BIS Autumn 2019 catalogue

Books and gifts for the creative minds

Fall 2019

Cover image taken from Pregnancy Cookbook p.17

Dear reader, Creativity is still moving up in the world. Where it used to be a nice to have, now it’s a need to have. It is a 21st-century survival skill. Professional and personal success depend on it.

There’s an old Chinese proverb: “When the winds of change blow, some build walls, others build windmills.” In periods of change, our natural instinct is to dig in and build walls that shield us. Creativity is what helps us build windmills. It’s the type of thinking that helps us adventure into unfamiliar territory, see opportunities, generate options, and come up with new solutions in our private lives, our politics, our schools and our work. In business, creativity fuels innovation. There is no innovation without creativity. (from The Secret of the Highly Creative Thinker) So, we’ve got you covered on all sections: in your private life Frame Your Imagination and Museum Art Cards, politics Branded Protest, schools Good Services and work Don’t Buy This Book and Know Your Onions Corporate Identity.

As it’s important to train children’s ability to think creatively, we present My Photography Game and Little Creative Thinkers Exercise book.

We have so many other great books on our list. The above is just a sneak preview – for all our (new) titles, please read on or browse www.bispublishers.com for the comprehensive overview.

With the books of our wonderful authors our aim is to cultivate your creativity. So, I hope you will be surprised, amazed and inspired!

Don’t forget to stay connected via our social networks– like, share and spread the word! As always, if you have a good idea for a new project, don’t hesitate to contact us. We would love to hear from you!

The BIS Publishers team, Bionda Dias Bionda@bispublishers.com

Content 4 NEW TITLES FALL 2019 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Branded Protest Don’t Buy this Book The Secret of the Highly Creative Thinker Paperback Pitching Ideas Paperback Hidden Persuasion Paperback Good Services Know Your Onions Corporate Identity Sketching Paperback / Sketching the Basics Paperback Dutch Design Cowboys Think Like a Lawyer, Don’t Act Like One / Think Like a Manager, Don’t Act Like One FIZZ Pregnancy Cookbook Museum Art Cards Frame Your Imagination My Photography Game

21 DUTCH TITLES 22 23

Accountable conceptdenken Products that Last

24 RECENTLY PUBLISHED 25 25 25 25 26 26 26 26 27 27

Food Futures 23 Innovations in Digital Communication The Innovation Matrix How to Survive the Organisational Revolution Products that Last Connecting How to Research Trends Workbook Football Baby Names The Empathy Game Robot Memory Game

28 HIGHLIGHTED Gift 30 HIGHLIGHTED Creative Business

32 BACKLIST 33 30 33 34 37 38

Creative Business Design Architecture and Spatial Design Gift Books Notebooks and Postcards Games

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Contact

48

Index

New titles fall 2019

Image taken from FIZZ 978 90 6393 544 6 ÂŁ 15.99 - November 2019

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NEW TITLES

NEW TITLES

Branded Protest Branding as a Tool to give Protest an Iconic Face

Don’t Buy This Book Entrepreneurship for Creative People

Branded Protest is taking a closer look at the arbitrary – odd – relationship between “branding” and “protest.” It researches the power of branding, and its influence on current protest movements, giving examples of unique branding efforts that support protest.

Don’t Buy This Book is the sequel to the highly successful Don’t Read This Book – Time Management for Creative People. Like its predecessor, it uses the ToDon’tList method to help you make the right choices – choices that help you achieve your goals as a creative entrepreneur.

In a time of hypermediation, we find that visual stimulation generally holds the key to success of a message. To streamline the process, branding is becoming an essential part of the communication channel.

The success of protest actions is increased by good branding.

Don’t Buy This Book walks you through the necessary steps: testing your idea, getting it ready for business, and building on it. It covers everything you need to get started or improve your business as a creative and it offers practical exercises to clarify who you want to be as an entrepreneur.

This book is a reference tool which will reflect on current protest developments in the context of historic relevant protest movements, in order to show their differences and common goals. The focus is on the different branding tools of each individual protest divided into main branding tool directions. For students, educational professionals, brand and graphic design professionals, and a design-interested audience.

“We cross our arms to express our dissatisfaction with the government”

Cross Your Arms A perfect example of body-gesture protest originated in Hong Kong in 2014. The crossed arms gesture evolved into one of the key branding tools of the famous Yellow Umbrella protest movement.

painted white, referring to the activists who were tear-gassed and pepper-sprayed by the police, and he brandishes the iconic yellow umbrella.

