraagt ons om open en tolerant te zijn en onze horizon te verbreden. Hij neemt het voortouw in belangwekkende discussies, hij peilt onze schaamte op het gebied van politiek en seksualiteit. Hij daagt ons uit risico’s te nemen, de boel op te schudden. Hij baant een pad en nodigt ons uit ons eigen pad te volgen, te vechten voor vrijheid en creativiteit, ruimte te maken voor ons eigen spel. In visueel opzicht is Anthon een groovy beboptrompettist, een jazzmuzikant; zijn riffs stuiteren en springen van de ene visuele taal naar de andere. Hij is ongevoelig voor modes en is een meester in fotografie, een meester in typografie, de collage en zelfs in de menselijke vorm. Hij herschikt onze lichamen en gelaatstrekken – speelt met ons en nodigt ons uit mee te spelen, met hem te dansen in zijn prachtige wereld vol dikzakken, vrouwenletters, schreeuwende kleuren, lullen en speeltjes, onbekende, maar vertrouwde gezichten, volkskunst; we zouden allemaal dolgraag in Anthons wereld willen leven, als we het lef hadden: de vrijheid om te spelen.

• The ultimate Anthon Beeke book • Design that does not want to look like design • Beeke is the freest spirit in Dutch Design history

Anna Tiedink

Catalogus2013.indd 37

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Catalogus2013.indd 38

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Make Design Matter David Carlson

The seven stepping stones around which the book is structured are: Think transdisciplinary, take a cultural approach, act responsibly, make it different, share knowledge, be intuitive and dare to fail.

“

This little red book presents a pocket guide to meaningful design. Seven stepping stones that inspire you to cross the stram of change, and get you to the other side, firm and dry... – Brent Richards

”

Related Sustainist Design Guide, p. 40

DIANA KRABBENDAM is a social designer and cultural innovator. She is co-founder and director of The Beach, a network of creative innovators. She leads a social innovation hub in the Nieuw-West area of the city of Amsterdam.

BY THE CO-AUTHOR OF SUSTAINISM IS THE NEW MODERNISM MICHIEL SCHWARZ & SOCIAL DESIGN INNOVATOR DIANA KRABBENDAM OF THE BEACH

“

Sustainism will drive the creativity of the twenty-first century ≥ TIM BROWN, CEO and President of design and innovation consulting firm IDEO

”

Michiel Schwarz Diana Krabbendam

SUSTAINIST DESIGN GUIDE

AUTHORS MICHIEL SCHWARZ co-created Sustainism is the New Modernism: A Cultural Manifesto for the Sustainist Era (with Joost Elffers, 2010) that provides the framework for this guide. His international work as an independent cultural thinker, strategy consultant and innovator focuses on how the future is being shaped by culture.

SUSTAINIST DESIGN GUIDE How sharing, localism, connectedness and proportionality are creating a new agenda for social design

SUSTAINIST DESIGN QUALITIES

SHARING Collaboration Open exchange Commons

LOCALISM Community Local experiences Rootedness

CONNECTEDNESS Connectivity Interdependence Connections

Michiel Schwarz Diana Krabbendam WITH THE BEACH NETWORK

INCLUDES 12 CHANGE-MAKING CASES RANGING FROM URBAN FARMING AND CROWDSOURCED PUBLIC ARCHITECTURE TO FAIR BUSINESS AND COLLABORATIVE CRAFTS

Catalogus2013.indd 39

PROPORTIONALITY Proportion Appropriate scale Human scale

New titles

Make Design Matter is an accessible book about a complex subject. It proposes strategic design guidelines based on holistic concepts. The guidelines facilitate convergence across different fields, inspiring designers and lay persons, companies and institutions, and teachers and students of design to envision and apply more meaningful solutions.

• This book will help you to design better… and to make design matter! • Easy to understand, digest and act upon • Be the change you want in the world

Sustainist design shifts our focus onto questions of appropriateness: from scale to proportionality. It goes beyond modernist design approaches where bigger (and faster) is always better. Focusing on proportionality moves the design agenda towards questions of selective slowness (rather than speed) and to appropriate and human dimensions (rather than unquestioned upscaling).

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SUSTAINIST DESIGN GUIDE

BY THE CO-AUTHOR OF SUSTAINISM IS THE NEW MODERNISM MICHIEL SCHWARZ & SOCIAL DESIGN INNOVATOR DIANA KRABBENDAM OF THE BEACH

ce at a time when w social initiatives s of dedicated ds of living ore socially just, at this Sustainist

Michiel Schwarz Diana Krabbendam

of designing for e travels the new tice. It does so of “sustainism,” ethos for design.”

nda for social connectedness, tainability. sustainist m in our design best practices re socially and on what it

SUSTAINIST DESIGN GUIDE How sharing, localism, connectedness and proportionality are creating a new agenda for social design

SHARING Collaboration Open exchange Interdependence Commons

INCLUDES 12 CHANGE-MAKING CASES RANGING FROM URBAN FARMING AND CROWDSOURCED PUBLIC ARCHITECTURE TO FAIR BUSINESS AND COLLABORATIVE CRAFTS

becomes a value in itself. Once we put relationships at the centre of our lives, we are able to recognise how to (re)connect to the natural environment, to our communities, and to the process of making.

LOCALISM Community Local experiences Rootedness

CONNECTEDNESS

CONNECTEDNESS Connectivity Interdependence Connections

Social design is a growing practice which focuses on issues such as community, crafts, sustainable living, public space and housing. Many social design projects have embraced the ‘culture of sustainism’ and its core qualities: connectivity, sharing, localism and sustainability. Sustainist Design Guide is the first book that takes the recent idea of ‘sustainism’ - as the new ethos of the 21st century into the realm of social design thinking and practice. It formulates an open-ended agenda for social design, and presents a set of design criteria that goes well beyond ‘green’ design. It brings together the key principles for sustainist design, maps out best practices, and explores workable ideas for developing future social design. It provides a framework for co-designing a world that is more

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Sustainism represents the culture the dim circumstances of many rural Indians, of connectivity and networks, where Rural Spark views their current situation as an opportunity. The sheer lack of infrastructure everyone and everything is interconnected. that currently exists offers the opportunity to start fresh. That’s why Rural Spark leaves the As a design requirement, beatenconnectedness track of top-down government intervention. Instead, it directly involves the people focuses on building connections between themselves, offering them responsibility, direct returns, and livelihood. people, their living environments, and Bottom-up community building nature. Relationships, communities Besides economic and environmental benefits, the bottom-up sharing of energy is proving to and peer networks are becoming core have vast social effects on the village level. For the empowered entrepreneur, it increases attributes to designing for connectedness. ownership. Also, social cohesion increases between all stakeholders involved. This provides an extra social incentive to both the consumer and the entrepreneur to take care of the system, ensuring its continuation. Together, the villagers are using solar energy in an altogether new way, enhancing the feeling of community and collective responsibility.

sell his surplus to his fellow entrepreneurs that are depending on the power of the sun. By the exchange of energy surpluses, a reliable distributed network is taking shape that is able to accommodate both supply and demand in a far

cheaper way than centralised, top-down energy PROPORTIONALITY networks are able to do. Design in context “Many products are being developed in a faraway lab and do not actually accommodate the local context, because they do not take into account the many stakeholders and factors that influence local culture,” co-initiator Van Heist says. That’s why Rural Spark makes an effort to actually physically move into the local situation and to design on the spot—in an explicitly demand-driven way. To this end, an agile design process is used with short feedback cycles, from Research & Development to implementation in the field. This allows for a process of rapid prototyping within the local situation that involves all stakeholders.

Proportion Appropriate scale Human scale

Sustainist Design Guide

our world like if the nature and quality of relationships New forms of localism are lesslook concerned and connections were at the heart of our designs? with local as a geographical marker, How might connectedness function as a design criterion to focusing instead on local and in different contexts? How might helpexperiences us find design solutions we (re)design our living belonging. Sustainist design focuses onenvironments and meeting places to encourage building meaningful relationships between people, localist attributes, such aswithin sense of place, and and between communities? And how, within the design process, do weand assess the quality of our relationships? nearness, locally rooted experiences, community building. It is grounded in the local, whilst willing to embrace the global.

Opportunity through scarcity Currently, approximately 400 million rural Indians are living without access to electricity. The gap between the quality of life of the urban rich and the rural poor is widening. In spite of

quality of life. It informs new forms of social interaction, business practice, and consumption. Shareability centres around collaboration and exchange, often linked to mobile and Internet technologies. Sustainism is the culture of connectivity and networks: everyone everything Bringing shareable assets intoand the designis connected and interdependent. Whether we talk about things, people or environments, it is of products, media, places and information all about relationships. The metaphor for the new sustainist is driving new forms of “collaborative context is the “web.” Connectedness is a core quality in the of networks, both socially and digitally. To be connected consumption” and openworld source innovation.

Connections “Local” is becoming a quality in itself. The sustainist design challenge is as follows: what would

Michiel Schwarz Diana Krabbendam WITH THE BEACH NETWORK

Design for connectedness —everything is interconnected

SUSTAINIST DESIGN QUALITIES

Sharing is increasingly becoming a valued Connectivity

Installing a solar panel on Mr. Ranjit’s roof during the pilot project in and around Jabalpur (Madhya Pradesh, India). Photo: Rural Spark

SUSTAINIST DESIGN FEATURES The combination of sustainable innovation and social design is at the heart of sustainist design. Rural Spark designs for small-scale empowerment in order to ultimately bring about a sustainable revolution in the way we use energy. It envisions a bottom-up network approach to build local communities around energy from which all individuals involved beneﬁt directly.

SHARING The bottom-up sharing of energy (via Share Cubes) and open exchange of information offers direct rewards, both material (electricity or an income) and immaterial (social connections, community building). PROPORTIONALITY By the exchange of energy surpluses, a reliable distributed network is taking shape that is able to accommodate both supply and demand in a far cheaper way than large-scale, centralised, top-down energy networks are able to do.

The complete Rural Spark starter kit. One solar panel generates enough energy to light seven lamps. Photo: Rural Spark

RURALSPARK.COM/SHARE/TRUE_ ENTREPRENEURSHIP.PDF

Lighting marks the difference between boredom and ignorance and social interaction, learning and empowerment. The LED lamps are a good replacement for the smelly and dangerous kerosene lamps. Photo: Rural Spark

connected, more shared, more localist and more sustainable. Michiel Schwarz is a cultural thinker, innovator and consultant. His latest book (co-authored with Joost Elffers) is Sustainism Is the New Modernism: A Cultural Manifesto for the Sustainist Era (New York, 2011). Diana Krabbendam is a producer of social design projects, and the director of the Amsterdam-based network organisation The Beach for Creative Innovation.

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“I consider the whole world as play-ground.” On the day this book was pre-launched (with champagne!), Rob also celebrated his birthday. Naturally, he had to go out and play to celebrate this. However, on that same memorable day I also had to interview Rob for this bio. I hope you can understand that consequently, due to the short time available, some (important?) details might be inaccurate or missing, but let’s just read what I got. Rob, what is it that you do?

has a purpose. For example, child’s play is often

I am an artist. I create ‘controllable’, kinetic art

used as a safe way to help functioning in the

that is constructed with electronics and all sorts

real world. Thus, I am all for meaningful play.

of materials in unusual ways. This means that my thinking and acting is intuitive, rather than

This book: What not?

that I follow a certain theoretic line. Further-

I don’t want a self-help book.

more, I am particularly involved in the hardware side of things and the coaching of students

Why this book?

with all kinds of projects: Arduino, games, that

Rob: “I have no real interest in this book”.

kind of stuff. More specifically, I guided students

Rob: “O no, that is not what I said, you are not

from the Technical University in Eindhoven with

going to quote me on that one. Right…?”

their ‘playful interaction’ projects. Currently I am involved in Next Nature, which is exploring

After thought

nature as caused by people. Rob’s previous jobs

Rob’s favourite book is one that predominantly

include a position as a pyrotechnician (>How

covers pictures of bloodthirsty gothic music

cool is that!?!). He worked with Dogtroep, which

lovers. This book is going to be a bit different.

created innovative happenings in theatrical ways

Let’s hope he will like it nonetheless.

at unexpected sites. More about Rob: Thus Rob, you ‘build’ play?

http://www.robzimmermann.com

Yes, you could say I construct playful occurrences.

Interviewed by Marije Kanis

Why play, to make everything more fun? I often get requests like “Rob, you create nice, playful stuff, could you help in making technology more fun for students?”. To be honest, I find that such thinking doesn’t do total justice to fun and play. Yes, play can ‘nicify’ serious or

instrumentation as well as an additional “layer” of sound corresponding to de Blob’s current colour— being red usually adds a saxophone solo to the music, for example.[7] As de Blob collects paint, his size increases to a maximum of 100; each object he paints costs a paint point, as does attacking enemies. de Blob can get rid of his colour with water. While de Blob is free to paint, there are various missions which can or must be completed. These missions are given by various members of the Color Underground and include painting certain buildings certain colours and transforming a landmark with enough of a certain color of paint (for example, 30 yellow paint points). Each of the 10 huge levels have a main landmark to paint, which may require more than one colour and more paint points than usual. There are various hazards to avoid, however. Pools of ink turn de Blob black and cause him to lose paint points constantly; when he reaches 0, he loses a life. Ink must be washed out with water. The INKT forces, Inkies, will send out footsoldiers to stop de Blob, as well as other forces—handheld ink guns, turrets, tanks, jetbikes, and even Inkies that are immune to all but one colour. There are other hazards such as hotplates, spikes, and electric plates. As de Blob paints the city and completes missions, points are accumulated. Each gate separating the player from the next part of a stage can be opened by reaching a certain number of points. Once the ﬁnal gate is open, the stage can be completed.

1/Donec et sapien augua 2/Donec et sapien augua

1 5 2

3/Donec et sapien augua 4/Donec et sapien augua 5/Donec et sapien augua 6/Donec et sapien augua

Designing Meaningful Play Designing Meaningful Play offers a transmedial approach to the art of creating play experiences. Games and play continue to gain importance in our daily lives, not only as entertainment but also for application in sectors such as education, welfare and management. In this book the authors provide a big game design approach to games and the possible use of different media: games, stories, music and everything else you can find to inform your design. The book takes you step by step through the why, what and how of play design in four parts: games and play in society; the essence of play design; the design approaches and principles underpinning play design; and a readers’ guide into the action of creating game experiences.

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The editors teach, think and design in the field of play and are affiliated with the Utrecht School of the Arts, which has a 20-year tradition in design for playful interaction and which shaped an international community of play designers who have invested their knowledge and experience in this handbook.

Previously Announced

boring stuff, but it is more than that. Play also

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t? us art h

Advertising is art 27 rule

Never Paint by Numbers And 50 other Ridiculous Art Rules

Because, ultimately, every rule related to, or governing, art is ridiculous...

e, he ete

d sn’t are he asts.

According to Canadian communication

state art, it is nonetheless clearly art.” Michael Schudson (1946), American sociologist

“advertising is the greatest art form of the 20th century.” Pretty bold statement that is bound to raise more than a few eyebrows. Still, you’ve got to agree

Never Touch a Painting When it’s Wet And 50 other Ridiculous Art Rules

“If advertising is not an official or

theorist Marshall ‘The Medium is the Message’ McLuhan (1911–1980)

“I believe in advertisement and media completely. My art and my personal

that there is an art to creating good ads

life are based in it. I think that the art

or convincing people to go out and buy

world would probably be a tremendous reservoir for everybody involved in

product X over Y.

advertising.” Jeff Koons (1955), American artist “Advertising is fundamentally persuasion and persuasion happens

“Creative without strategy is called

to be not a science, but an art.”

‘art.’ Creative with strategy is called

Bill Bernbach (1911-1982), American advertising executive

‘advertising.’” Jef I. Richards (1955), American advertising professor

“I do not regard advertising as entertainment or an art form, but as a medium of information.” David Ogilvy (1911-1999), British advertising executive

Design 39 isn’t art

rule

Usability is often considered to be

“If one of the definitions we have

the decisive factor in the whole art versus design debate. The general

concerning art is that it serves its

consensus seems to be: if you can’t

public by reflecting and explaining the world at a particular moment in

use it, it’s probably art. But with

history, it is hard to believe that design

the dividing line between art and design growing increasingly blurry,

does not serve in a similar way.”

the debate continues.

Milton Glaser (1929), American graphic designer and illustrator

“Design is the method of putting form

“Art has to move you and design does not, unless it’s a good design

and content together. Design, just as

for a bus.”

art, has multiple definitions; there is

David Hockney (1937), British artist

no single definition. Design can be art. Design can be aesthetics. Design is so

“Designers always flirt with art.”

simple, that’s why it is so complicated.”

Hella Jongerius (1963), Dutch

Paul Rand (1914-1996), American

designer

graphic designer “Design is one of the arts, so designers are artists. But if designers make objects which can’t be used, then they are not making design, and this should not be considered as design. Maybe it’s decoration, maybe it’s art, but definitely not design.” Richard Hutten (1967), Dutch designer

Never Touch a Painting When it’s Wet And 50 other Ridiculous Art Rules Art rules the world. But what about the rules of art? In our current day and age, the general consensus seems to be that creativity, divine inspiration and art can never be bound by rules. Artists need to push the envelope, be ahead of the curve, and if there are any rules out there it is the artist’s prerogative, if not God-given right, to break them. But up to the early 20th century, artists did not have the complete artistic freedom that they are believed to enjoy today. They were bound by rules of art, of decency and indeed of taste.

mantras like ‘Design isn’t art.’ Myths, like the one of the struggling artist, are dispelled, while other rules are merely confirmed with the help of quotes by artists, theorists and art enthusiasts. For each of the 51 rules covered in each book, Van Gaalen refers to quotes by famous fellow creators, who either think there is something to the rule or have made a personal variation on it.

This books contains 51 art rules. From the age-old ‘Rule of Thirds’ to modern

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20 24

Rhythm Science by ComA, and series editor peter Lunenfeld’s

User: InfoTechnoDemo by mieke Gerritzen. The mitpress.mit.edu web site describes the publications: “mediawork pamphlets are ’zines for grown-ups, commingling word and image, enabling text to thrive in an increasing visual culture.” Because the writers were encouraged to speak in the first person, weaving their lives into the narratives about design, culture and technology, the role of author is amplified.

19 /// n. Katherine hayles 20 /// n. Katherine hayles, Writing Machines, 2002 21 /// anne Burdick 22 /// Brenda laurel 23 /// Brenda laurel, Utopian Entrepreneur, 2001 24 /// denise gonzalez crisp 25 /// paul d. miller (aka dJ spooky) 26 /// paul d. miller, Rhythm Science, 2004 27 /// coma (cornelia Blatter) 28 /// coma (marcel hermans) 29 /// peter lunenfeld holding User:InfoTechnoDemo, 2001 30 /// mieke gerritzen 31 /// t-shirt 32 /// daily paper 33 /// les Brown & his orchestra with doris day, Sentimental Journey, 1944 34 /// Kris sowersby 35 /// sarah maxey 36 /// Kate camp 37 /// new Zealand

SUBLIm INAL KI d)

Burdick’s and Crisp’s graphic interpretations — or enhancements — to their authors’

words merit special mention. Images of words, and words as images, blur the distinctions between reading and looking in these examples. Burdick weaves images of

documentary text into Hayles’ prose, allowing for a coherent syntactic flow while distinguishing between subject and object. She also ‘bulges’ passages of text for emphasis; this effect questions the page as a material surface for writing and activates the gap

between writer and reader. Crisp created photo-illustrations of words — set on a computer screen, and zoomed to almost architectural scale, their grayscale pixels reference the modular, grid-oriented construction of writing. Author Laurel’s voice varies through

typography, as multiple typefaces and formats communicate tone, nuance and emphaabove /// wr iting machines (mit mediaworks pamphlet ) /// Anne Burdick /// 2002 below /// Utopian e ntr e pr e ne Ur (mit mediaworks pamphlet ) /// denise Gonzales Crisp /// 2001

sis. To refer back to Unger’s comment, Burdick and Crisp have made a successful hybrid of a T-shirt and a daily paper through their mediaworks pamphlet designs. 26

Another project involving collaborative writing, typography and design is the Sentimental Journey series of postcards. But rather than the textual orientation of the mediaworks pamphlets, Sentimental Journey operates at the level of the two word phrase. It is a shared effort by typographer Kris Sowersby, graphic designer Sarah maxey and poet Kate Camp, all of New zealand. Camp selected the phrases — “freshly squeezed,” “land ahoy,” “lucky charm,” “new leaf,” and others — sending maxey and Sowersby each half of the phrase, who give their word an expressive, sometimes calligraphic, visualization 31

(WIT HoUT KNoWING T HE oT HER’S Wo Rd).

once

united, the pair is a lively interpretation of the original phrase. Although they are joined by proximity and clichéd usage on the postcard, the graphic individuality of each word animates the difference, a contrast in meaning and form. 33

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38 /// Katherine mccoy 39 /// cranbrook academy of art, Bloomfield hills mi 40 /// colorado 41 /// high ground 42 /// stevie wonder, Higher Ground, 1973 43 /// Katherine mccoy, See Read Image Text, 1989 44 /// Jonathan safran Foer, Extremely Loud & Incredibly Close, 2005 45 /// Jonathan safran Foer 46 /// anne chalmers 47 /// miklós tótfalusi Kis, Janson, 1685 48 /// oskar schell (as played on screen by thomas horn) 49 /// steven hall 50 /// steven hall, The Raw Shark Texts, 2007 51 /// an oncoming shark 52 /// Zenon Fajfer

mcCoy, former chair of two-dimensional design at the Cranbrook Academy of Art, and now of the High Ground workshop and studio in Colorado, USA. The verbs ‘see’ and ‘read’ are positioned above the nouns ‘image’ and ‘text’ and are connected with a straight line, reinforcing the accepted wisdom of how people perceive. But a thinner line crosses the composition, linking see to text and read to image; in the center of this x is a rich stew of overlapping pictures and words, articulating the many fluid possibilities for visual communication.

Signaling a wide-spread acceptance of text that communicates visually as well as literally, several recently published mainstream books push the conventions of type and book page layout.

Extremely Loud and Incredibly Close, written by Jonathan Safran foer and designed by Anne Chalmers, uses negative space, word and letter spacing, leading

(WHICH G RAdUALLy dECREASES ANd

fo RCES THE TypE To oVERLAp INTo A dENSE BLACK T ExT URE oN SEVERAL pAGES) ,

strike-throughs, italics

and caps to powerful graphic effect. The book also uses color and images conceptually and illustratively. Within the context of traditionally set Janson Text typeface for most of the novel, the story is propelled by these devices as it also makes the reader pause and reflect. By seeing text and reading images, the reader occupies narrator oskar Schell’s nine year old mind, made real by the combination of words and graphic design. Steven Hall’s novel The Raw Shark Texts employs other typographic devices: repetition L INE o f TypE ACTS AS T HE WAT ER’S SURfACE ANd REpE ATS EIGHT T ImES oVER fIVE pAGES) , (THE f IG URE of AN oNComING SHARK IS BUILT of WoRdS ANd Wo Rd fRAGmENTS) ,

design

(THE Wo Rd ‘EVERyT HING’ IS CoNST RUCT Ed of ARRoWS) .

(A SINGLE

concrete poetry

and custom letterform

Hall is credited with doing the type

treatments himself, an example of the author as designer. Although some of Hall’s choices might

49 50

se ntime ntal J oUr ney ( postcards ) /// Sarah maxey ( graphic

artist ),

Kris Sowersby ( typeface

designer ),

Kate Camp ( poet ) /// 2011

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The Designer As... Author, Producer, Activist, Entrepreneur, Curator and Collaborator: New Models for Communicating The role of designers in communication and visual culture is evolving, from designers serving as commercial ‘hired guns’ to assuming the more empowering roles of design authorship. It has become standard practice in design education to teach designers to develop their own voice and create self-initiated projects. The role of the designer can expand to being the author, producer, curator, network facilitator, activist, consultant, entrepreneur... the list goes on and on.

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phenomenon of design authorship and interviews many international designers who have taken on different roles as authors or producers of their own projects.

Previously Announced

designer-authors are fully fluent in writing, designing and reading, and are able to meld form, function and expression into a communicative whole. This idea is visualized in a poster by Katherine

The Designer as... is written to give design practitioners a consolidated overview of text and images that have been important in the development of design authorship.

In this book, Steven McCarthy, a professor of graphic design at the University of Minnesota in the USA and expert on the subject, provides an overview of the

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e po po p st so ca ng rd a s dv ic 20

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Get off the Internet Postcard Block Marcus Kraft

We have noticed that the book sells particularly well in high-end gift shops, design shops and museum shops. This

20 cards | 12 x 16,5 cm | € 9.90 | ISBN 978 90 6369 328 2 | September 2013

Related Don’t Eat The Yellow Snow, p. 63

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sparked the idea for a typical gift ‘line extension’: the Get off the Internet Postcard Block. Marcus Kraft collected 20 advice songs in this block which you can send to someone as a postcard. Ideal for when you want to send someone a comforting thought, invite them for dinner or any situation you feel that would fit with one of these famous pop song cards.

New titles

The book Don’t Eat the Yellow Snow was published in the autumn of 2012 and is now already in its third printing. Apparently, Marcus Kraft’s collection of famous advice songs struck a chord with music lovers and all those who just loved the way the book is designed and produced, with all its tactile and hand-painted qualities.

• Advice song bestseller now turned into postcards • To send to friends or just pin on your wall • Same iconic design as the book

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Street Style Memory Game III Barbara Iweins

The first two versions of this game sold over 15,000 copies and the international press was unanimous: trend blog The Cool Hunter declared it one of the coolest products of the year;

Related Street Style Memory Game II, p. 71

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Cosmopolitan found it great fun and inspiring; Vogue Italy named it an excellent exercise for aspiring Vogueistas; Wired loved it and Nylon just called it brilliant.

New titles

This is the third edition of Barbara Iweins’ much applauded Street Style Memory Game. All new street styles and iconic people from around the world, shot on the streets and in the parks of Amsterdam.

Forget old-school memory games, and get your dose of play by matching pairs of tops and legs to complete these style heroes that roam the streets of Amsterdam.

• “One of the coolest products of the year” - The Cool Hunter • “Brilliant” - Nylon • “Great fun and inspiring” Cosmopolitan

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Street Art Memory Game

This new title in the series of memory games celebrates the popular field of international street art, with works by the most famous street artists. Your task, as ever, is to find the matching cards. In this game you have to match two works by the same street artist. This may sound tricky, but the choice of works will be such that the player should be able to recognize the matching cards quite easily.

Great fun to play and you will gain more knowledge about the iconic and often visually very engaging works of modern street artists like Banksy, Invader, ROA, e1000ink, Evol, JR, Line Line Dot, Maser, Mobstr, Mentalgassi, Moneyless, MTO, Shepard Fairey, Stik, Varini and Phlegm.

New titles

Edited by Janne Ettwig and Lilian van Dongen Torman

• Major street artists featured • Street art is the most popular art form of the 21st century • Great for museum shops

Can You See What I See Memory Game, p. 73 Dutch Design Memory Game, p. 70

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Now rback in pape

“Service design is one of the core topics on the agenda of companies in almost every industry. This book provides you with the tools to understand and tackle the issue.” — Alexander Osterwalder, author of the global bestseller, “Business Model Generation”

“Pretty sure this book is about to change my life. Respects!” — Tweet from Mitch Kapler, NYC, 10 June 2011

#TiSDT

ISBN 978-90-6369-279-7

Know Your Onions This book is practical and immediate, without being condescending or overly technical. It is like having a graphic design mentor who will help you come up with ideas, develop your concepts, and implement them in a way that is engaging and humorous. It gives readers the experience and ability that normally comes from years of on-the-job training. Read this book and gain 20 years’ experience in how to think like a creative, act like a businessman and design like a god. Author and Design: Drew de Soto | English | 3rd print | 186 pages | Paperback | 20 x 12 cm | € 17 | ISBN 978 90 6369 258 2

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This Is Service Design Thinking Service design is a bit of a buzzword these days and has gained a lot of interest from major companies as well as from the business press. This book, assembled to describe and illustrate the emerging field of service design, was brought together using exactly the same co-creative and user-centered approaches you can read and learn about in the book. Editors: Marc Stickdorn and Jakob Schneider | English | 3rd print | 376 pages | 23 x 17.5 cm | Paperback editon, € 29, ISBN 978 90 6369 279 7 | Hardcover edition, € 45, ISBN 978 90 6369 256 8

Logo Life In Logo Life, you can read the short histories of the Apple logo and 99 other logos for worldfamous brands, seeing all the little steps and great leaps in the visual evolution of these logos, as well as some of their most iconic uses in brand advertising. Logo Life is a great book full of visual details and facts worth knowing about the evolution of many of the world’s greatest logos. Author and design: Ron van der Vlugt | English | 2nd print | 312 pages | Hardcover | 21 x 14 cm | € 24 | ISBN 978 90 6369 260 5

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‘What you always wanted to know but was never explained in a simple and efficient way.’

SKETCHING THE BASICS

This book can be regarded as the ‘prequel’ to our first book, which was intended as a reference guide. This new book concerns the study of form. Sketching: The Basics contains many step-by-step guides to making drawings. It is about learning to draw efficiently by employing different techniques, both manual and digital. Drawing an object or idea is not a rigid process but a lively interactive process. Revealing the steps in that process allows us to explain the decisions taken and their impact on the final result. Every chapter contains an exercise for the reader. After all, practice is probably the best way to learn. Can you remember your struggle as a child as you were learning how to write? Developing the skill to write by hand was hard work, but you managed. The same will happen as you learn to draw. Just as in our previous book Sketching, we will illustrate particular aspects of drawing in designer case studies. We have invited contributions from leading international designers from different cultures around the world. We feel it is important to show their drawings in relation to the design process. We believe in active observation and participation from the student. During the drawing process there are many moments when choices alter the outcome. Being aware of those moments and the variety of choices and opportunities makes your attitude more flexible and less rigid. Students learn to start sketching with an open mind instead of a fixed idea. We believe that such an open attitude is key to a good design process.

KOOS EISSEN & ROSELIEN STEUR

Highlights

Design sketching is embedded in a process involving many colourful aspects. The field of sketching is both lively and changing, and the importance of drawing in relation to the design process is considerable. Designers need to express their thoughts and ideas in context-driven drawings and sketches. That demands the skill to draw efficiently and with an awareness of the function served by the drawings and of their legibility. We think these skills can be acquired.

KOOS EISSEN & ROSELIEN STEUR

SKETCHING THE BASICS

THE PREQUEL TO

SKETCHING

DRAWING TECHNIQUES FOR PRODUCT DESIGNERS

www.sketching.nl www.SketchingForDesigners.com

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Don’t Eat the Yellow Snow Don’t Eat the Yellow Snow (Frank Zappa) is a collection of all the famous advice songs and many surprises as well. It gives the reader the song titles, painted by hand by the designer and a striking quote from the song lyrics as well as indexes on artists and themes. This well-produced, iconic album of words of advice from musicians is the perfect gift for music lovers of all ages. Design and concept: Marcus Kraft | English | 3rd print | 512 pages | 18 x 12 cm | Hardcover | € 17 | ISBN 978 90 6369 288 9

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Sketching A book on sketching for product designers has long been desired. The lack of a good manual led the authors of this book, who both teach design drawing techniques, to take the task into their own hands. The result is an incredibly broad and practical survey of sketching techniques for product designers. This book can be regarded as a standard book on design sketching for product design students. Authors: Koos Eissen and Roselien Steur | English | 13th print | 256 pages | Hardcover | 27 x 21 cm | € 39 | ISBN 978 90 6369 171 4

Sketching The Basics Following the global success of Sketching, authors Koos Eissen and Roselien Steur have now brought out the sequel entitled Sketching: The Basics. In fact, prequel would be a better word for this new book, since it is aimed at the novice designer. The Basics explains the rudiments of learning to draw both clearly and comprehensively using step-by-step illustrations, examples and strategies. Authors: Koos Eissen and Roselien Steur | Design: Booreiland | English | 4th print | 204 pages | Hardcover | 27 x 21 cm | € 34 | ISBN 978 90 6369 253 7

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modular structures

This book examines morphogenetic processes based on a combination of digital and analogue modelling and manufacturing techniques. The introduction of the module, as main instrument of geometric and structural determination, becomes crucial. The module as a pre-architectural unit is not read as a multiplying identical object, but as a variable set of rules, which due to the emerging CAD / CAM technologies is able to adapt, grow and transform into surfaces and complex geometries. Fractals, algorithms and systems in nature are taken as a starting point for the experiment to come.

modular structures in design and architecture

Sophia Vyzoviti

Traditional physical modelling techniques are combined with digital 3d modelling and manufacturing technologies, informing the emerging constructs with additional components and qualities.

Vyzoviti

Soft Shells

Laser Proof

Porous and Deployable Architectural Screens

Asterios Agkathidis

includes essays by: Asterios Agkathidis Sophia Oliver Tessmann Gabi Schillig Kostas Terzidis / Daniel Rosenberg Claudio Veckstein

Asterios Agkathidis

Folding Architecture

Soft Shells

Folding as a method of generating forms for architecture, products and fashion.

Soft Shells is a follow-up title to Sophia Vyzoviti’s bestselling books, Folding Architecture and Supersurfaces. Soft Shells investigates textile as a retro-novel architectural device which is porous and deployable. The book is lavishly illustrated with form experiments and has three essays that provide the reader with a state-of-the-art context for the architectural discourse on form-generative surface.

Supersurfaces

Catalogus2013.indd 52

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Architecture & Design Experiments Series

_COVER_BIS

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E NOT BOUND BY ITS RATIONAL ETHOS BUT ALTERNATIVE APPROACHES RELEVANT TO REAL !ND IF THE APPROACHES LEAD TO WHAT IS CTURAL ECCENTRICITY A NORM OR AN ANOMALY

S A SERIES OF DESIGN INVESTIGATIONS THAT NS OF SHAPE CHANGE AND MUTATION PROPOSITIONS DEALING WITH ECCENTRICITY IN ATIONS AND ACCOMPANYING DESCRIPTIONS OF HIS BOOK IS A USEFUL REFERENCE FOR STRUC CHITECTURE

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-RVHSK /LP

Catalogus2013.indd 53

Operative Design

Computational Architecture

The core idea of Operative Design is the use of operative verbs as tools for designing space. The verbs are illustrated with three-dimensional diagrams and pictures of designs which show the verbs â&#x20AC;&#x2DC;in actionâ&#x20AC;&#x2122;. Examples are expand, nest, twist, lift, embed, merge and many more. This approach was devised, tested, and applied to architectural studio instruction by Anthony Di Mari and Nora Yoo while teaching at Harvard Universityâ&#x20AC;&#x2122;s Career Discovery Program in Architecture in 2010.

Computational Architecture showcases many form studies using digital tools and techniques like drilling, twisting, lofting, triangulating, knotting and framing. These techniques are used systematically to explore spatial, geometrical and structural conditions, leading to the emergence of abstract prototypes. As a second step, each prototype is used to generate architectural solutions, enriched with data from site analysis and specific building programs.