Adopted by the movement as a symbol of freedom and peace, Umbrella Man became a mirror in which the protesters could see their own reflections.

E

Why Creative People Become Entrepreneurs

The media was quick to associate this piece with the Goddess of Democracy, the 11-metre-high, papier-mâché, torch-bearing female figure constructed during the Tiananmen Square protests of 1989. Milk was apparently unaware of this statue, probably as he was too young to remember it (he was born in 1992).

Er was eens een businessman die keihard werkte om zoveel geld te verdienen dat hij de rest van zijn leven op vakantie zou kunnen. Dit doel kreeg de opperste prioriteit, ging voor alle andere dingen: gezin, vrienden, leven. Uiteindelijk was dan het zover. Hij kocht een jacht en zeilde de wereld over. Dat deed hij drie jaar lang. Eenzaam dobberend op zee, kwam hij tot een conclusie… wat had hij nu eigenlijk?

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People don’t buy what you do; they buy why you do it.

— Simon Sinek

Focusing your life solely on making a buck shows a poverty of ambition. It asks too little of yourself. And it will leave you unfulfilled.

People will always love your idea…

Wat je idee ook is, mensen zullen het bijna altijd een goed idee vinden. Wat is de reden om het geen goed idee te vinden?

Eerst was er geen idee, nu is er wel een idee, maar alles is nog steeds hetzelfde. Het is fijn om positieve feedback te krijgen op dat wat je van plan bent. Het geeft jezelf vertrouwen om iets ook daadwerkelijk te gaan doen.

— Barack Obama

….until you ask them to pay for it

De harde werkelijkheid doet zijn intrede wanneer de mensen die jouw plannen goed vonden – of het nu een ontwerpstudio of een product is –ook moeten gaan betalen. Iets een goed idee vinden is, is iets anders dan dit goede idee ook kopen. Een goed idee hebben, is dus iets anders dan een businessmodel. En let op: dan gaat het er (in dit boek) niet eens om, zo snel mogelijk zoveel mogelijk geld te verdienen. Het gaat er wél om dat je als entrepreneur jouw service of product wilt verkopen. zodat je kunt blijven doen wat je leuk vindt. Zoals de Nederlandse rapper Brainpower ooit zei: “Ik maak geen platen om mijn kamer mee te behangen”.

This is a classic form of branding – giving an idea a 3D form, in this case as a giant sculpture.

Anonymous protester, Hong Kong

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GESTURE AND SYMBOL

Pro-democracy campaigners widely adopted the crossed-arms posture during the Umbrella Movement protests. Also known as Occupy Central, the protests took place in 2014 in demand for freer elections in Hong Kong. Over 79 days, a civil disobedience campaign brought parts of the busy city to a standstill. Crossing the arms symbolized resistance to the political status quo, while simultaneously insisting on the peaceful nature of the protest. With this posture, demonstrators emphasized that they were carrying no weapons. The gesture transmitted the message that they were neither using nor advocating violence to achieve their aims.

Don’t solve a problem by creating another one

De why achter de meeste ideeën voor een product of service ontstaat vanuit een ‘probleem’. Dat probleem willen we dan oplossen. Maar vraag je af of dit probleem er ook echt wel is. Of dermate groot is dat mensen er een oplossing voor willen. Op kickstarter zijn talloze oplossingen voor problemen te vinden, waarvan je je kan afvragen welk probleem het oplost. Vaak zijn het variaties/verbeteringen op zaken die er al lang zijn.

Wanneer we een probleem willen oplossen is onze eerste reactie om iets toe te voegen. Als we ons snijden plakken we er een pleister op. Als het eten niet smaakt gooien we er extra zout op. Maar vaak verzinnen we add-ons die niet noodzakelijk zijn.

En even over de vraag of je kopers toch overtuigd krijgt van de noodzakelijkheid, je bent dan dus producten aan het produceren die dus eigenlijk helemaal niet nodig zijn en daarmee dus eigenlijk helemaal niets bijdragen aan de wereld. Behalve dat we nu extra spullen hebben.