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INSPIRE AND TELL A STORY

New brands are created every single day in every corner of the world. Yet only some succeed in finding a place in the minds and

BETTER LIFE JOHN ALTMAN SUPERMARKETSARAH.COM TONY’S CHOCOLONELY MILQUE ETAT LIBRE D’ORANGE MR. JONES ATYPYK YOURS ZARB MYKITA THREADLESS DO LONEWOLF MADE WITH JOY YELLOW BIRD PROJECT JOHNNY LOCO MATIÈRES À RÉFLEXION 479° POPCORN JOHN’S PHONE ESTELLE & THILD INDUSTRY OF ALL NATIONS OAT PASPARTOUT FRITZ-KOLA NU WETRANSFER PORTRAITS DE VILLES NOSTALGIA BIBICO

12,-

hearts of consumers. These brands often are authentic and innovative. And they almost always have a story to tell. IKEA, Apple, Google, Innocent, Tiger beer, Starbucks: all great brands with equally great brand stories. But what makes for a good independent brand? And what are the independent brands of tomorrow? And can an independently-funded brand ever go mainstream without selling out? Indie Brands delves into the world of independent brands. This book shows the creative people behind the brand, the visual eye candy they create, the space they work in and the inspiring items they surround themselves with. From one-man brands to collective enterprises, Indie

30 INDEPENDENT BRANDS THAT INSPIRE AND TELL A STORY

30 INDEPENDENT BRANDS THAT

19,-

15,-

Indie Brands

Threadless

New brands are created every day, but only a few find a place in consumers’ minds and hearts. This book delves into the world of indie brands: brands that are driven by independent entrepreneurs and have a unique story to tell. These cutting-edge brands have great brand design, smart marketing and an innovative approach. Loads of visual eye candy is included.

Threadless is a global t-shirt phenomenon. Established in 2000, it has become one of the Internet’s most creative and vibrant online communities; users submit designs which are scored by members and the highest scoring designs are printed and sold. This book tells the Threadless story and includes numerous super-creative t-shirt designs and essays.

Brands features 30 independent brands that inspire and have a story worth telling.

Understanding Design By Anneloes van Gaalen indie-brands.com

What does it mean to be a designer and what does it take to be a good designer? This book stimulates designers to think about what they do, how they do it and why they aim for a certain effect. This edition contains more than 170 essays and is updated with the latest design science for students and practitioners.

BY A NNE LO E S VA N GA A L E N

54 Cooper Black book Ward Nicolaas

29,-

Everywhere, everyday in our lives, the typeface Cooper Black turns up. Laundromats, dentists, restaurants, comic books, albums covers, magazines, advertisements, airplanes, films, art galleries and fruit gums worldwide... they all use or display Cooper Black, an all time popular font type, developed in the ‘20s by Oswald Cooper. The first step in fully understanding Cooper Black is to accept the fact that it is ugly: sexy ugly. But even without understanding anything about typography or graphic design, this Big Black and Beautiful book will guide you through your own ‘aha’ moments of recognition and surprise.

Cooper Black book Ward Nicolaas

9,-

19,-

Designing Diagrams

BIG Black & Beautiful

Designing Diagrams is a guide to the world of diagrammatic presentation of facts, thoughts, processes and relations. The effective design of a diagram is an art form in itself; it takes an understanding of the practice to create effective diagrams, and this book presents the information and inspiration that will allow designers to put the art into practice.

In 1922, the undeniable poker face of all typefaces entered the world: Cooper Black. Cooper Black is a survivor; it outlived World War II, the first step on the moon, sleazy magazines and hurricanes. This book is a celebration of the typeface. It tells its history, but first and foremost it shows how Cooper Black has been used the world over by designers of all sorts.

Catalogus2013.indd 54

Grids Het eerste volledige naslagwerk over het maken en gebruiken van grids in tal van designprojecten. Grids vormen de basis voor elk designproject. Leren hoe je ermee werkt is essentieel voor elke grafisch ontwerper. Van het werken met één kolom tot meerkolomsschema’s, gebruikmakend van typografie, kleur, beeldmateriaal en meer, leert Grids je hoe je tot een fantastisch ontwerp komt. Auteur: Beth Tondreau | Design: BTD NYC | Nederlands | 208 pagina’s | Hardcover | 25 x 21.5 cm | Van € 29,90 voor € 19 | ISBN 978 90 6369 211 7

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19,-

Fashion Makers Fashion Shapers

5,-

Meta Products

COVERING A PRACTICAL DESIGN APPROACH, EXPERT INTERVIEWS AND MANY CASES

SARA CóRDObA RubINO

Waar krijgt Alexandre de Betak de inspiratie vandaan voor de spectaculaire modeshows die hij voor Hussein Chalayan en Victoria’s Secrets maakt? Op grond waarvan beslist Jane Rapley, hoofd van Central Saint Martins, wie de volgende McQueen zal zijn? Dit boek geeft alle antwoorden. Een must-have voor iedereen uit het modevak. Auteur: Anne-Celine Jaeger | Nederlands | 272 pagina’s | Paperback | 23 x 17,7 cm | From € 29.90 for € 19.90 | ISBN 978 94 9022 800 2

WIMER HAzENbERG

Lolli-Pop

MENNO HuISMAN

Over the last few years, the web has become the standard for advertising, communication, socialising and so on. However, we are living in a world of atoms, filled with things created either by nature or by ourselves. It will become more and more useful to get physical products connected to the web. Design studio Booreiland is taking on the adventure of designing these Meta Products.

Lolli-pop is the conceptual stilllife project by Italian-born photographer Massimo Gammacurta. His lollies are edible icons and the brands are as sweet as candy for the palate and the eye. When Massimo distributed images of his lolli-pops on the Internet, interest amongst bloggers and fashionistas exploded. With this book, his lolli-pops of world-renowned brands are now available in print.

Special Offers

19,90

55 ISBN 978-90-6369-271-1

Reading Letters is a book about typeface legibility.

29,90

In our everyday life’s we constantly encounter a diversity of reading matters, these being display types on traffic signage, printed text in novels, newspaper headlines, or ones own writing on a computer screen. All these conditions demand different considerations of the typefaces applied.

29,-

19,90

Reading Letters

Creativity Today

Few of us will appreciate whether the typeface we read is legible, but we quickly notice if it is not. Creating type for optimal legibility is therefore an ungrateful task, since readers only register your failures. This book will not only help type designers create high-legibility typefaces, but also help graphic designers determine the optimal typeface for a given project.

This is the completely revised and up-to-date English edition of the very successful Dutch book Creativiteit Hoe? Zo! The strength of this book is that the techniques for stimulating your own creativity and that of others can be applied immediately and are based on decades of advisory practice.

In a straightforward manner, the book discusses these aspects by drawing on typography history, designers’ ideas, and by reviewing available scientific data concerning the process of reading.

Sofie Beier is a type designer, researcher and lecturer employed at the School of Design under

Sofie Beier

Easily accessible, and heavily illustrated, this is a most have for any designer looking for guidance when choosing a typeface for a given project.

Innovators Shaping our creative future The Royal Danish Academy of Fine Arts. She holds a PhD from the Royal College of Art in London, on the subject of typeface familiarity and its relation to legibility.

This is a landmark publication in the Dutch language, celebrating 60 creative makers and thinkers who are defining the way we experience the world around us. The selection covers 12 fields of creativity: street world, interiors and exteriors, built world, green world, graphic design, advertising, new media, fashion, photography, visual arts, applied arts and design. Dutch | 408 pages | Hardcover with dust jacket | 28 x 25 cm | From € 49 for € 29.90 | ISBN 978 90 6369 212 4

Catalogus2013.indd 55

bis

designing for legibility Sofie Beier

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koos eissen and roselien steur

100.000th Anniversary Edition

SKETCHING THE BASICS

ing skill, but find out nd drawings by them. They are process, used in ng sessions, in ration, and in , next to verbal nicating not only el makers but also ces.

“The best book about drawing that I have ever seen” - Professor L. Colani

ch design professor at the onsible for the of Industrial the Faculty of f the Arts.

sketching

drawing techniques for product designers koos eissen and roselien steur

Sketching

A book on sketching for product designers has long been desired. The lack of a good manual led the authors of this book, who both teach design drawing techniques, to take the task into their own hands. The result is an incredibly broad and practical survey of sketching techniques for product designers. This book can be regarded as a standard book on design sketching for product design students.

KOOS EISSEN & ROSELIEN STEUR

SKETCHING THE BASICS

sketching

d book on design design.

‘What you always wanted to know but was never explained in a simple and efficient way.’ KOOS EISSEN & ROSELIEN STEUR

and? Isn’t it more puter era?

New Sketching: the Basics

THE PREQUEL TO

SKETCHING DRAWING TECHNIQUES FOR PRODUCT DESIGNERS

Sketching: Product Design Presentation

www.sketching.nl www.SketchingForDesigners.com

Sketching_Basics_cover2.indd 1

Following the global success of Sketching, authors Koos Eissen and Roselien Steur now bring out the sequel entitled Sketching: The Basics. In fact, prequel would be a better word for this book, since it is aimed at the novice designer. The Basics explains the rudiments of learning to draw both clearly and comprehensively using step-by-step illustrations, examples and strategies.

For designers, sketching is a daily activity that can serve many goals. You can sketch to brainstorm, to find and articulate ideas or to present a project to other designers. And of course you sketch to present projects to clients and production companies. This book will show you how you can use your sketches to improve your way of communicating what you want.

22-08-11 11:56

56    

New Bocetaje: las Bases We are proud to present the first BIS original Spanish publication, namely the Spanish version of Sketching: the Basics: Bocetaje: las Bases. This edition will be distributed by Gustavo Gili in the Spain and Latin America. Sketching: the Basics explains the rudiments of learning to draw both clearly and comprehensively using step-bystep illustrations, many examples and sketching strategies. Authors: Koos Eissen and Roselien Steur | Design: Booreiland | Spanish | 204 pages | 27 x 21 cm | Paperback | € 29,90 | ISBN 978 90 6369 325 1

Catalogus2013.indd 56



New



The Exceptionally Simple Theory of Sketching



Some people make fast, nonchalant sketches which look great. Others sweat for hours to make accurate drawings, yet those might look unprofessional. Why is that? This book will teach you in a very simple way how to make your sketches look beautiful. The author shows which features exactly make drawings look professional and how you can implement those in your own sketches.

New Product Sketches This is a fully illustrated book with over one thousand product sketches organized in chapters covering the main product categories that designers design for, such as furniture, electronic devices, household appliances, accessories, garments, et cetera. A wonderfully inspirational book for anyone who wishes to improve their sketching abilities. Author: Andres Parada | English | 1000+ illustrations | 192 pages | 19 x 24 cm | Paperback | € 24 | ISBN 978 90 6369 309 1

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C U S TO M E R S A R E SCA RY C

“Pretty sure this book is about to change my life. Respects!”

LIFF

THE

INNOVATION EXPEDITION New

— Tweet from Mitch Kapler, NYC, 10 June 2011

Download all the innovation maps and 20 practical checklists to innovate the expedition way for free at www.forth-innovation.com.

A VISUAL TOOLKIT TO START INNOVATION

S OT

WN OUR O

The Innovation Expedition

This Is Service Design Thinking

philosophical context.

www.thisisservicedesignthinking.com

ISBN 978-90-6369-279-7

This is one of the first books on the market that deals with the difficult, fuzzy front end of innovation in a very visual way. In 9 steps the author takes the reader along on a journey towards ready-to-implement concepts for innovative products and services. It is a very inspiring, accessible and practical tool box for anyone interested in innovation. Auteur: Gijs van Wulfen | Design: Frederik de Wal | English | 240 pages | 500 illustrations | 240 x 190 mm | Hardcover | € 34 | ISBN 978 90 6369 313 8

Service Design is a bit of a buzzword these days and has gained a lot of interest from major companies. This book, assembled to describe and illustrate the emerging field of service design, was brought together using exactly the same co-creative and usercentered approaches you can read and learn about from the book. Editors: Marc Stickdorn and Jakob Schneider | English | 3rd print | 376 pages | 23 x 17.5 cm | Paperback editon, € 29, ISBN 978 90 6369 279 7 | Hardcover edition, € 45, ISBN 978 90 6369 256 8

75 tools for creative thinking

Delft Design Guide

75 tools for creative thinking

Includes 5 card decks: Get Started, Check Around, Break It Down, Break Free, Evaluate & Select.

New

The Delft Design Guide presents an overview of product design approaches and methods used in the Bachelor and Master curriculum at the faculty of Industrial Design Engineering in Delft. In this guide you will find some 70 strategies, techniques and methods, each described in a practical one-page text, illustrated for clarification and enriched with further reading suggestions. Edited by: Delft University of Technology, Faculty of Industrial Design Engineering | English | Illustrated | 176 Pages | 25,5 x 20 cm | Flexicover | € 29,90 | ISBN 978 90 6369 327 5 | September 2013

Catalogus2013.indd 57

Convivial Toolbox This book introduces generative design research: an approach to bring the people we serve through design directly into the design process to ensure that we can meet their needs for the future. The first part of the book covers the underlying principles of the approach, the second part presents cases and the third part is a how-to section. Authors: Elizabeth B.-N. Sanders and Pieter Jan Stappers | Design: Trapped in Suburbia | English | 200 illustrations | 312 pages | 23 x 17.5 cm | Paperback with flaps | € 39 | ISBN 978 90 6369 284 1

New

IDENTITY COLOUR CODES

75 Tools for Creative Thinking

Identity Colour Codes

Designers use many creative 75 tools for tools thatcreative can be helpful in differthinking ent stages of a creative process. This box contains 75 cards, each devoted toA one tool. The tools are fun card deck for everyone who needs creative inspiration. clearly explained and ready to use when you need to solve a problem. A wonderful and resourceful box for creative professionals and anyone who wishes to apply creative thinking to solving problems in any profession.

This book is an explorative journey through all kinds of (sub) cultures and shows along the way how companies, governments and people use colour to identify themselves. It is a 100% visual style atlas for creative professionals, forecasters and anthropologists; an image book for people who look with their brains and think with their eyes.

ck rd de o n ca wh “A fu eryone e tiv for eveds crea n.” ne iratio insp

Catalogue

Includes 5 card decks: Get Started, Check Around, Break It Down, Break Free, Evaluate & Select.

#TiSDT

A Rservice B O U Rdesign thinking through five basic principles, a Besides an introductionHto selection of individual perspectives demonstrate the similarities and differences between various disciplines involved in the design of services. Additionally, the book outlines an iterative design process and showcases 25 adaptable service design tools, exemplifying the practice of service design with five international case studies. The book concludes with an insight into the current state of service design research and sets service design thinking in a

75 tools for creative thinking

U B U S Y this is service design thinking. is time for a different C waySofY thinking:

75 tools for creative thinking

This is Service Design Thinking introduces an inter-disciplinary approach to designing services. Service design is a bit of a buzzword these days and has gained a lot of interest from various fields. This book, assembled to describe and illustrate the emerging field of service design, was brought together using exactly the same co-creative and user-centred approaches you can read and learn SY about inside. The boundaries between products and services are blurring and it

A fun card deck for everyone who needs creative inspiration.

A VISUAL TOOLKIT TO START INNOVATION

ts,

GIJS VAN WULFEN

ion ea tten to start l and great ill rica, and on n rmats dition’ ion

— Alexander Osterwalder, author of the global bestseller, “Business Model Generation”

THE INNOVATION EXPEDITION

visual

“Service design is one of the core topics on the agenda of companies in almost every industry. This book provides you with the tools to understand and tackle the issue.”

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New Get Agile

Vision In Design

The Designer As…

This book is a scrum manual, aimed at everyone who works on interactive products in a design & development environment. Scrum is a project management method that dissolves boundaries and distributes responsibilities which in other methods have been protected for years. If you are experienced, you will find the advanced tips and tricks useful. If you are just considering Scrum, this book will most certainly get you enthusiastic!

The authors, design practitioners and educators, bringing together in this book 15 years of knowledge, have produced the first book about how designers can formulate a vision for new and appropriate products. They call this approach Vision in Product Design (ViP). It strikes a good balance between structuring the process of design while allowing designers to take a personal position and fully express themselves in producing a product.

The role of designers in the communication and visual culture is changing more and more from designers as ‘hired guns’ to various roles of design authorship. In this book, Steven McCarthy provides an overview of the phenomenon of Design Authorship and interviews many international designers who have taken on different roles as authors or producers of their own projects.

Design Transitions Design Transitions brings together 42 stories and viewpoints illustrating how design practice is changing today and where it is going in the future. Read this book and join Design Transitions on their journey to discover what design practice is about today and where it is going in the future. Authors: Joyce Yee, Emma Jefferies and Lauren Tan, with a foreword by Tim Brown | English | 224 pages | 200 illustrations | 24 x 17,5 cm | Paperback with flaps | € 34 | ISBN 978 90 6369 321 3 | September 2013

Catalogus2013.indd 58

BY THE CO-AUTHOR OF SUSTAINISM IS THE NEW MODERNISM MICHIEL SCHWARZ & SOCIAL DESIGN INNOVATOR DIANA KRABBENDAM OF THE BEACH

Open Design Now

will drive “Sustainism the creativity of the Opentwenty-fi DesignrstNow looks at design century ” in the new networked world. ≥ TIM BROWN, CEO and President of design and innovation consulting firm IDEO

SUSTAINIST DESIGN QUALITIES

SUSTAINIST DESIGN GUIDE How sharing, localism, and w Neconnectedness proportionality are Michiel Schwarz Diana Krabbendam

New

SUSTAINIST DESIGN GUIDE

SHARING Collaboration Open exchange Commons

LOCALISM Community Local experiences Rootedness

creating a new agenda for social design

CONNECTEDNESS Connectivity Interdependence Connections

Michiel Schwarz Diana Krabbendam

Sustainist Design Guide WITH THE BEACH NETWORK

INCLUDES 12 CHANGE-MAKING CASES RANGING FROM URBAN FARMING AND CROWDSOURCED PUBLIC ARCHITECTURE TO FAIR BUSINESS AND COLLABORATIVE CRAFTS

PROPORTIONALITY Proportion Appropriate scale Human scale

Design is becoming an open discipline, in which ideas are shared and products are being renewed in a worldwide collaborative process. Open design empowers everybody to devise and distribute their own products. This book presents essays, case studies and a lexicon of images related to the main topics.

Sustainist Design Guide is the first book that takes the recent idea of ‘sustainism’ - as the new ethos of the 21st century - into the realm of social design thinking and practice. It brings together the key principles for sustainist design, maps out best practices and explores workable ideas for developing future social design.