Zeker als je doel is om de wereld beter achter te laten is dit een belangrijke vraag. Je kan elektrische auto’s gaan maken — en dat is natuurlijk altijd beter dan auto’s die op benzine lopen — maar je bent nog steeds auto’s aan het maken. En dat je in een elektrische auto zit, betekent niet dat de stroom die erin gaat is opgewekt met windmolens. Als die stroom is opgewekt met steenkolen zijn we uiteindelijk nog niet zoveel opgeschoten. Er zijn nog steeds heel veel grondstoffen voor nodig. Als we de wereld willen verbeteren zijn we vooral geneigd nieuwe dingen te kopen, die weliswaar schoner zijn, maar vervolgens staat het vervuilende apparaat op straat en is er ook nog eens een nieuw apparaat gemaakt.

Opruimguru Marie Kondo beschrijft hoe je zo veel mogelijk spullen weg kan doen en zo je leven overzichtelijker maakt.

Hoe alleen over wat je vreugde geeft. Vol passie schrijft ze over de vuilniszakken die de deur uit gaan. Wat alleen jammer is dat al die overbodig spullen vaak worden weggegooid. Je zou kunnen kijken hoe je juist die spullen wel een tweede leven geeft.

The Umbrella Movement On 28 September 2014, Hong Kong police used pepper spray and tear gas against protesters. In an attempt to protect themselves from the chemicals, the protesters sheltered under their umbrellas.

The ultimate symbol of Hong Kong protest, the yellow umbrella, was born. Since then, the yellow umbrella has become the global icon of pro-democracy in China, a potent semiotic symbol of political protest.

Maar nog beter hoe je voorkomt dat deze spullen überhaupt je huis in komen.

As creatives we have a responsibilty and we can make a change!

We hebben als creatieven een verantwoordelijkheid. We creëeren dingen, maar we moeten ons dus wel realiseren wat de impact daarvan is. Zowel in positieve als in negatieve zin.

Dichtbij ons huis zit een kleine ijssalon met fantastisch homemade ijs. De winkel gaat open in het begin van de lente en sluit in de herfst. Zodra de winkel open is, komt iedereen voor het ambachtelijke ijs. Zo ver, zo goed. Het enige nadeel is dat de hele dag medewerkers met vuilniszakken vol lege ijsbakjes en plastic lepeltjes lopen te slepen. Er is dus een keerzijde die we liever niet zien maar er wel is. Maar juist daar zit ook een mogelijkheid. Op het moment dat we juist die keerzijde oplossen, verbeteren we de wereld. En dat zou als creatieve entrepreneurs toch moeten lukken.

A city is a passel of people packed in a pot like pickles — David Detzert Eerder hadden we het over de verticalen concurrenten. Als we het over elektrische auto’s hebben dan zijn horizontale concurrenten vooral andere automerken. Op de verticale as bevinden zich de alternatieven. Wat als we nu een manier vinden waarbij we geen auto meer nodig hebben. Wie kijkt naar de toekomst van de stad ziet dat de stad alleen maar drukker zal worden met mensen. Waardoor er steeds minder ruimte zal zijn voor auto’s. Individueler vervoer en openbaar vervoer worden waarschijnlijk veel belangrijker. Een elektrische step en fiets of een zelfrijdende bus zouden dus goede verticale concurrenten kunnen zijn van de elektrische auto. Bovendien zij

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Create your Pitch Answer as short as possible. Max 1 sentence.

1. What is your product or service?

5. Who is your target customer/client?

2. Why do you do it?

6. Why do people need it /why would they buy it?

3. What does it do/is its effect?

7.How will they benefit from your product or service? If there are more benefits, decide which one is the most important one for prospective clients.

4. What is unique about what you offer?

8. How will this improve your clients’ quality of life?

Statement Symbol In the Umbrella Movement, the umbrella becomes a “statement symbol”. It designates a protected space for dialogue, an invitation to stop and engage with the political situation in a moment of uncertainty. The umbrella is at the heart of a performance by and for the artist community, as distinguished from propaganda for the people. In the I-Ching performance series, the umbrella was a space for intimate exchange, a forced yet spiritual engagement with the individual, a dedicated time for understanding the other, and being open to new translations and mistranslations.

A Mirror for Protesters The umbrella encompasses all of these associations and goes far beyond them. During the 2014 protest, sculptural umbrella interventions interrupted the streets of Hong Kong. They included Umbrella Man – a 4-metre-high human figure constructed from wooden blocks – by an artist known only as Milk. Umbrella Man tells the people’s story of the protest. His face is

“Not everyone can be there on the front lines. The ribbon is a way to show your support” Kasey Wong assistant professor of design, at Hong Kong Polytechnic University

Related

Brand the Change, page 33

Author

Info

Klaus Kempenaars is one of the founders of xSITE. Specialising in branding, Klaus can build on a long collaboration with international companies.