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33 PSYCHOLOGICAL INFLUENCE TECHNIQUES IN ADVERTISING

New

Connect While working in the field of technology and aging, the authors of this book discovered that there is a new field to be explored: the field of connectedness. They discovered new opportunities for the emerging market of ‘aging-driven design’ and invite readers to join them in an effort to design for connectedness: to reframe the picture, rethink options and reinvent how to connect. Authors: Sabine Wildevuur, Dick van Dijk, Anne Äyväri, Mie Bjerre, Thomas Hammer-Jakobsen, Jesper Lund | Design: Pier Taylor | English | 192 pages | 20 x 15 cm | Illustrated | Paperback with flaps | € 29.90 | ISBN 978 90 6369 331 2 | September 2013

New Storytelling on Steroids In this captivating book, American writer and branding specialist John Weich explores the stunts, campaigns, exhibitions and visualizations that helped transform storytelling from a fringe communication movement into a pop culture phenomenon. Weich offers an original perspective on how storytelling became the favorite buzzword of global communication and creativity. Author: John Weich | Design: Erik Hoogendorp | English | 160 pages | 60 illustrations | 23 x 17 cm | Paperback with flaps | € 19 | ISBN 978 90 6369 311 4 | September 2013

Catalogus2013.indd 59

New Designing Meaningful Play Designing Meaningful Play offers a transmedial approach to the art of creating play experiences. The authors provide a big game design approach to games and the possible use of games, stories, music and everything else you can find to inform your design. The book takes you step by step through the why, what and how of play design. Edited by: Marinka Copier, Hanne Marckmann and Willem-Jan Renger | Design: Vuurrood | 300 colour illustrations | English | 240 pages | 27 x 21 cm | Hardcover | € 39 | ISBN 978 90 6369 300 8 | October 2013

HIDDEN ew NPERSUASION Hidden Persuasion ANDREWS / VAN LEEUWEN / VAN BAAREN

Visual messages are constantly attempting to persuade us to buy, learn and act. This book analyzes advertising beyond the persuasive power of the imagery itself. It explains the psychology behind 33 effective influencing techniques in visual persuasion and how to apply them. All techniques are supported by rich visual references. Authors: Marc Andrwes, Dr. Van Leeuwen and Prof. Dr. Van Baaren | Design: andrews:degen | English | 150 illustrations | 192 pages | 24,5 x 18 cm | Hardcover | € 34 | ISBN 978 90 6369 314 5 | September 2013

Catalogue

New NoCompromise The new retail positioning game

1 : 1 One to One The Essence of Retail Branding and Design

In this new, exciting off-the-wall retail book, international retail specialist Hans Eysink Smeets introduces the NoCompromise Retail Model: a simple method to clarify the changes that are happening in your sector and show you where you and your direct opponents are on the game board.

In 1 to 1, Michel van Tongeren expands the Platform Development Model he introduced in Retail Branding 10 years ago. He follows the customer’s journey from the couch at home to buying the physical product and covering all the steps in between, offline and online.

14-06-13 14:05

of logos withdrawn from considered icons of their ssics, whilst others cost in a year or two. These st to the ceremony and they often suffered an ct, they are consigned to ed to signify.

and 50 obituaries hed by the stone twins dumbar

d Updated

Jet propel yourself into the driving seat of a top-class web designer and hurtle towards creative stardom

Know Your Onions: Graphic Design

Know Your Onions: Web Design

This book is the perfect gift for all design students embarking on their most stressful year in design education: graduation year. This guide helps the student to graduate as a designer by giving practical advice and design advice, and by suggesting ways to make graduation less stressful and more enjoyable.

This book is practical and immediate, without being condescending or overly technical. It is like having a graphic design mentor who will help you come up with ideas, develop your concepts, and implement them in a way that is engaging and humorous. Read this book and gain 20 years’ experience in how to think like a creative, act like a businessman and design like a god.

This book will show you how to get your head around web design without getting your hands dirty in code. There is no code in this book, only the hidden secrets that will make you an excellent web designer and very popular. The book is written in a conversational style and more resembles having a chat with a bloke that knows his stuff than any kind of ‘how to’ manual.

fully revised and updated Brands and logos populate our visual landscape; the most successful have become such an intrinsic part of society that it seems as though they’ve always been there. Revealing the

Ron van der Vlugt

nment, corporations face obalisation are creating from the displacement, he workforce, the other tations of the company:

WEB DESIGN

Graduation Guide for Design Students

LIFE HISTORIES OF 1OO FAMOUS LOGOS

rgotten

New

LIFE HISTORIES OF 1OO FAMOUS LOGOS

w Drew de Soto

life histories of 100 logos for world-famous brands, LogoLife shows the little steps and great leaps in the visual evolution of these iconic symbols that we often take for granted.

Logo R.I.P.

Logo Life

Dynamic Identities

Fully updated and revised, LOGO R.I.P. The is aStone commemoration Twins of defunct logos that were once an integral part of the landscape, our visual culture and our lives. Many are icons of their time or can be deemed design classics. In this updated edition, several iconic trademarks (AT&T, Kodak, Lucent, Rover and Xerox and more) are added to the logo graveyard.

In Logo Life, you can read the short histories of the Apple logo and 99 other logos for worldfamous brands, seeing all the little steps and great leaps in the visual evolution of these logos, as well as some of their most iconic uses in brand advertising. Logo Life is a great book full of visual details and facts worth knowing about the evolution of many of the world’s greatest logos.

This visual book looks into design systems that produce living brand identities that can change in color, pattern or shape. The book offers a systematic process of creating living brand identities and gives the reader a wealth of examples of international identities that were built on the discussed systems.

a commemoration of dead logotypes

Catalogus2013.indd 60

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shapes of text

s h T

This book will show you how

Jan Middendorp

shaping Text

isbn 978 90 6369 133 2

can help you grab, hold, direct and manipulate the observer’s or reader’s attention. Within its pages you will find a rich resource of information about reading behaviour, typefaces, design strategies, technical possibilities and technical challenges. This book was written and designed by Jan Middendorp and contains visual contributions from a wide range of international designers. Shaping text is a guide for designers, writers, publishers, editors and students – anyone who works with fonts or is curious to know more about typography in its context.

9 789036 691332

a sp e c ts

What people said of other typography books

shaping Text

by Jan Middendorp Dutch Type ‘A standard work’

Creative Characters

How do we read? • VIsual rhetoric • Navigation Dramaturgy • Organizing text on the page • Grid systems Choosing fonts • Type design: revival and reinterpretation Classification and the development of printing type The emanicipation of the sans-serif • Type for the web Details in typesetting: rules and ‘crimes’ • Design strategies A short history of typographic technologies

Lettered

‘Premier Award’ istd, london

Made with FontFont

TypoMag

Writing, typesetting and printing have become part of almost everyone’s experience. However, many users are clueless about how fonts work and how to communicate best with readers. Shaping Text takes a practical and broad approach to typography. It examines the constituting elements of graphic products, including type, image, ornament, layout, and color.

TypoMag analyzes excellence in the use of typography in more than 30 magazines from around the world and on a variety of topics. Detailed typographic solutions as used in these magazines are clearly explained and shown through numerous illustrations. TypoMag analyses magazines such as Nico, Monocle and The New York Times Magazine. It also includes resources for books and blogs on magazine design.

‘Our favourite type book’

A Line of Type

This book is a collection of indepth interviews with the most influential type designers in the business as well as up-and-coming young guns about the motives and methods behind their typefaces. The interviews have been published before in the monthly newsletter of MyFonts.com, the world’s largest web shop for digital fonts based in the USA. (with Alessio Leonardi) ‘Hysterically funny’

www.bispublishers .nl

Shaping Text

(with Erik Spiekerman)

Creative Characters

‘Intelligent … Admirable’

Catalogue

There are millions of well-made and attractive

New Portfolio Class With Clare :-)

Anthon Beeke It’s a Miracle!

Marshall McLuhan Unbound

This book shows those embarking on a career in advertising how best to put together an effective and professional portfolio. The book reminds students that even though they’re in awe of the advertising superstars, these greats a) were once them and b) need them to feel young and inspired again.

An essay is for research, a book for clarification. That was media guru Marshall McLuhan’s opinion, something confirmed by this cassette: a curious collection of twenty colorful ‘notebooks’ that place the reader in the role of co-researcher and give a unique and extraordinary survey of McLuhan’s thinking.

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This book contains 51 photography rules that will appeal to both the professional photographer and the enthusiastic amateur. Rules such as “Frame Your Image,” “Freeze the Action,” “Never Photograph People Eating,” “Crop Well” and “The Rule of Thirds.” Rules that to some are valuable words of wisdom, while others perceive them as ridiculous guidelines that need to be bended, twisted or broken altogether. Edited by Anneloes van Gaalen

Never Photograph People Eating And 50 other Ridiculous Photography Rules

With the dawn of the digital age, photography is more popular – and indeed more affordable – than ever. But a good camera doesn’t necessarily make for a good photographer.

Because, ultimately, every rule related to, or governing, photography is ridiculous...

New

Never Photograph People Eating And 50 other Ridiculous Photography Rules

Never Use White Type on a Black Background

Never Leave the House Naked cover.indd 2

The world of design is inundated with a seemingly endless list of rules. They’re familiar sayings that some designers consider to be valuable words of wisdom, but others think of them as mere restrictions. Whichever side of the fence you are sitting on, you’re bound to find this book a source of inspiration.

The international fashion police is a force to be reckoned with. Armed with an endless list of rules, it acts as both judge and jury in dealing with those guilty of committing a crime against fashion. While some of these rules are nothing short of ridiculous, others serve as words of wisdom that can help prevent committing a fashion faux pas.

Never Use Pop Up Windows

Never Use More Than Two Different Typefaces

This volume in the Ridiculous Rules series is about rules in the use of the Web. It is not only about web design, but also about rules that apply to communicating through the Internet. For each of the 51 rules covered, Van Gaalen refers to quotes by famous designers who think there is something to the rule or who have made it their own. Edited by: Anneloes van Gaalen | Design: Lilian van Dongen Torman | English | 2nd print | 160 pages | Hardcover | 17 x 12 cm | € 15 | ISBN 978 90 6369 217 9

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Never Photograph People Eating

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This book, the 7th volume in the Ridiculous Design Rules Series, contains 51 photography rules that will appeal to both the professional photographer and the enthusiastic amateur. Rules that some will consider words of wisdom, while other perceive them as ridiculous guidelines that need to be twisted or broken altogether. Edited by: Anneloes van Gaalen | Design: Lilian van Dongen Torman | English | 160 pages | 17 x 12 cm | Hardcover | € 15 | ISBN 978 90 6369 277 3

Never Sleep with the Director Ridiculous Film Rules is the sixth book in the Ridiculous Rules series and is meant for movie lovers, silver-screen starlets and the people who get to yell ‘cut’ and ‘action’ on set. It contains 51 movie-related rules, their history and quotes by industry leaders, Hollywood big shots, indie directors and a whole list of actors and actresses. Edited by: Anneloes van Gaalen | Design: Lilian van Dongen Torman | English | 160 pages | Hardcover | 17 x 12 cm | € 15 | ISBN 978 90 6369 276 6

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New

Never Touch a Painting When it’s Wet

Eat More Love

Inspired

Art Rules the world. But what about the rules of art? It may seem that art should never be bounded by rules, but there are strong rules that live in the world of art. This book contains 51 art rules and quotes by artists and critics who think there is something the rule, or just strongly oppose it.

Marije Vogelzang has been designing eating concepts for 10 years now. Her primary interest is in the verb ‘to eat’. She does not design the food itself, but what she does design is more the act of eating itself and everything that surrounds that act. This 3rd printing of Eat Love is an extended edition, incorporating her latest projects and personal notes on some of her most striking eating projects.

Inspired has returned by popular demand. The authors of this book asked themselves where ideas come from. Armed with a tape recorder and a digital camera, they set off around Europe and interviewed some forty creative thinkers. The thinkers showed them their sketchbooks, notepads and bottom drawers, allowed them to photograph theirs desks and told them what gets their creative juices going.

Catalogue

And 50 other Ridiculous Art Rules

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van Gaalen

Never Touch a Painting When it’s Wet

Don’t Eat the Yellow Snow

Get off the Internet Postcard Block

Creative Personal Branding

Don’t Eat the Yellow Snow (Frank Zappa) is a collection of all the famous advice songs and many surprises as well. It gives the reader the song titles, painted by hand by the designer and a striking quote from the song lyrics as well as indexes on artists and themes. This well-produced, iconic album of words of advice from musicians is the perfect gift for music lovers of all ages.

The book Don’t Eat the Yellow Snow was published in the autumn of 2012 and is now already in its third printing. Apparently, Marcus Kraft’s collection of famous advice songs struck a chord with music lovers. In this postcard block, Marcus collected the 20 best advice songs which you can send to someone as a postcard. Ideal for when you want to send someone a comforting thought, invite them for dinner or any situation you feel would fit one of these famous pop song cards.

After eight years of work in creative personal branding, Jürgen Salenbacher has distilled his ideas in a book. He examines the work of leading theorists in business culture and explains how our success in exploring change depends on our ability to think creatively. A unique resource for creative minds, but also for anyone facing major life decisions.

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s 51 art rules. From the age-old modern mantra’s like ‘Design isn’t one of the struggling artist, are er rules are confirmed with the tists, theorists and art enthusiasts.

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Never Paint by Numbers And 50 other Ridiculous Art Rules

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New Dear Fashion Diary Dear Fashion Diary is an illustrated diary full of fashion assignments for young fashionistas to entrust with their deepest fashion longings. It encourages you to collect your personal favorite outfits, create lists of your seasonal musthaves, tidy up the content of your wardrobe and much more. When your diary is full, you will have a wonderful collection of your fashion life of the past year and will be ready to start filling a new volume.

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Author: Susie Breuer | Design: Lilian van Dongen Torman | English | 232 pages | Hardcover with Key Dates What John Calender insert | 23Would x 17.5 cmDo? | € 34 | ISBN 978 90 6369 281 This is a book you will cherish for a lifetime, for contained within its pages are the secrets to making all your dreams come true. Well, some of them. And if it not, it does contain everything you need to bake the perfect cookie*. In ‘What Would John Do?’, William Georgi channels the spirit of John Altman - baker, nudist, part-time roadie from San Francisco - to guide you through the seven stages of baking your way to happiness. Seven simple, yet powerful principles made in the kitchen, but that will spread to every area of your life. Well, some areas of your life. And if not, at least you will know how to bake the perfect cookie.

New

Did we mention the perfect cookie part? *Ingredients not included.

Now available iN a good store Near you!

You can find your nearest purveyor of Altman goodness at www.johnaltman.org

Understanding Design

Written for fashion graduates, those in entry-level positions within the industry and fledgling entrepreneurs, this book demystifies the process of how to make a fashion collection. It is written for people who want to know how to create a collection - who want to roll up their sleeves and do it, but who need practical instruction on the different stages.

If you go travelling to find yourself, all you norm end up with is a dodgy tie-dye t-shirt and an ev dodgier piercing. Instead we found John Altma

We were hanging out on Baker Beach in San Francisco when we met him giving away free cookies. The best damn cookies we’d ever tasted When we told John this, he said only one thing ‘Spread the love. Make people happy: take the recipe, bake the cookies and spread the love!’

And that’s exactly what we did. What Would Joh is the inspirational story of how one man show us how baking can make the world a better, and sweeter, place for us all.

flour power - bakiNg your way to happiNess

John inspired us to spread the love, so spread the love we do. We exist to spread John’s values as far and wide as we can with a couple of things very close to John’s heart: wine and cookies. Everything that goes into them is 100% natural and is made with as little impact on the environment as possible. And of course they taste good. Damn good. We like to think that’s what John would have wanted.

Make Design Matter

What Would John Do?

Blue is the New Black

Think Like a Lawyer, Don’t Act Like One

What Would John Do?

This book offers 75 successful strategies for avoiding or solving conflicts. Developed with input from e.g. Winston Churchill, Al Capone, Harvard University, three bonobos, two kissing boxers, one cowboy, Mikhail Gorbachev, Sun Tzu and John Rambo. Once you have read this book, you will be able to solve almost any conflict in a simple manner.

This little book can change your life. Meeting John has in any case changed the life of the author. In the book, he introduces John Altman, a cookie baker from San Francisco. In seven chapters, we learn the seven steps required to bake a cookie, a metaphor for seven simple principles that pave the way to a happier life. And if it does not work, you can still bake a perfect cookie.

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Having worked for several years as designers for Oilily, in 1999, Paul Roeters and Jeroen Hoedjes set up Studio Kluif in Den Bosch, the Netherlands. The work produced by Studio Kluif is very visual, expressive and illustrative. This monograph is the first to be published on Studio Kluif and includes a wide range of their work, including magazines, postcards, displays, children’s cookbooks and packaging. Design and concept: Studio Kluif | English | 300 illustrations | 160 pages | 22 x 15.5 cm | hardcover in slipcase | € 19.90 | ISBN 978 90 6369 156 1

Work Hard Play Harder This is the fourth monograph of Studio Kluif, following Purists are Boring, Pacifist Punks and Ideas are Immortal. Work Hard Play Harder is packed with new creative projects and proves that they still master the magic of attractive designs that go right to the core and the hearts of the public. Design and concept: Studio Kluif | English | 300 illustrations l 160 pages | 22 x 15.5 cm | Hardcover in slipcase | € 19.90 | ISBN 978 90 6369 298 8

Pacifist Punks This is the follow-up title to Purists are Boring, showcasing more design projects by Dutch graphic design studio Studio Kluif. It shows that Kluif goes straight to the core. They don’t like showboating and pretentiousness is their favourite target. Their style is direct and simple, with a sense of humour and relativity. Kluif is all about colors and they show their true ones every day. Design: Studio Kluif | English | 160 pages | Hardcover in slipcase | 22 x 15,5 cm | € 19.90 | ISBN 978 90 6369 195 0

Catalogue

Purists are Boring

Modern Living

Pro Stress #1

Pro stress #2

This book and full-length DVD show the unparalleled and offbeat work of one of the most original and popular animators around: Han Hoogerbrugge. Topics include animation and sound design for his groundbreaking flash animation series Hotel, Nails and of course Modern Living/Neurotica.

In a follow-up to the overview Modern Living, BIS presents the cartoon album of Pro Stress, the Internet project that occupies Han Hoogerbrugge on a daily basis. In the work of draftsman and animator Han Hoogerbrugge, the artist wrestles with humour in everyday life and investigates his obsessions, neuroses and emotions. In over 200 short cartoons, Hoogerbrugge observes the world and people like David Lynch, Nick Cave and Dr. Phil.

This is the second album of Pro Stress, the hilarious but also sometimes uncomfortable daily comic by Han Hoogerbrugge. Pro Stress #2 collects over 200 new short cartoons in which Hoogerbrugge observes the world, in delightfully humorous fashion. Besides the protagonist, who has always been an alter ego of Hoogerbrugge himself, the comics depict such famous figures as Silvio Berlusconi, Vladimir Putin, Karl Lagerfeld, the Pope and many more.

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Everyone is a Designer in the Age of Social Media BIS published the first Everyone is a Designer in 2001. The editors now revisit its subject based on the assumption that the proposal of the democratization of the design world has become reality. This edition looks at the position of design itself in the ever-expanding areas in which it finds itself. Editors: Mieke Gerritzen and Geert Lovink | Design: Mieke Gerritzen | English | 144 pages | Paperback | 19 x 13 cm | € 15 | ISBN 978 90 6369 227 8

Next Nature

Blood In Blood Out

Next Nature is a critical and visual take on man’s continuous efforts to imitate and improve nature itself. A child walking through a pineapple grove, telling her father that it smells like her shampoo. Greener grass, you get used to it. A book full of statements, short essays and images from designers and thinkers from around the world.

Designer Floor Wesseling dived deep into the phenomenon of heraldry, the 15th-century visual coding system by which families and kingdoms could be identified. Today we can find a lot of similarities on the jerseys of football clubs. This book combines jerseys from different teams into new jerseys and in doing so tells emotional stories about rivalry, social communities and latter-day football battles.

Per Mollerup

WAYSHOWING w WAYFINDING Ne>

Basic & Interactive

I DONT KNOW KILIF 11/10/10 1:40 PM Page 1

I Don’t Know Where I’m Going but I Want to be There This book shows the expanding field of graphic design from 1900 right through to 2020. It showcases visual rhymes between the visual productions of today and their historical counterparts. It also offers text contributions by international authors who paint a picture of the fields of creativity that designers will explore in the coming decade. Editors: Sophie Krier, Minke Kampman and Marjolijn Ruyg | 168 pages | 25 x 17.5 cm | Paperback in slipcase | € 24 | ISBN 978 90 6369 257 5

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The Pop-Up Generation

WAYSHOWING >>WAYFINDING Wayshowing Wayfinding

The pop-up generation is the youngest generation of designers who easily shift between the 2nd and 3rd dimension, between acting in the physical and the virtual world. This book examines the pop-up phenomena and captures the essence of the time we live in. It is a visual overview of the concept in architecture, design and art.

This is the completely renewed edition of the standard reference book Wayshowing. This new edition by Per Mollerop is fully updated with digital signage systems and has much more tool-oriented, practical content. Moreover, all signage examples are newly selected for this edition. The cases include traditional print solutions, as well as all types of digital wayfinding/wayshowing.

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BETC Paris

Design Factory marks 25 years at the forefront of Irish visual communication with a beautifully designed book that is at once a celebration of the company’s achievements and an overview of a quarter of a century of Irish graphic design. Members of Design Factory have been very much in the forefront of graphic design in Ireland. The story provides a microcosm of the evolution of Irish visual communication.

BETC was founded 12 years ago as a small creative hotshop and is now France’s largest advertising agency with 400 people on its staff. In 10 of the last 12 years, BETC has been designated the most creative agency in France and has dream clients like Evian, Peugeot, Louis Vuitton, Canal+, Vichy and others. This oversized book gives a splendid picture of BETC’s work and comes with a DVD of the agency’s best ads on film.

The Spontaneous City This book presents the concept of the Spontaneous City as an alternative direction of design thinking and urban planning, as opposed to traditional rigid city planning. This city is user-centered, never finished, and the result of supply and demand. The book draws on the work and experience of Gert Urhahn, who works as an urban designer and architect in the city of Amsterdam. Authors: Urhahn Urban Design | English | 2nd print | 176 pages | 30 x 24 cm | Paperback | € 29.90 | ISBN 978 90 6369 265 0

Catalogue

Design Factory

Make Enemies & Gain Fans SNASK is a branding, design and film agency based in the heart of Stockholm. They are young, successful, bold, edgy and confident. SNASK is the perfect example of a new breed in the design world. Now they are sharing how they think, talk, lie, kiss and tell. You will learn how to pee on yourself or tell pink lies and find out why making enemies is a good thing. Design and concept: SNASK | English | 200 illustrations | 192 pages | 23 x 16.5 cm | Paperback with flaps | € 24 | ISBN 978 90 6369 297 1

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Iconic Packaging The Heinz Ketchup Bottle In this first publication in our Iconic Packaging series, designer and branding expert Marcel Verhaaf tells the story of the Heinz Ketchup bottle. In 64 richly illustrated pages, we learn all about this iconic bottle, as well as the evolution of ketchup, the Heinz Corporation itself and their advertising campaigns. Author: Marcel Verhaaf | Design: Paulien Hassink | English | 64 pages | 2nd print | Hardcover | 21 x 15.8 cm | € 12 | ISBN 978 90 6369 230 8

Iconic Packaging The Fruittella Roll The Fruittella roll is the subject of the second instalment in the Iconic Packaging series. This book tells you all about the rich history of this confectionery brand and the company behind it. It sheds light on how “the roll that doesn’t cut corners on flavor” has become a unique packaging icon. Author: Marcel Verhaaf | Design: Paulien Hassink | English | 64 pages | Hardcover | 21 x 15.8 cm | € 12 | English edition: ISBN 978 90 6369 303 9 | Dutch edition: 978 90 6369 293 3

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Sophia Vyzoviti

Soft Shells Soft Shells

Porous and Deployable Architectural Screens

Folding Architecture

Supersurfaces

Soft Shells

Folding is a relatively new trend in architecture. It’s a very playful way of designing and offers free rein to spontaneity during the design process. This book gives insight into the possibilities together with results of the research the architectural faculty of TU Delft conducted into this technique since 2001. Vividly illustrated with a survey of much-discussed concepts, projects and buildings.

This is the sequel to Folding Architecture. It shows the results of Sophia Vyzoviti’s design method of design through folding. The research in here goes a step further using more durable materials than paper but with similar qualities. The booklet makes clear how the technique of folding can be applied not only in architecture, but also to industrial, product or textile manufacture.

During the studios, students had adopted a particular design approach: digital tools and techniques, such as twisting, lofting, triangulating, drilling, knotting and framing, were used systematically to explore spatial, structural and geometrical conditions, leading to the emergence of abstract prototypes. As a second step, each prototype was perceived as an apparatus, which was used to generate architectural solutions, enriched with data deriving from site analysis and the various building programs.

Modular Structures

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digital designing tools and manufacturing techniques

includes essays by:

Asterios Agkathidis Elie Haddad David Külby / Cindy Menassa Geo Reisinger Adeline Seidel

Asterios Agkathidis

Modular Structures examines morphogenetic processes based on a combination of digital and analogue modelling and manufacturing techniques. The visual studies shown in this book have been produced in the academic context of the Technische Universität Darmstad in classes and workshops held by the author.

Digital Manufacturing

computational architecture computational architecture

This book is a collection of architectural projects designed by students in their third and fourth educational years, in design studios, under the tutelage of the author as visiting assistant professor at the Lebanese American University.

This book examines the possibilities emerging for design and architecture by the introduction of novel CAD and digital manufacturing techniques, organised within five production techniques: cross-segmentation, accumulation, frameworks, loops and folding. Author: Asterios Agkathidis | English | 2nd print | 136 pages | Paperback | 15 x 10.5 cm | € 12 | ISBN 978 90 6369 232 2

Computational Architecture Computational Architecture showcases many form studies using digital tools and techniques like drilling, twisting, knotting, Asterios Agkathidis triangulating, lofting and framing. These techniques are used systematically to explore spatial, geometrical and structural conditions, leading to the emergence of abstract prototypes. Author and design: Asterios Agkathidis | English | 300 illustrations | 160 pages | 15 x 10.5 cm | Paperback | € 12 | ISBN 978 90 6369 287 2

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This inspirational book seeks to discover the architectural potential of biological structures as can be found in nature, in the world of seashells, corals, plants and animals. The structures that give biological forms strength, movement and firmness are studied, illustrated and used as an inspiration for design experiments. Author: Joseph Lim | English | 2nd print | 232 pages | Paperback | 15 x 10.5 cm | € 19 | ISBN 978 90 6369 204 9

Eccentric Structures In architecture This book presents studies in architectural form focusing on the relationships between force, form and space to develop structure. The design processes of different structures vary from inherently unstable forms to multi-span spaces in buildings to the creation of multilayered spaces within physical shells. Author: Joseph Lim | English | 2nd print | 160 pages | Paperback | 15 x 10.5 cm | € 12 | ISBN 978 90 6369 242 1

Operative Design The core idea for this book is the use of operative verbs as tools for designing space. These operative verbs abstract the idea of spatial formation to its most basic terms. Examples of these verbs are expand, inflate, nest, twist, lift, embed, merge and many more. The verbs are illustrated with threedimensional diagrams and pictures of designs which show the verbs ‘in action’. Authors: Anthony Di Mari and Nora Yoo | English | 2nd print | 300 illustrations | 160 pages | 15 x 10.5 cm | Paperback | € 12 | ISBN 978 90 6369 289 6

Catalogue

Bio-structural Analogues In architecture

Inspiration Design methodology in design and architecture has changed significantly over the last ten years. More than ever, graphic attributes are used in contemporary architecture. A number of new design methods and applications emerged through the use of digital media, leading to a paradigm shift in the way we design. Inspiration aims to achieve a full overview of these exciting new topics from a theoretical and practical background. Authors and design: Prof. Mark Mückenheim and Dipl. Ing. Juliane Demel | English | 274 pages | Hardcover | 29.5 x 23.5 cm | € 45 | ISBN 978 90 6369 267 4

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Performative Geometries

Bridging the Dutch Landscape

Within the scope of the workshop on Performative Geometries, students at the Aristotle University of Thessaloniki developed individual spatial design strategies by analyzing textile techniques and their underlying geometrical spatial appearance. The book contains visuals of the form studies between fashion, textiles, space and architecture.

The Dutch often live near water, and that proximity calls for many bridges. More than 240 bridges in Holland have been designed by ipv Delft, an industrial design bureau that has evolved to become the definitive bridge specialist in the Netherlands. In this design manual for bridges, ipv Delft shares their expertise and presents some of the creative solutions they have devised.

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New Mozaa

The Stewardess Game

Street Art Memory Game

This is a funny version of the classic quartet game in which players collect sets of four cards by exchanging cards with other players. This version covers topics of the world of aviation. Collect four planes, stewardesses, food items, arrivals by night, items you will find in a stewardess’ bag, destinations and pilot gear.

In this game you have to match two works by the same street artist. This may sound tricky, but the choice of works will be such that the player should be able to recognize the matching cards quite easily. Great fun to play and you will gain more knowledge about the often visually very engaging works of modern street art.

Twins Memory Game

Dutch Design Memory Game

A new variation to this familiar mind teaser. The objective in the Twins Memory Game is to find the most sets of identical twins. But be warned: identical twins are not always completely identical! For the game, Agnes Kappert has produced splendid and very naturalistic photographs of thirty sets of identical twins.

After five printings of the first Twins Memory Game, the creator of the game, Maaike Strengholt, has come up with a complete new version of this familiar mind teaser. 30 pairs of identical twins, new people, new photography, same assignment: find the most matching sets of identical twins and win.

This title in the BIS series of memory games celebrates the heroes of Dutch Design. Your task, as ever, is to find the matching cards. In this game, you have to match two objects by the same Dutch designer. The objects are distinguishable by form and by the designer’s signature. You will learn more about the internationally beloved, famous Dutch designers.

Mozaa is a colorful combination between domino and mosaic. It is the edge matching game that brings out the artist in you. The box contains 64 cards (tiles) which all have a unique color combination. Take a playing card from the stack and place it next to the cards on the table, in such a way that the colors on the edges match. The one who creates the most and largest color fields wins the game.

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This attractively finished typographic memory game includes 25 variations of the letter ‘A’. Players attempt to find matching cards and the one who has most sets wins the game. Information about the letter is included on the card, and a separate folder provides a general history of typography. Published in collaboration with ps.2 arquitetura + design | English | 13 x 9 x 5 cm | 2 x 25 cards in a box | € 19.90 | ISBN 978 90 6369 221 6

Van Gogh Memory Game Van Gogh is one of the world’s most admired painters and the Van Gogh Museum is a must on every Amsterdam visitor’s list. In collaboration with the museum, BIS produced the Van Gogh Memory Game. Each set of cards consists of two different images, together forming a clear theme and telling a little story about Van Gogh. Edited by: Van Gogh Museum Amsterdam | Design: Lilian van Dongen Torman | English/Dutch | 2nd print | 2 x 30 cards in a box | 14,5 x 7,5 x 5 cm | € 15 | ISBN 978 90 6369 245 2

Play Van Abbe The Van Abbemuseum in Eindhoven is famous for its experimental approach towards art’s role in society. Its collection includes key works by Lissitzky, Chagall and Picasso. It is no surprise that the museum welcomed the idea of creating a memory game. The sets have striking similarities in subject or technique, but are never by the same artist. Edited by: Van Abbemuseum | Design: Met Inhoud | English/Dutch | 2nd print | 2 x 30 cards in a box | 14,5 x 7,5 x 5 cm | € 15 | ISBN 978 90 6369 241 4

Catalogue games

The Quick Brown Fox Jumps Over The Lazy Dog

New Street Style Memory Game II

Street Style Memory Game III

Visual Power Memory Game

This is the second edition of our bestselling Street Style Memory Game by Barbara Iweins. This game allows you to play with new street styles and iconic people from all corners of the globe, all photographed on the streets of Amsterdam. The game teaches you to become a Vogueista by matching the right faces and legs of fashionable people from Amsterdam.

This is the new third edition of Barbara Iweins’ much applauded Street Style Memory Game. The first two versions of this game sold over 15,000 copies and the international press was unanimous: The Cool Hunter declared it one of the coolest products of the year; Vogue Italy named it an excellent exercise for aspiring Vogueistas; Wired loved it and Nylon just called it brilliant.

The photographs on the playing cards of this game are picture montages sampled from images imprinted on our visual memory as icons of the mass culture in which we live. This surprising and contemporary version of the memory game is great fun to play and good for training people’s power to remember. It guarantees hours of amusement around the kitchen or dining room table.

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Amsterdam Memory Game

London Memory Game

Berlin Memory Game

Amsterdam is the world’s most cosmopolitan village. As a brand, Amsterdam is known all over the world and it’s actually even better known than the Netherlands, of which it is of course the capital. This game is devoted to images of Amsterdam. Find matching pairs of typical bridges, streets, ladies behind red-light windows, houses, architectural details, kitschy Amsterdam souvenirs, et cetera.

London Memory Game is made up of 25 pairs of cards on typical London themes: Big Ben, shopping, London architecture, bridges, pubs, museums, greasy food, et cetera. Creatively visualised, it is an extra treat to play a game while getting to know the city better and from a new perspective. A folder that gives insight into the chosen subjects is included.

Supplementing the Amsterdam and London memory games, Berlin Memory Game is out now. Berlin is a city for young people and people working in the creative industry, and the cards reflect that reality. Anthony Noel is a photographer who lives in Berlin, taking brand-new, characteristic images of the city for this game. The perfect gift for lovers of Berlin.

Fake for Real Memory Game

Brand Memory Game

You Are What You Eat Memory Game

The images of Fake For Real Memory Game - both historical and contemporary - playfully visualise the classic theme of fake and real. The fun isn’t just in playing the memory game, but also in the surprising, slightly dissimilar images. Can you tell what is fake and what is real?

This game is all about knowledge of brands. Hendrik-Jan Grievink has made a selection of 30 internationally well-known brands, showing neither logo nor name on the images. The challenge is to find matching sets, based solely on their style elements and characteristic colours and a short description of the brand. Playing this game offers great fun and an excellent test of your brand knowledge.

Marije Vogelzang, author of the successful Eat Love book, adds a fantastic game to the BIS list of memory games; unsurprisingly, it is all about food. Marije Vogelzang selected food that has a specific and consistent effect on our body. The task is to correctly match a food to its effect on our body. Examples include cola and burping, garlic and bad breath and pepper and sneezing.

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Random acts of kindness have been shown to increase our self-esteem and happiness. At the same time, the paradox of choice is known toincrease our cognitive load to a degree that makes us frustrated and, ultimately, dissatisfied. So how do we benefit from acts of kindness without straining our brains at the myriad of possibilities? Get your hands on Dice for Change – a wonderful designer set of dice featuring pictograms that help us choose a good deed for the day. Concept and design: Creative Heroes | English | 14, 5 x 7,5 x 4 cm | Three dices in a box | 2nd print | € 12 | ISBN 978 90 6369 278 0

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Can You See What I See Memory Game Everyday objects get a whole new meaning or come to life by adding small sketches to them. This is the principle for this new poetic and funny memory game. One card shows an everyday object and the matching card makes you look at the object in a different way because the artist added a little drawing. Concept: Tineke Meirink | Design: Lilian van Dongen Torman | English | 2nd print | 2 x 30 cards in a box | 14,5 x 7,5 x 5 cm | € 15 | ISBN 978 90 6369 299 5

Catalogue games

Dice for Change

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316

Mickery Bij Mickery in Loenersloot werd de basis gelegd voor een internationaal toonaangevend centrum voor avant-gardetheater, performancekunst en ervaringstheater avant la lettre. Ritsaert ten Cate was de drijvende kracht. De doorbraak van Mickery kwam in 1967, toen Ten Cate erin slaagde om het New

Yorkse La Mama te boeken. Hun betrokkenheid, de intensiteit waarmee ze acteerden en de sociaalmaatschappelijke relevantie van hun voorstellingen waren eyeopeners voor toeschouwers en recensenten. Na enkele jaren verhuisde Mickery naar Amsterdam. Ik mocht de affiches en ander drukwerk maken.