October 2019 192 pages 27 x 18 cm paperback £ 29.99 ISBN 978 90 6369 541 5

Ingeborg Bloem is also one of the founders of xSITE. She is a cross-media designer/Art Director with broad experience in the development of brand and communication projects.

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Related

• Filled with case studies like Yellow Umbrella Movement, Pink Pussy Hat and Women March • Interviews with prominent Art Directors, designers and speakers like Joshua Wong or Milk, Gérard Biard, Pussy Riot and El Zeft • Illustrated with expressive photographs and art

Don’t Read this Book, page 35

To Don’t List, page 35

Don’t/Do This - Game, page 35

Author

Info

Donald Roos is an independent typographic designer and creative entrepreneur. He creates movie titles for feature films and helps startups with concepts and UI/UX designs for apps and tools. He regularly sets up new projects because he loves to execute fresh ideas. His biggest problem: too much to do and too little time. That’s why he came up with the To Don’t List method.

November 2019 160 pages 21.5 x 14.5 cm paperback £ 14.99 ISBN 978 90 6369 537 8

Anne de Bruijn is a copywriter, editor and producer. She creates audio guides, videos and other content for internationally known museums as well as corporate organisations. She regularly helps new freelancers and entrepreneurs get started. Anne also has a keen interest in languages and cultural diversity. She previously co-wrote ‘Don’t Read This Book’.

• The book helps you define your ambitions and priorities, but also gives realistic tips about return of investment, contracts, pricing and marketing.

• To Don’t series: 25.000 copies sold • Highly illustrated and beautifully designed

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NEW TITLES

NEW TITLES

The Secret of the Highly Creative Thinker How to Make Connections Others Don’t

Supported by the latest neuroscience, this book gives you hands-on advice on how to enhance your own creativity. An inspiring combination of theory, techniques, anecdotes and exercises to help you access better ideas and bigger breakthroughs.

People who are good at creating ideas are good at seeing connections. Could teaching people to see connections be a way to help them be more creative?

Over the years, there has been a need for a book on creativity that complements the teaching of the creative process and tools and gives you a practical approach tto enhancing your innate ability to think creatively. This book is an opportunity to dispel the myth that creative talent is something possessed by a gifted minority. It’s a chance to give others the knowledge, techniques, and training they need to enhance their own innate creativity and lead the way to fun, fulfillment, invention, innovation, and change.

Related

Connecting, page 35

Pitching Ideas Make People Fall in Love with your Ideas

“Love the book.

Terrific work. An excellent idea and a great contribution to our field. It was such a pleasure to read.”

- Dr. Gerard Puccio, Director of the International Center for Studies in Creativity

We are good at designing beautiful products and we offer good services.

We always know exactly what the user wants and we know dozens of methodologies. However, if we have to convince our customers and colleagues, we find it rather difficult.

For one reason or another, pitching ideas is one of the most undervalued practices in the creative field. From convincing a colleague to opt for a certain methodology to persuading a customer to go for a certain concept. You can have the best ideas in the world, but if you are not able to bring them across, they will never become reality.

- Philip Battin, Design Strategy Lead at Google

In this book the author will take you inside the heads of the people you have to convince. Pitching Ideas will help you to find the essence of the idea you want to get across and will explain how you can really convince the right people in the end.

Creativity +, page 35

• Now available; paperback edition

• Now available; paperback edition Author Dorte Nielsen is a creativity expert, author, keynote speaker, and the founder of FourSight Denmark. Dorte is the head of the department and the programme director of Creative Communication, a BA education for Art Directors and conceptual thinkers at the Danish School of Media and Journalism.

Sarah Thurber is managing partner of the FourSight company in the USA. A leader in innovation and creativity, Sarah specialises in developing research-based tools to enhance innovation and team performance.

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“Pitching Ideas provides a bulletproof framework and approach to pitching for all aspects of your life, professional and private alike!”

Info September 2019 192 pages 23.5 x 15.5 cm paperback £ 16.99 978 90 6369 532 3

• The science, technique, and tools of 1 + 1 = 3 • Hands-on advice supported by the latest neuroscience on building your innate creativity • High profile American and Danish authors

Author

Info

Jeroen van Geel has many years of experience in the field as an innovator, designer and strategist. He is an international speaker and writer on the field of UX and design, and has a great interest in the world of brand personality. He has helped push forward many design projects, ranging from the award-winning smart projector Beam to the innovative automated border control systems at Schiphol Airport. His goal is to return a bit of wonder into the world, even if it is just for himself.