338

Logo Armour Dit logo maakte ik voor de tentoonstelling ‘Armour, de fortificatie van de mens’ in Fort Asperen, waarvan Lidewij Edelkoort gastcurator was. Vijftig gerenommeerde internationale kunstenaars, modeontwerpers en vormgevers brachten

in beeld wat de verregaande repercussies konden zijn van 9/11. Met dit uit metaal gesneden logo werd het idee van bewapening en verdediging verwerkt binnen de typografie.

James Victore

Blotemeisjesalfabet uit 1969, later omgedoopt tot Body Type Dit alfabet was een reactie op het computeralfabet van Wim Crouwel. Toegegeven: het is absoluut onleesbaar en dus

Ovomaltine

onbruikbaar. Maar als je dan toch iets onbruikbaars maakt, kun je beter iets maken waar mensen van kunnen genieten.’

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Anthon Beeke – Het spel, niet de knikkers

spelen Catalogus2013.indd 74

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als je dan toch iets onbruikbaars maakt, aken waar mensen van kunnen genieten.’

Anthon Beeke Troilus en Cressida In Troilus en Cressida worden Cressida en Helena als hoeren misbruikt. Dat is het eeuwenoude beeld van de vrouw: een hoer, zonder overige kwaliteiten. Troilus en Cressida lieten zich ook gebruiken, om te overleven moesten ze wel. Maar

Helena had nóg een mogelijkheid: verkeerde informatie geven. Voor mij is zij het symbool van het Paard van Troje. De vrouwen beweging vond het schandalig. Zelfs de actrices plakten er stickers op. Maar dit is het affiche voor de vrouwen beweging. Die riem is een klem.

It’s a Miracle!

Anthon Beeke is één van de grootste namen uit de geschiedenis van Nederlands ontwerp in de 20ste eeuw. In deze landmark publicatie wordt voor het eerste zijn indrukwekkende oeuvre bij elkaar gebracht. Het boek is ingedeeld aan de hand van de thema’s die in Anthon Beeke’s leven in design een grote rol hebben gespeeld, zoals de stad Amsterdam, jazz, erotica, verzamelingen, typografie, fotografie, provocatie en communicatie. Wat Anthon Beeke’s werk vaak communicatiever maakt dan dat van veel vakgenoten, is dat zijn ontwerpen niet op grafisch ontwerp proberen te lijken. Steeds weer zoekt hij inspiratie buiten James Victore

zijn eigen vakgebied. Die onafhankelijke houding is altijd een grote inspiratie geweest voor jonge ontwerpers en zal dat blijven voor ontwerpers van morgen. Het boek bevat bijdragen van Esther Cleven, Alston Purvis, Steve Heller, Lidewij Edelkoort, Erwin Olaf, Marian Bantjes, James Victore, Erik Kessels en anderen.

“

Ik ken geen enkele beeldmaker die vrijer denkt en allrounder doet dan Anthon. Voor mij is hij de meest vrije vogel uit de Nederlandse ontwerpgeschiedenis. – Erik Kessels

Dutch • New titles

Lidewij Edelkoort e.a.

”

Anthon Beeke – Het spel, niet de knikkers

spelen

• Het definitieve Anthon Beeke boek • Grafisch ontwerp dat niet op grafisch ontwerp probeert te lijken • Beeke is de meest vrije vogel uit de Nederlandse ontwerpgeschiedenis

Anna Tiedink

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Conceptdenken

Van slapend naar levend Gaby Crucq-Toffolo en Sanne Knitel

Dit boek is het eerste Nederlandse boek dat aan de hand van een twintigtal Nederlandse cases de theorie en praktijk van conceptdenken en conceptontwikkeling in kaart brengt. Het kijkt in het bijzonder naar merken in de creatieve industrie, bijvoorbeeld op het gebied van entertainment, film, food, mode, kunst, cultuur en media. De creatieve industrie is vaak trendzettend voor andere sectoren. Dat maakt Conceptdenken interessant voor ieder-

Gerelateerd Copy & Concept, p. 87

Prikkels voor reclamemakers

COPY & CONCEPT

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Copy & Concept COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & staat boordevol over alle onderdelen het creatieve proces, COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT theorie & COPY & CONCEPT & COPY & CONCEPT van & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY CONCEPT & COPYcreatieve & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & van strategie via&reclamewerking en &briefing naar technieken, COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & conceptontwikkeling en copywriting. Aangevuld met de toepassing COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & daarvan in veel,&heel actuele voorbeelden van&een groot aantal COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT COPY veel & CONCEPT & COPY & CONCEPT & COPY CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & topbureaus uit Nederland en België. Een unieke samenwerking tussen COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & bureauwereld en& COPY communicatieonderwijs. COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & Copy & Concept Nederlandse handboek voor& iedere professional in&de crea- & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPTis& hét COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY CONCEPT COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT COPY &het CONCEPT tieve communicatie. De combinatie van theorie en&actuele praktijk&maakt ook & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & nog eens& CONCEPT tot een uitstekende aanvulling de meest gebruikte handboeken voor & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & COPY & CONCEPT & COPY &op CONCEPT & COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY &Copy CONCEPT & COPY & CONCEPT & CONCEPT &op COPY marketingcommunicatie. & Concept mag dus& COPY niet ontbreken het& CONCEPT bureau & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & van welke communicatievakgenoot COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & dan COPYook! & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & Onderwerpen: COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY & CONCEPT & COPY &doelstellingen CONCEPT & COPYen & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & • &Propositie, positionering, doelgroepen, consumententrends; COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & • &Reclamewerking succesvolle campagnes; COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT & en COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPTdocument & COPY & CONCEPT & COPY & CONCEPT & • &De laatste inzichten over de creative brief, het meest besproken in COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & (i.s.m. SWOCC); COPY & CONCEPT & COPY & CONCEPT &reclameland COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & • &Creatieve technieken; COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & • &Een unieke inspiratielijst voor conceptontwikkeling; COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & en COPY & CONCEPT & COPY & CONCEPT & • &Soorten concepten, uitvoeringselementen zoals humor, celebrities inhakers; COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & • &Copywriting: aansprekend en beeldend overtuigen enCONCEPT meer; & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY & CONCEPT & COPYschrijven, & CONCEPTstructureren, & COPY & CONCEPT & COPY & COPY & CONCEPT & COPY & CONCEPT COPY per & CONCEPT & COPY & CONCEPT & COPY & CONCEPTguerrilla & COPY & marketing CONCEPT & COPY & CONCEPT & COPY & CONCEPT & • &Copy middel: advertentie, radiocommercial, en meer; COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & • &De kopregel en de relatie met de&visual; COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT • &De pay-off in alle& soorten en maten (door Jaap Toorenaar, ARA); & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & • &Merknaamontwikkeling: soorten,& criteria en voorbeelden. COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & Met tientallen voorbeelden van actuele die heel specifiek de&theorieCOPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY campagnes & CONCEPT & COPY & CONCEPT & COPY CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY &ondersteunen. CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY CONCEPT & COPY & CONCEPT vorming De eerste& en tweede druk van &Copy & Concept waren & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & binnen uitverkocht. InCOPY deze& geheel herziene druk is de theorie & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPYanderhalf & CONCEPTjaar & COPY & CONCEPT & CONCEPT & COPY & derde CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY &en CONCEPT & COPY & CONCEPT & COPY opgenomen. & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & aangepast en uitgebreid zijn vele nieuwe campagnes COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPTMarketingTribune & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPTAdformatie & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & Met medewerking COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPTvan: & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & ARA CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & Achtung!, Advertising, Berg Kleijn Communicatie, Cebuco, Comm’pas, Crossmarks, COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & DDB Amsterdam, Doom & Dickson, DUBOIS meets FUGGER, Eigen Fabrikaat, Euro&RSCG, COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY CONCEPT & COPY & CONCEPT & Globrands, KesselsKramer, laMarque, L’eau, Worldwide, RadeMakkers, COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY Lowe & CONCEPT & COPY Ogilvy, & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY CONCEPT & COPY & CONCEPT COPY & CONCEPT & COPY & CONCEPT & RappCollins, Synergie, TBWA\NEBOKO, Van & Wanten ETCETERA, en Van &Zandbeek COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & communicatie & creatie. COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT & COPY & CONCEPT &

‘Wie het na dit boek niet snapt, kan beter een ander vak kiezen.’ ‘Het boek ‘Copy & Concept. Prikkels voor reclamemakers’ moet een naslagwerk en inspiratiebron worden voor junior creatieven en seniors helpen bij de begeleiding van jong talent.’

788_Cross_Copyboek_omslag_WT-3.indd 1

COPY & CONCEPT

een die voor zijn merk of organisatie op zoek is naar een sterk en onderscheidend concept. Het boek is geschreven door twee vakdocenten aan de Fontys Academy For Creative Industries in Tilburg en richt zich op professionals en studenten op het gebied van communicatie, media en entertainment, vrijetijdsmanagement, design en lifestyle. Het unieke van Conceptdenken is dat het de lezer op een laagdrempelige, inspirerende en activerende manier meeneemt in de wereld van concepten en het bedenken hiervan. Het daagt de lezer uit om zelf aan de slag te gaan met het ontwikkelen van concepten aan de hand van de door de auteurs ontwikkelde methode en de gereedschapskist van technieken die in het boek is opgenomen.

Dutch • New titles

In onze mediamaatschappij worden we overladen met informatie, entertainment, reclame en marketingboodschappen. Organisaties en merken die overeind willen blijven in deze mediastorm, kunnen niet zonder sterke concepten. Conceptdenken is een onmisbare vaardigheid geworden van reclamemakers, ontwerpers en communicatieprofessionals.

• Basisboek conceptontwikkeling met theorie, cases en tools • Geschreven voor studenten communicatie, lifestyle, media entertainment en design • Daagt de lezer uit zelf aan de slag te gaan met conceptontwikkeling

Prikkels voor reclamemakers

HE RZ ED IENE ITIE

Nieuw

casese hoofd en

stukk mode llen en,

Bert Thobokholt Barry de Waal Martin Westbeek Gastschrijver: Jaap Toorenaar

22-06-2010 14:38:09

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De Basis van Typografie

Iedereen die teksten schrijft of publiceert, wil dat zijn werk er ook mooi uit ziet. Daarvoor hebben we toegang tot honderden lettertypes op onze computer. Toch zijn er maar weinig mensen die doeltreffend typografisch kunnen vormgeven. De basis van typografie is een ideale gids voor iedere beginner, en staat vol praktische tips om je teksten aantrekkelijk en goed leesbaar te maken, zowel op papier als op het scherm.

Gerelateerd De Vorm van Tekst, p. 88 Know Your Onions: Graphic Design, p. 60

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Aan de hand van veel voorbeelden, laat dit boek exact zien wat de regels van de typografie zijn en waarom die er toe doen.

“

Dit is een onmisbare gids over de basisregels van de typografie, die elke beginnende ontwerper zou moeten hebben. – Creative Review

”

Dutch • New titles

Jim Williams

• Handige tips voor alledaagse typografie • Prachtig uitgevoerd in leather look band met elastiek • Voor studenten en iedereen die regelmatig teksten layout

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2. De essentie van retail De 1 op 1 relatie Over het monnikenwerk waar retailers dagelijks voor staan, over het verleiden van individuele shoppers, het inspelen op consumentenbehoeftes, de relatie tussen retailer en klant, relevantie voor het individu en bestaansrecht voor de retailer, het verschil tussen massamediale en instore communicatie, retail als spiegel van de maatschappij, het ontstaan van marketing, de invloed van internet of de digitalisering, de klant in de driver seat, interactie in Retail 3.0 en waarom alles verretailt.

AFSNIJDEN Het woord retail komt van het Franse woord ‘retailler’: afsnijden

De formule-onderdelen

VE R A

De verschillende formule-onderdelen in het Platform Development Model© zijn gebaseerd op de marketingmix, maar deze verzameling is niet (per se) compleet en kan naar relevantie aangepast of aangevuld worden. In figuur 1 staan de formule-onderdelen die de revue (op een zeker tijdstip) zullen moeten passeren. De onderdelen staan niet op zich, maar vormen samen een geheel: al kan het per retailformule verschillen welke het meeste van belang zijn. Logischerwijs is het handig om die aspecten als eerste aan te pakken.

N D E R E N D E WE R E L

PRIJS

SERVICE

PERSONEEL

INTERNAL BRANDING

- Maximaal-minimaal - Prijsopbouw - Acties - Absoluut prijsniveau (marge-mix) - Prijsstellingsmethoden (volumekorting, op afbetaling etc.) - Prijs imago - Relatief prijsniveau (prijsherkenning)

Pre-aankoop: - Communicatieplan Aanvullende services: - B.v. kinderopvang Post-aankoop: - Reparatie - Op maat maken (tailloring) - Credit ('Niet goed geld terug')

- Training, selectie, vakkennis - Gedrag - Kleding - Aanspreektoon

- Bekendheid van doelen - Normen en waarden - Merkidentiteit - Betrokkenheid - Organisatiecultuur

- Social media - Online commerce - Webshop - Website - Mobiel internet

DIGITALE INTEGRATIE

FORMATS & CHANNELS

LOCATIE

WINKEL

BELEVING

- Apps - Internet op winkelvloer - Webshop - Social media - QR-codes - Self scan - Self service

- Winkelgrootte - Toekomstige formats - Cross-channel - Webwinkel - Website - Informatie - App - Pick-up points (vanuit winkel en web) - Bezorgen

- Keuze voor: stadscentrum, stadsrand, periferie, winkelcentrum etc. - Multi-format/ omnichannel - Dekking - Transport - Internationaal

- Design - Functionele uitgangspunten/layout - Routing - Winkelpui - Licht, geluid, geur

- Verwachting vs. verrassing - Vaste en dynamische elementen - Creëren van conversatiewaarde - Attractie - Fulfillment - Customer journey

MASSAMEDIALE COMMUNICATIE

INSTORE COMMUNICATIE

VISUAL MERCHANDISING

VERPAKKING

ASSORTIMENT

- Selectie mediakanalen - Promotiedoelen - Sponsoring, acties, promoties - Thema's - Timing - Promotiebudget

- Toon en stijl - Merkimago - Logo - Formuleniveau - Productniveau: producten, productgroepen - Bewegwijzering - Thema's, campagnes

- Branding - Productcombinaties - Verbindende factor - Prijslijnen - Kwaliteit - Uniek maken - Werelden aanduiden

- Basis/collectie/rand - Winkelmerk t.o.v. productmerk - Product range (breed, diep) - Nieuwe producten/ laatste trends - Snelheid/dynamiek - Kwaliteit - Distributiestructuur/ voorraadbeheer

CONSUMENTEN MOME

assortiment

verpakking

prijs

instore communicatie

MERK

massamediale communicatie

online activiteiten digitale integratie

LIN

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locatie

formats & channels L

Het boek legt uit hoe ondernemers in retail continu alert kunnen zijn op veranderingen en kansen die zich aandienen, hoe je diep inzicht in je merk kunt krijgen en hoe je dit vervolgens kunt vertalen naar een perfect opererende winkelformule.

winkel

Retail is de spiegel van de maatschappij, en omdat de maatschappij voortdurend in beweging is, moet retail hierop anticiperen. ‘Act, react or suffer!’ Dit is meer dan ooit waar in retail. Dit nieuwe boek van Michel van Tongeren gaat over alle facetten van retail branding, holistische formule-ontwikkeling en de essentiële 1 op 1 relatie met de klant.

internal branding

EX T E R I E U R

S U B - AF D E L I N G

personeel

beleving

1:1 De Essentie van Retail Branding en Design

service

visual merchandising

NT / SITUATI

- Point-of-sale materiaal, displays - Productpresentaties - Etalage

ONLINE ACTIVITEITEN

3. RETAIL PLATFORM DEVELOPMENT model

Daarom spelen plaatjes, symbolen en moodboards een belangrijke rol om alle partijen op dezelfde pagina te krijgen. Deze beelden, gecombineerd met de woorden zijn ook belangrijk om aan de partijen die niet bij het proces aanwezig zijn geweest, duidelijk te maken wat er wordt bedoeld, waar het toe zal leiden en hoe het eruit kan zien.

Maar in feite kunnen de elementen in willekeurige volgorde, in verschillende tempi en vaak tegelijkertijd aan bod komen, maar uiteindelijk wel allemaal. Er is geen echte onderlinge hiërarchie. De ambities van het merk vormen de omtrek van de buitenste cirkel. Het is het omschreven doel waar naartoe gewerkt wordt, de relatie die het merk wil aangaan met zijn klanten, ofwel het geformuleerde formuleconcept.

In het formuleconcept is vastgelegd wat per element gerealiseerd moet worden voor een specifieke winkelformule. Dit kan een winkeltype betreffen, maar ook meerdere formats en/of channels, die samen de formule vormen. Het is de bedoeling alle parten geheel te vullen. Een gevuld part betekent immers dat dát element van de formule volgens het concept is waargemaakt.

De rode draad van het boek wordt gevormd door het door de auteur ontwikkelde Platform Development Model. Michel van Tongeren is mede oprichter van SVT Branding + Design Group. Als strategy & concept director is hij een veelgevraagde spreker voor seminars, conferenties en universiteiten.

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Questions and answers intensify insights for all subjects.

The crucial insight: the game field moves. If the NoCompromise corner is so attractive to Mrs. Consumer, all players will move to the NoCompromise corner. Before you know it, you’re back at square one. Right? No. The whole GameField starts to move. New players redefine value and price. Mrs. Consumer readily embraces these new definitions of what is high value and and what is low price. She makes these her new standard, her new benchmark. Once the new NoCompromise competitors have built up enough mass, the market will be redefined. The game field moves direction, making the consumer forget how things used to be. She will expect all retailers to offer her these new appealing qualities. That’s when the total playing field starts move.