July 2019 128 pages 21 x 14.5 cm paperback £ 14.99 978 90 6369 529 3

• Easy to read with practical tips and real examples • Finds the essence of the idea you want to get across and convince the right people • Structured as both a complete story and practical book 9

NEW TITLES

NEW TITLES

Hidden Persuasion 33 Psychological Influence Techniques in Advertising

Hidden Persuasion analyses 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 to influence behaviour and decision making on an unconscious level.

All techniques are supported by rich visual references and additional information on the psychology of behaviour 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 behaviour is influenced unconsciously by advertising, social campaigns and governmental messages. The book is co-authored by leading figures in social influence and visual persuasion.

Good Services Decoding the Mystery of what Makes a Good Service

“These hidden persuasions are a driving force behind advertising, and they’re way more common than you might think.”

- Wired.com

Service design is a rapidly growing area of interest in design and business management. There are a lot of books on how to get started, but this is the first book that describes what a ‘good’ service is, what makes a good service and why. This book lays out the essential principles for building services that work well for users, demystifying what we mean by a ‘good’ and ‘bad’ service and describing the common elements within all services that mean that they either work well for users or don’t.

This book is for anyone who is involved in designing or delivering services and it aims to give the reader an understanding of what the common characteristics of a ‘good service’ are to users. For readers who are not professional service designers, this book gives an indication of what they or their teams should be aiming for, without presuming they will invest a significant amount of time designing a service themselves.

What is a service?

There are many definitions of ‘a service’. Most are long, complicated and almost impossible to remember.

Most will claim that services are intangible or a set of processes, making them sound almost as if they are too complex to be designed.

But services aren’t complicated, and they don’t deserve the complicated explanation they’ve been given in the past.

A service is simply something that helps someone to do something.

1 Be easy to find

To a user, a service is simple. It’s something that helps them to do something - like learn to drive, buy a house, or become a childminder.

It’s an activity that needs to be done. A verb that comes naturally from a given situation that cuts across websites, call centre menus and around your carefully placed advice towards its end goal.

This isn’t how most organisations see their services though.

For most organisations, services are individual discrete actions that need to be completed in a specified order – things like ‘account registration’ ‘booking an appointment’ or ‘filling a claim’. Because of this, they need to be uniquely identifiable so that the people who are operating them can become familiar with them, and assist a user to complete their task.

We’ve given these things names, nouns, to help us keep track of them. In government, these are things like ‘Reporting of Injuries, Diseases and Dangerous Occurrences Regulations 1995 (RIDDOR)’ or ‘Statutory Off Road Vehicle Notification (SORN)’ – but the names private organisations give these things are no less obtuse.

When it comes to finding your service, nothing is more important than its name. Sadly services that are badly named often fall into the category of ‘Googlefails’ – things you wouldn’t be able to find unless you knew what to ask for.

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Related

Title, Different Brains page .. Approaches, Different page 34

Related

How to Have Your Cake and Eat it too, page 34

This is Service Design Thinking, page 34

Info

Marc Andrews is a psychologist, art director and designer.

Since 2008, he has been a partner of andrews:degen (andrewsdegen.com), a creative agency for visual communication in Amsterdam.

July 2019 192 pages 23 x 17 cm paperback with flaps £ 16.99 978 90 6369 531 6

Dr. Matthijs van Leeuwen is an assistant professor of Social Influence and Persuasion at the Radboud University of Nijmegen. As a teacher, he lectures and instructs graduates and research Master’s students in the real-life application of scientifically validated influence techniques.

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Prof. dr. Rick van Baaren is professor of Behavioural change and Society at Radboud University Nijmegen. His work has been featured in the New York Times, the Discovery Channel and Die Welt, among others.

• Explains the psychology behind 33 effective influence techniques in visual persuasion • Gives deep insights into how to influence behaviour and decision making on an unconscious level.

• Hardcover edition sold over 11,000 copies

Good services are verbs Bad services are nouns

A good service is easy to find

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Thinking in Services, page 34

• Now available; paperback edition Author

The service must be able to be found by a user with no prior knowledge of the task they set out to do.

For example someone who wants to ‘learn to drive’ must be able to find their way to ‘get a driving license’ as part of that service unaided.