If the game fields starts to move, everybody will change position with it. Which means that the overall game doesn’t change at all. No. Not everybody has the agility to change. The most agile players start to make the game field move. They are closely followed by others. When the most agile of large existing players start to move that the game field moves the most rapidly. But not everybody is that agile. While the Game Field moves underneath them, they are quibbling among each other. Before they know it, they are off the game field, out of the game and forgotten by Mrs. Consumer, who has struck up a new, firm and lasting relationship with that new exciting NoCompromise player.

Beautiful visuals makes complex matters uncomplex and imprints the message on your brain.

Dutch • New titles

Mrs. Consumer loves the NoCompromise position

NoCompromise Het nieuwe retail positioneringsspel Internationaal retailspecialist Hans Eysink Smeets introduceert in dit baanbrekende boek zijn NoCompromise Retail Model. Dit model helpt retailers, hun adviseurs en studenten retail bij het beter begrijpen van de grote veranderingen die zich in het landschap van retail en consumentenmerken voordoen. Het is een uiterst praktisch businessboek dat leest en eruit ziet als een business-action spel. De lezer kan er direct mee aan de slag om zijn eigen strategie en positionering af te stemmen op basis van het model van Eysink Smeets.

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De NoCompromise retailrevolutie raast op dit moment door de wereld. De markt maakt geen compromissen meer. De consument wil een hoge kwaliteit en een lage prijs. Lees dit boek en bepaal je positie op het speelveld.

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hARd OP de ZAAK, ZAcht OP de mAn Mr. Wolf in Pulp Fiction: ’So pretty please, with sugar on top, clean the fuckin’ car’ Dit is misschien wel de allerbelangrijkste regel bij het onderhandelen. Hard op de zaak betekent dat je principieel bent ten aanzien van datgene wat voor jou essentieel is. Je doet geen onnodige concessies. Je tornt niet aan de hoogte van de vergoeding, je artistieke vrijheid, naamsvermelding of toestemming voor publicatie. Zacht op de man betekent dat je de tegenpartij redelijk en met respect behandelt. Als je ook hard op de man bent, krijg je er een conflict bij. En ben je zacht op de zaak, dan doe je concessies die je niet wilt en ook niet hoeft te doen. Alleen als je hard op de zaak bent en zacht op de man, kun je succesvol onderhandelen en haal je eruit wat erin zit. ■

veRLies Je dOeL nOOit uit het OOg Een conflict ontstaat tussen twee partijen met tegengestelde en dus botsende belangen. In zo’n situatie is het lastig om te blijven focussen op je doel. Neem de Taekwondoka hiernaast. Hij is net zijn bronzen plak misgelopen en daar is hij boos over. Niet zo gek – hij traint al zijn hele leven voor die Olympische medaille – maar in zijn boosheid geeft hij de scheidsrechter een doodschop. Dat lucht hem vast enorm op, maar een Olympische plak zit er voor hem nooit meer in, terwijl het hem daar eigenlijk om te doen is. Alleen als je blijft focussen op je doel, zul je het ook bereiken. ■

Think Like A Lawyer, Don’t Act Like One Dit is de aangepaste paperback editie van het in 2009 verschenen boek Grrr, Conﬂictbeheersing in 75 lessen. Deze herziene paperback editie verschijnt met een aantrekkelijke nieuwe titel en coverontwerp voor slechts € 12,90. Het boek biedt 75 succesvolle strategieën om conflicten te voorkomen of op te lossen. Met de beste lessen van Winston Churchill, Al Capone, Harvard University, drie bonobo’s, twee zoenende boksers, Gorbatsjov en vele anderen. Te gebruiken bij barse agenten, boze buren, onwillige debiteuren, slechte opdrachtgevers, sluwe advocaten en andere ruziemakers. Elke les is door de auteur uitvoerig getest en kan worden toegepast aan de keukentafel, op straat en in de boardroom. De korte puntige teksten zijn aantrekkelijk geïllustreerd.

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Think Like a Lawyer Don’t Act Like One is een complete en direct bruikbare inleiding in de praktijk van conflictbeheersing. Aernoud Bourdrez is zelf advocaat en onderhandelaar. Zijn praktijk is gevestigd in Amsterdam en hij is gespecialiseerd in auteurrecht. Hij behartigt de belangen van kunstenaars, ontwerpers en architecten.

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Categorie

e het kritiek pad

Categorie

brainstormen

lecteer

Dutch • New titles

Evalueer & Se

Ga Los

75 Technieken voor Creatief Denken Dit is de Nederlandse editie van het in 2012 bij BIS verschenen 75 tools for Creative Thinking. Innovatie en creativiteit zijn voor bijna elk bedrijf van levensbelang om ook in de toekomst succesvol te zijn. Maar hoe bedenk je creatieve oplossingen en wat zijn de technieken die je kunt inzetten? Met 75 Technieken Voor Creatief Denken maak je kennis met 75 direct toepasbare technieken om problemen op te lossen, ideeën te genereren of out-of-the-box te denken. De 75 creativiteitstechnieken zijn verdeeld over de vijf stappen die je doorloopt bij het oplossen van een probleem. De informatie op de kaart is kort, praktisch en direct toepasbaar: wat is de techniek, wanneer zet je hem in, hoe doe je het en met welk resultaat?

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Daarnaast geeft een praktisch boekje verdere uitleg over hoe je de kaartenset het meest effectief kunt gebruiken. De box kan worden gebruikt in teams op het werk, tijdens een cursus of workshop en gewoon voor jezelf.

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als het kan dit bestaande netwerk verder uit. Zonder direct om opdrachten te vragen kun je in een gesprek wel een goede indruk achterlaten door iets over je werkervaring te vertellen en een visitekaartje achter te laten. Houd zakelijke contacten met oud-opdrachtgevers levendig en boor zo veel mogelijk nieuwe bronnen met opdrachten aan. Probeer je te verplaatsen in de opdrachtgever, geef voorbeelden van je werk die hem zullen aanspreken, gebruik geen vakjargon. Als je kiest voor een actieve benadering, verplaats je dan in de problematiek van de opdrachtgever.

2.3 OFFerTe

5 intake opdracht 5 briefing 5 bindende of vrijblijvende prijsafspraak 5 inhoud van een offerte In het eerste gesprek met de opdrachtgever spreek je over de inhoud van de opdracht. De opdrachtgever legt je een ontwerpprobleem voor. Door een aantal gerichte vragen te stellen, verzamel je zo veel mogelijk informatie over de opdracht. Dit gesprek heet: de briefing. Om er zeker van te zijn dat alles goed begrepen is, is het aan te raden direct na de briefing een beknopte samenvatting van het gesprek naar de opdrachtgever te sturen, waarin je tevens kunt aangeven wanneer hij de offerte kan verwachten. Dat voorkomt misverstanden en schept ruimte voor het maken van een goed doordachte offerte. De briefing is de basis voor de offerte. In deze paragraaf komt de briefing aan bod, daarna wordt ingegaan op de inhoud en de vorm van de offerte. Bij de bijlagen vind je verschillende voorbeeldoffertes. Briefing Het gesprek met de (potentiële) opdrachtgever over de precieze opdracht markeert een belangrijk moment in het opdrachtproces. In dit gesprek moet je alle informatie verzamelen die tot een ontwerp kan leiden waar de opdrachtgever gelukkig mee is. In zo’n gesprek laat je de opdrachtgever zo veel mogelijk aan het woord. Jij stelt gerichte vragen en verzamelt de informatie. Stel van tevoren een vragenlijstje op. Sommige vragen kun je niet ‘direct’ stellen, zoals bijvoorbeeld de hoogte van het beschikbare totaalbudget. Een opdrachtgever wil of kan daar niet altijd ‘open’ over zijn. Probeer dan door het stellen van ‘indirecte’ vragen toch een idee te krijgen van het globale budget voor de opdracht. Andere inhoudelijke en zakelijke vragen kun je wel stellen. Iedere ontwerper zal een andere benadering hebben om een opdrachtbriefing boven water te krijgen. Een voorbeeld van een checklist: – Achtergrond van de opdracht – Probleemstelling – Strategie

passiva – kapitaal 1-1-’10 – minus privé-opname ’10 – plus resultaat 2010-09-09

€

4.000

eigen vermogen:

€

vlottende activa: – voorraad – debiteuren – overige vorderingen

€

4.000 vreemd vermogen lang: – lening – lening auto

€

2.000

liquide middelen: – kas – bank

€

1.500

vreemd vermogen kort: – te betalen omzetbelasting – crediteuren

€

4.500

totaal activa:

€

9.500

totaal passiva:

€

9.500

Voorbeeld eenvoudige winst- en verliesrekening omzet af: inkoopwaarde = brutowinst (A):

€ € €

40.000 0 40.000

af: bedrijfskosten – huisvestingskosten – kosten vervoer – algemene kosten* – financieringskosten – afschrijvingen totaal bedrijfskosten (B):

€ € € € € €

6.000 2.500 7.500 1.000 3.500 20.500

bedrijfsresultaat (A-B):

€

19.500

* algemene kosten zijn kosten voor software, werkmateriaal, bedrijfsverzekeringen, boekhouder

60 Administratie en organisatie

Deze zesde geactualiseerde editie van het Handboek voor het opzetten van een ontwerppraktijk geeft antwoord op de meest gestelde vragen over het starten en runnen van een ontwerpbureau. De auteurs zijn verbonden aan de Beroepsorganisatie Nederlandse Ontwerpers BNO. Zij gaan in op alle zakelijke, financiële en juridische zaken die voor een zelfstandig werkende ontwerper van belang zijn. Hierbij putten zij uit hun dagelijkse praktijk als adviseur bij de BNO. Door de regelmatige updates blijft het handboek goed aansluiten op de laatste regelgeving en actualiteit in het vak.

Catalogus2013.indd 84

Offerte: vrijblijvend of definitief Een offerte kan vrijblijvend zijn of definitief. Een vrijblijvende offerte wordt wel gemaakt als de opdrachtgever een idee wil hebben van ‘wat zoiets nou kost’; eigenlijk is dat een globale honorarium- en kostenraming gebaseerd op een aanname. Als je zo’n raming maakt, zet er dan uitdrukkelijk bij dat de opgave een indicatieve strekking heeft, anders kan de opdrachtgever het interpreteren als een definitieve offerte. En aan een definitieve offerte ben je gebonden wanneer de opdrachtgever akkoord gaat. Van een kostenraming is dat meestal niet de bedoeling, omdat deze tot in detail moet worden uitgewerkt. Alle opmerkingen in deze paragraaf gaan over de definitieve offerte. elke opdracht begint met een prijsafspraak In het gunstigste geval geef je de opdrachtgever je uurtarief door en spreek je met elkaar af dat je de bestede tijd x het uurtarief in rekening brengt na voltooiing van het werk. Maar deze vorm van zakendoen is niet meer gebruikelijk. De meeste opdrachtgevers willen tevoren duidelijkheid waar zij zich financieel aan verplichten en daarvoor maak jij een offerte. Het komt voor dat je na het versturen van de offerte het gevoel krijgt dat de opdrachtgever aarzelt over het verlenen van de opdracht, bijvoorbeeld door opmerkingen als ‘u hoort nog van ons’, of ‘we moeten het nog intern bespreken’, of ‘het is toch duurder dan we dachten’. Het hangt van de situatie af hoe je dan het beste kunt reageren: je kunt een termijn stellen aan de offerte of in een gesprek ingaan op de twijfel van de opdrachtgever. Negeer dit signaal in ieder geval niet en ga zeker niet alvast aan het werk: een onzekere opdracht betekent onzekere beslissingen en ook onzekere betaling. Het presenteren van schetsen of ander werk om de opdrachtgever te overtuigen kan effect hebben, maar dan verricht je werk zonder dat daarvoor wordt betaald. Laat in elk geval in een dergelijke onduidelijke situatie geen schetsen of ander ontwerpwerk achter bij de opdrachtgever.

33 Opdrachten

Voorbeeld eenvoudige balans

Handboek voor het opzetten van een ontwerppraktijk

Doelgroep Marktpositie & concurrentie Doorlooptijden & deadlines Budgetten Technische details Contactpersonen Informatie-aanlevering Preferred suppliers Etc. Aan het eind van het briefinggesprek zal de opdrachtgever je vragen een offerte te maken. Maar dat kun je natuurlijk ook zelf voorstellen.

Termijn De offerte kun je aan een geldigheidstermijn verbinden, zeker wanneer je met de opdrachtgever hebt afgesproken een korting te geven. Gebruikelijk is een termijn van 30 dagen.

32 Opdrachten

balans per 31-12-2012 activa vaste activa: – kantoorapp/inventaris – ontwerpapparatuur – auto

– – – – – – – –

€ 1.500 € 18.000 – € 19.500 + 3.000

winst- en verliesrekening Dit is een overzicht van de opbrengsten en kosten in een bepaalde periode. Voor de belastingaangifte moet zo’n overzicht eens per jaar worden gemaakt. Maar om zelf goed in het oog te houden hoe het financieel gaat, is het verstandig om zo’n overzicht eens per half jaar te (laten) maken. Vergelijk dan ook de cijfers met voorgaande perioden om een bepaalde tendens te herkennen. De winst- en verliesrekening kan de boekhouder voor je opmaken op basis van de financiële informatie die jij hem geeft. Het eindsaldo (opbrengsten min kosten) is het resultaat uit de onderneming. Over de winst uit onderneming betaal je inkomstenbelasting. Verliezen zijn aftrekbaar en leveren in de regel een belastingteruggave op. Van het positieve bedrijfsresultaat betaal je je levensonderhoud, de belasting, je persoonlijke verzekeringen en eventueel pensioen. Afschrijvingen Afschrijven is het zichtbaar maken van de waardevermindering van je bedrijfsmiddelen en -apparatuur. Afschrijvingen kun je doen op zaken die langer dan een jaar in je bedrijf worden gebruikt, zoals apparatuur, software of kantoorinrichting. Op je winst- en verliesrekening kun je jaarlijks een afschrijvingsbedrag zetten. Op de balans staat de aanschafprijs van de aangeschafte zaken, jaarlijks verminderd met de afschrijvingen die je doet. Dus bijvoorbeeld de post apparatuur op de balans 2009 bedraagt 3000 euro en in 2010 2000 euro. Op je winst- en verliesrekening staat dan in 2010 1000 euro aan apparatuur afschrijvingen. Meestal zijn er vaste termijnen waarbinnen je bepaalde zaken afschrijft (bijvoorbeeld: computerapparatuur in 3 jaar). Voor starters geldt een bijzondere regeling: zij mogen de eerste 3 jaar willekeurig (dus alles tegelijk of nog helemaal niets) afschrijven. Dit is afhankelijk van je bedrijfsresultaat en dient in overleg met je boekhouder te worden bezien. Aangezien afschrijvingen een kostenpost vormen (dus worden afgetrokken van de inkomsten) kan dat een belastingvoordeel in die periode opleveren. Let op: deze regeling geldt vanaf een jaar voor de start, dus ook eerder gedane investeringen kun je op deze wijze afschrijven. Auto’s vallen buiten deze regeling.

Samenvattend Vanaf de eerste dag bewaar je alle rekeningen die je betaalt voor de uitvoering van je bedrijf. Pennen, postzegels, gas en elektra: alle uitgaven die je zakelijk doet. Daarnaast is het verstandig om alle eerder gedane uitgaven die je als investeringen of bedrijfskosten kunt zien ook op een rijtje te zetten. Het bijhouden van je uitgaven en inkomsten is het boekhouden. Op basis van de boekhouding doe je belastingaangifte. Afgezien van het maandelijks bijhouden van alle inkomsten en uitgaven kun je de boekhouding en het invullen van de jaarlijkse aangifte voor de inkomstenbelasting het beste overlaten aan een gekwalificeerd boekhouder.

61 Administratie en organisatie

Wederom zijn handige bijlagen opgenomen, waaronder voorbeelden van offertes, opdrachtbevestigingen en arbeidsovereenkomsten. Het handboek is een vaste waarde geworden voor iedereen die een eigen bureau wil starten of zijn of haar bedrijfsvoering wil professionaliseren.

14-06-13 14:07

Elke ontwerper heeft vrijwel dagelijks met het auteursrecht te maken, vaak zelfs zonder er erg in te hebben. Een affiche, een stoel, een winkelinrichting, een website: op al deze ontwerpen rust auteursrecht. Op grond van dit recht kan de ontwerper bepalen wat er met zijn of haar ontwerpen gebeurt: de beslissing hoe het werk wordt gepubliceerd en geproduceerd, ligt bij de maker.

Vaak gelden voor één ontwerp verschillende rechten. Zo zal op de vormgeving van een stoel niet alleen modelrecht, maar ook auteursrecht rusten. Het logo van Coca-Cola is zowel merkrechtelijk als auteursrechtelijk beschermd. Ook kan op een foto van iemand tegelijkertijd auteursrecht, portretrecht en merkenrecht van toepassing zijn. Op een fles shampoo kunnen de volgende rechten rusten:

Over het auteursrecht bestaat een wijdverbreid misverstand. Velen denken dat dit recht vooral van belang is in zaken als plagiaat. Van plagiaat spreekt men als iets als een eigen werk wordt gepresenteerd, terwijl het feitelijk een nabootsing is, pure namaak dus. En hoewel juist dit soort zaken vaak de publiciteit haalt, komt echt plagiaat relatief weinig voor. In de praktijk blijkt dat problemen rond het auteursrecht zich vooral voordoen in de relatie tussen opdrachtgever en ontwerper. Op basis van het auteursrecht geeft een ontwerper zijn of haar opdrachtgever toestemming om het ontwerp te gebruiken. Aan het geven van deze toestemming kunnen allerlei voorwaarden worden verbonden. Wanneer partijen hier niet bij stilstaan, ontstaan vaak misverstanden.

1. Octrooi: bijzondere wijze waarop de dop wordt dichtgeschroefd, materiaal binnenzijde van de flacon, samenstelling shampoo 2. Auteursrecht: uiterlijk totale fles, ‘foto’ persoon, aanvullende illustratie, logo 3. Modellenrecht: uiterlijk totale fles

Hoewel de titel anders doet vermoeden, wordt in dit boek ook aandacht besteed aan verwante rechten. Het auteursrecht behoort tot het recht van de intellectuele eigendom, waar ook het portretrecht, modellenrecht, merkenrecht, en octrooirecht toe gerekend worden. Het onderscheid tussen al deze rechten is vaak lastig. Onderstaand schema geeft een beknopt overzicht.

mr. vincent van den eijnde & mr. anouk siegelaar

Auteursrecht voor ontwerpers

Bescherming waarvoor?

Voorbeeld

Duur van het recht

Formele Kosten handelingen?

auteursrecht

oorspronkelijke creatie

illustratie

tot 70 jaar na overlijden

geen vereisten

portretrecht

gebruik portret

geen

foto in tijdschrift

per geval verschillend

geen vereisten

niet(industrieel) ingeschreven ontwerp modellenrecht

stoel, dessin

3 jaar

geen vereisten

geen

ingeschreven (industrieel) modellenrecht ontwerp

stoel, dessin

tot 25 jaar

depot

te overzien

merkenrecht

onderscheidings- Coca-Cola kan onbeperkt depot teken (zowel woord verlengd als logo) worden

voor NL te overzien

uitvinding

aanzienlijk

tot 20 jaar

octrooiaanvraag

5. Portretrecht: portret model

Voor ontwerpers is in de eerste plaats het auteursrecht van belang en daar ligt in dit boek dan ook de nadruk op.

geen

octrooirecht

nieuwe scharnier

4. Merkenrecht: naam shampoo, logo

12 Rechten van de intellectuele eigendom

heeft uiteraard het auteursrecht op het totale beeld en zal de licentie met betrekking tot de foto vaak koppelen aan de totale licentie op zijn ontwerp. Er kan zich nu een reëel pro bleem voordoen wanneer de licentie van de fotograaf beperkter is dan de licentie die de ontwerper voor zijn ontwerp (inclusief foto) geeft. Denk hierbij bijvoorbeeld ook aan het ontwikkelen van een website. Veel fotografen beperken de licentie tot een jaar, terwijl de ontwerper vaak een ruimere licentie zal geven.

Er wordt wel beweerd dat het auteursrecht zijn langste tijd gehad heeft. Het auteursrecht wordt door sommigen beschouwd als een belemmering voor vrijheid van informatie. Het zou de creatie van nieuwe werken tegengaan. Maar er zal altijd een vorm van bescherming nodig zijn om bijvoorbeeld schrijvers, componisten, beeldend kunstenaars en ontwerpers te beschermen, zeker als de maker geen directe relatie heeft met de gebruiker. De wet en het recht zijn voortdurend in beweging. Net als bij het schrijven van de eerste editie in 2003, zijn ook ten tijde van deze heruitgave enkele wijzigingen van de Auteurswet in voorbereiding. Waar dit relevant is, zal daar aandacht aan worden geschonken. Verder is het goed om te weten dat elke situatie anders is en dat voor veel auteursrechtelijke vraagstukken geen pasklare antwoorden bestaan. Zeker wanneer in een concreet geval de belangen groot (kunnen) zijn, is het daarom verstandig om vooraf een jurist te raadplegen. 13 Rechten van de intellectuele eigendom

Een bekend voorbeeld is de zaak van de foto van de president van de Verenigde Staten Barrack Obama, die in geïllustreerde vorm werd gebruikt voor een poster. Deze poster werd vervolgens wereldberoemd. De fotograaf en het persbureau Associated Press be riepen zich met succes op het auteursrecht. Ook de persoonlijkheidsrechten spelen hier een rol (zie hoofdstuk 8). In deze zaak is de ontwerper ook nog veroordeeld voor het ver nietigen en vervalsen van bewijs. Een kat in het nauw maakt soms rare sprongen.

Dutch • New titles

Veel van bovenstaande problemen kunnen worden voorkomen door opdrachten aan fotografen en andere creatieve toeleveranciers altijd door de opdrachtgever te laten ver strekken. Dan is het in beginsel het probleem van de opdrachtgever om de licenties goed op elkaar af te stemmen. Toch moet een ontwerper ook in dit soort situaties alert blijven omdat hij vaak als een adviseur optreedt en zijn verantwoordelijkheid wat dit betreft niet volledig kan ontlopen. In de praktijk zal de ontwerper de rechten van anderen altijd enigs zins in het oog moeten houden.

7.4 ontlenen en inspireren Voor veel ontwerpers is onduidelijk in hoeverre je gebruik kunt maken van andermans werk. Velen realiseren zich dat het niet is toegestaan om een heel ontwerp over te nemen, maar verder moeten ze zich zien te redden met hun eigen rechtvaardigheidsgevoel. Per persoon kan dat gevoel verschillen: daarom is het toch nuttig om terug te vallen op het algemene uitgangspunt van het auteursrecht. Het auteursrecht beschermt tegen ontlening. Ontlening wil zeggen dat er daadwerkelijk iets uit het werk overgenomen wordt. Ideeën zijn vrij, evenals een bepaalde stijl (zie hoofdstuk 2). In die zin mag men zich wel laten inspireren door het werk van anderen. Het is dus niet toegestaan om een concreet werk te gebruiken, maar een bepaalde methode of een bepaald uitgangspunt van een ander mag wel worden gebruikt. Uiteraard is de grens tussen ontlenen en inspireren niet scherp te trekken. Per geval zal bekeken moe ten worden of er sprake is van overname of inspiratie. Het gaat bij deze beoordeling om de totaalindruk. Aparte aandacht verdient het ‘overtrekken’ van een foto van een bekende persoon om daarvan in eigen stijl een illustratie te vervaardigen. Je moet je realiseren dat dit in prin cipe niet is toegestaan, althans voor zover bij dit werk daadwerkelijk de ‘lijnen’ van de foto gehandhaafd blijven. Wel mag men zich door foto’s over het uiterlijk van een ander laten ‘informeren’. De fotograaf heeft natuurlijk geen rechten op het uiterlijk van de pre sident van Amerika. Op de gelaatstrekken van personen rust geen auteursrecht (wel eventueel portretrecht, zie hoofdstuk 11). Omdat een illustrator natuurlijk niet altijd in de gelegenheid is om de president van Amerika een uurtje te laten poseren, is men dan al snel aangewezen op foto’s en andere beelden. Wees echter zeer voorzichtig met het daadwerkelijk kopiëren van werk van anderen. 66 Auteursrecht van anderen

Auteursrecht voor ontwerpers Wanneer geldt het auteursrecht, wat mag een opdrachtgever doen met je werk, hoe zit het met hergebruik en co-creatie, hoe kun je je creaties beschermen? Ontwerpers hebben beroepsmatig dagelijks met auteursrecht te maken, maar weten vaak niet precies wat hun eigen of andermans rechten zijn. In dit boek wordt in begrijpelijke taal en met veel voorbeelden uitgelegd hoe het auteursrecht precies werkt en waar je als creatieve maker op moet letten bij het maken van afspraken met beeldleveranciers en opdrachtgevers.

De originele foto van Obama die fotograaf Mannie Garcia in 2006 voor Associated Press maakte

De poster die Shepard Fairey maakte met de foto die hij via Google Image Search vond

7.5 Knippen, plaKKen en photoshoppen Uiteraard kun je nog op vele andere manieren gebruik maken van andermans werk. Neem bijvoorbeeld de restyling van logo’s of het op verzoek van een klant aanpassen van een industrieel ontwerp dat oorspronkelijk door een ander bureau tot stand is gebracht. Ook interieurontwerpers hebben vaak met dit soort kwesties te maken. Zonder specifiek op al deze mogelijkheden in te gaan, is het goed te weten dat er rekening wordt gehouden met de belangen van de maker van het oorspronkelijke ontwerp. In veel gevallen zullen de persoonlijkheidsrechten van de oorspronkelijke maker in het geding zijn (zie hoofdstuk 8). Je doet er verstandig aan te vragen naar de afspraken tussen de klant en de eerdere ontwerper. Is er bijvoorbeeld sprake van een auteursrechtoverdracht en hebben partijen daarbij geregeld hoe er moet worden omgegaan met het ontwerp? In beginsel moet altijd contact worden opgenomen met de maker van het oorspronkelijke ontwerp, zeker als je twijfelt over de wijze waarop de opdrachtgever tot dan toe gehandeld heeft. Het is in veel gevallen het beste om alles in goed overleg te regelen. 67 Auteursrecht van anderen

De auteurs zijn als juridisch adviseur verbonden (geweest) aan de Beroepsorganisatie Nederlandse Ontwerpers BNO en zijn daardoor als geen ander in staat in theorie en praktijk met elkaar te verbinden. Het handboek is daarmee een onmisbaar naslagwerk voor iedere ontwerper.

Daarnaast wordt ook ingegaan op aanverwante rechten waarmee ontwerpers in de praktijk te maken krijgen, zoals portret-, modellen- en merkenrecht.

Catalogus2013.indd 85

14-06-13 14:07

New

Anthon Beeke

1 To 1: De essentie van retail branding en design

Anthon Beeke is één van de grootste namen uit de geschiedenis van Nederlands ontwerp in de 20ste eeuw. In deze landmark publicatie wordt voor het eerste zijn indrukwekkende oeuvre bijeen gebracht. Het boek is ingedeeld aan de hand van thema’s zoals de stad Amsterdam, jazz, erotica, typografie, fotografie, provocatie en communicatie. Concept: Lidewij Edelkoort | Design: anthon beeke collectief, Mariola López Mariño | 448 pagina’s | 21 x 27 cm | Geïllustreerd | Paperback met flappen | € 45 | Nederlandse editie: ISBN 978 90 6369 326 8 | Engelse editie: 978 90 6369 330 5

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arte en die Dit is de Nederlandse editiekaorvan iedere aar vo zoek is n op eatieve het in 2012 bij BIS verschenen cr atie." spir 75 tools for Creative Thinking.in Innovatie en creativiteit zijn voor bijna elk bedrijf van levensbelang om ook in de toekomst succesvol te zijn. Met deze box met kaarten maak je kennis met 75 direct toepasbare technieken om problemen op te lossen, ideeën te genereren of out-of-the-box te denken.

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100 manieren voor het onderzoeken van complexe problemen, het ontwikkelen van innovatieve ideeën en het ontwerpen van effectieve oplossingen

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Dit boek geeft een overzicht van 100 direct toepasbare methoden voor designonderzoek, inclusief de onderzoekstechnieken en de resultaten die ermee behaald kunnen worden. De methoden zijn ingedeeld naar type en toepasbaarheid in de fases van het designproces. Perfect voor gebruik in het onderwijs. Auteurs: Bella Martin en Bruce Hanington | Ontwerp: Bella Martin | Nederlands | 400 illustraties l 208 pagina’s | 25 x 21.5 cm l Flexicover | € 39 | ISBN 978 90 6369 291 9

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Of het nu gaat om een videospel, een museumtentoonstelling of een marketingcampagne, steeds is het ontwerp ervan het resultaat van concepten en praktijken uit allerlei disciplines. Dit boek is het eerste interdisciplinaire naslagwerk voor ontwerpers, dat 125 bekende vormgevingsconcepten helder beschrijft. Een standaardwerk voor technici, ontwerpers, architecten en studenten. Auteurs: William Lidwell, Kritina Holden en Jill Butler | Nederlands | 3de druk | 272 pagina’s | Flexicover | 25.5 x 21.5 cm | € 39 | ISBN 978 90 6369 229 2

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New

Dit is de Nederlandse editie van de internationale besteller van Nina Chakrabarti. Nina’s grote verdienste is dat ze de wereld van mode heel aanstekelijk bij elkaar heeft gebracht. Sla het boek open en het duizelt je van de illustraties van tassen, schoenen, eenvoudige naaipatronen, tips en halve tekeningen om zelf af te maken. Auteur: Nina Chakrabarti | Design: Wood McGrath | Nederlands | 2de druk | 272 pagina’s | Paperback met flappen | 28.9 x 21 cm | € 15 | ISBN 978 90 6369 249 0

Conceptdenken Dit boek is het eerste Nederlandse boek dat aan de hand van een twintigtal Nederlandse cases de theorie en praktijk van conceptdenken en conceptontwikkeling in kaart brengt. Het kijkt in het bijzonder naar merken in de creatieve industrie, bijvoorbeeld op het gebied van entertainment, film, food, mode, kunst, cultuur en media.

Auteursrecht voor ontwerpers

‘Het boek ‘Copy & Concept. Prikkels voor reclamemakers’ moet een naslagwerk en inspiratiebron worden voor junior creatieven en seniors helpen bij de begeleiding van jong talent.’

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Auteursrecht voor ontwerpers 788_Cross_Copyboek_omslag_WT-3.indd 1

Wanneer geldt het auteursrecht, wat mag een opdrachtgever doen met je werk, hoe zit het met hergebruik en co-creatie, hoe kun je je creaties beschermen? In dit boek wordt in begrijpelijke taal en met veel voorbeelden uitgelegd hoe het auteursrecht precies werkt en waar je als creatieve maker op moet letten bij het maken van afspraken met beeldleveranciers en opdrachtgevers. Auteurs: Vincent van den Eijnde, Anouk Siegelaar | Ontwerp: Leon Bloemendaal | 144 pagina’s | 23,8 x 17 cm | Paperback | € 29,90 | ISBN 978 90 6369 317 6

Prikkels voor reclamemakers

mr. vincent van den eijnde & mr. anouk siegelaar

COPY & CONCEPT

New

Dit is de startersgids voor ontwerpers. Op heldere wijze gaan de auteurs in op alle zakelijke, financiële en juridische zaken die voor een zelfstandig ontwerper van belang zijn. Met handige bijlagen, zoals voorbeelden van offertes en opdrachtbevestigingen.

Grafisch ontwerpers hebben vaak geen idee hoe ze fris van de opleiding de eerste stappen moeten zetten naar een bevredigende loopbaan. Dit boek is precies wat ze nodig hebben. Het staat vol met adviezen over hoe je de leuke projecten die je graag wil doen kan realiseren.

‘Wie het na dit boek niet snapt, kan beter een ander vak kiezen.’

Handboek voor het opzetten van een ontwerppraktijk

Handboek voor het leven als grafisch ontwerper Dutch • Catalogue

My Wonderful World of Fashion

COPY & CONCEPT Prikkels voor reclamemakers

HE R ED ZIEN ITI E E

eu ca we ho se s en of ds mo tu kk de lle n

Bert Thobokholt Barry de Waal Martin Westbeek Gastschrijver: Jaap Toorenaar

Copy & Concept Deze derde en geheel vernieuwde editie bevat vele nieuwe cases, verbeteringen en aanvullingen. Copy & Concept werd al als een must-have door de reclamevakpers geprezen. Het boek volgt het creatieve proces zoals dat in de beroepspraktijk verloopt: van conceptontwikkeling tot copywriting. Dankzij de actuele cases vullen theorie en praktijk elkaar uitstekend aan. 22-06-2010 14:38:09

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De vorm van tekst Iedereen is een typograaf. Dat moet de conclusie wel zijn als je ziet hoe vaak mensen vandaag de dag beslissingen nemen over letterkeuze en layout. Toch weten maar weinig computergebruikers hoe letterfonts precies werken. De vorm van tekst behandelt op praktische wijze typografie in al zijn breedte en laat aan de hand van vele voorbeelden zien hoe en op welke manier typografie werkt. Auteur en ontwerp: Jan Middendorp | Nederlands | 160 pagina’s | 26 x 21 cm | Flexicover | € 29.90 | ISBN 978 90 6369 133 2

Iconic Packaging: De Fruittella-rol De Fruittella-rol is het onderwerp van het tweede deel in de serie Iconic Packaging. In dit boek lees je alles over de rijke historie van het snoepmerk en de iconische vierkante rol. Auteur: Marcel Verhaaf | Design: Paulien Hassink | Nederlands | 64 pagina’s | 21 x 15,8 cm | Hardcover | € 12 | Nederlandse editie: ISBN 978 90 6369 293 3 | Engelse editie: 978 90 6369 303 9

De Basis van Typografie Iedereen die teksten schrijft of publiceert, wil dat zijn werk er ook mooi uit ziet. Toch zijn er maar weinig mensen die doeltreffend typografisch kunnen vormgeven. De basis van typografie is een ideale gids voor iedere beginner, en staat vol praktische tips om je teksten aantrekkelijk en goed leesbaar te maken, zowel op papier als op het scherm. Auteur en ontwerp: Jim Williams | Geïllustreerd | Nederlands | 160 pagina’s | 17 x 22 cm | Gebonden | € 24 | ISBN 978 90 6369 305 3

Kost Wie zich in de voedselketen verdiept, valt van de ene verbazing in de andere; obesitas en honger bestaan nog altijd naast elkaar en wereldwijd verspillen we evenveel voedsel als we opeten. Kost biedt essays, interviews, (foto-)reportages en artikelen over projecten van ontwerpers, kunstenaars en wetenschappers waarvan het werk draait om de waarde(n) van voedsel. Samenstelling: Brigitte van Mechelen en Diana Krabbendam | 124 pagina’s | Nederlands | 26 x 20 cm | Rijk in kleur geïllustreerd | Paperback met flappen | € 19.90 | ISBN 978 90 6369 266 7

NoCompromise Het nieuwe retail positioneringsspel Internationaal retailspecialist Hans Eysink Smeets introduceert in dit baanbrekende boek zijn NoCompromise Retail Model. Dit model helpt retailers, hun adviseurs en studenten retail bij het beter begrijpen van de grote veranderingen die zich in het landschap van retail en consumentenmerken voordoen. Auteur: Hans Eysink Smeets | 208 pagina’s | 19,5 x 27 cm | Geïllustreerd | Paperback in een cassette | € 34 | Nederlandse editie: ISBN 978 90 6369 333 6 | Engelse editie: ISBN 978 90 6369 332 9 | Oktober 2013

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