Author

Info

Lou Downe is Director of Design for the UK Government and was voted one of the UK’s top 50 Creative Leaders

by Creative Review in 2016, and one of the world’s 100 most influential people in Digital Government by Apolitical in 2018.

November 2019 192 pages 19.5 x 13 cm paperback £ 15.99 ISBN 978 90 6369 543 9

• Provides readers with the know-how to check whether their service does this and shows how to fix their service if it doesn’t • Author was voted one of the world’s 100 most influentialpeople in Digital Government by Apolitical in 2018 • Edited by Chris Downs

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NEW TITLES

NEW TITLES

Know Your Onions - Corporate Identity Get your Head Around Corporate Identity Design and Deliver One Like the Big Boys Not all of us get to work on multi-million corporate identity projects for airlines and huge conglomerates.

If you are new to the sector or honing your skills, then this is for you. This book is for people who have to tackle identity projects in the real world. It is a broad introduction to identity design, not branding - don’t worry, you’ll learn the difference.

If you want a book that tells you how to do it, this is for you - if you want a book about how other people have done it - then this isn’t the book for you.

This book is for graphic designers and people who commission corporate identity projects. It is for people who want to understand the process and how to deliver it, whether they be new to the sector or honing their skills.

Sketching / Sketching the Basics Drawing Techniques for Product Designers

Sketching is an incredibly broad and practical survey of sketching techniques for product designers. It goes without saying that the book is suited the classroom, but every design studio will also find this manual an asset.

Sketching the Basics explains the rudiments of learning to draw, using step-bystep illustrations, examples, and strategies. You will learn to use and master the different techniques and also how to apply sketches in the design process.

“The best sketching book I have ever seen.”

- Luigi Colani

Sketching the Basics can be seen as the prequel to Sketching as it is more targeted at the novice designer. The Basics explains the essential techniques and effects in more detail, taking the reader by the hand and guiding him stepby-step through all the various aspects of drawing that novice designers come up against.

18 THINKING Identity, corporate identity or brand I think it might help to clear the air and define what these terms actually mean. They certainly get mixed up and used incorrectly. As the title suggests this book is about identity.

Identity is the visual language that an organisation uses to identify itself to the world. Often included in that is the use of the logo, typographic style, color palette, photography and illustration, language and tone of voice.

Corporate identity focuses on a visual identity for a business as opposed to a product for instance. It is the same as ‘identity’ but usually refers to the organisation only.

Branding is a much wider subject, it includes identity, corporate identity and a stack of other things like how your customers interact and feel about your organisation and product. Branding includes experiential marketing or engagement marketing, PR, events, the whole thing. For instance, Marmite is not just defined by the label on the pot, it has a whole personality of the brand (love it or hate it) and thrives on how people perceive it and its unique position in the British psyche. How many expats ask their mates to bring over a pot of Marmite in their suitcases when they come to visit? It’s the taste of home and a real illustration of brand buy-in.

Clients often refer to a branding projects when they mean an identity project, there is no point in correcting them, just so as you know the difference. And now you do.

Occasionally you may actually get asked to provide a full branding project.You’ll be tackling a stack of things outside a normal designers role and despite the publication of various books on the market that reckon you can do the whole thing in 5 easy steps, personally, I don’t think you can. I don’t cover that in this book. We have to focus people, identity is what we are dealing with here.

There could be a Know Your Onions book on each of these subjects and many, many more, but I’m not an expert on them, sorry to say.

SKETCHING THE BASICS

Estimating At a more advanced level, one uses fewer guidelines and makes more estimations.

Sometimes a contour can be ‘predicted’, with cross sections being added later to explain more about the shape.

This ideation of handheld underwater cameras shows the importance of cross sections. In each sketch, cross sections are used to either construct the grip to the main shape, or to describe a shape.

CHAPTER 2 DRAWING APPROACH / 2.2 BLOCKS

2.2.3 Shading and Cast Shadow

A

Shading is used to emphasise the volume of an object, and to position it in its surroundings.

Shading refers to the differences in darkness of the object’s sides, as related to a light source. Cast shadow is the projected shadow onto a surface.

B

A

In general, parallel light (sunlight) creates an effective cast shadow. One point light (lamp light) often does not show an appropriate cast shadow. It can create a shadow that is not related to the object’s perspective. It is more difficult to construct and less predictable. Cast shadow from a parallel light source is easier to predict and perceived as realistic.

Choosing a direction of the light source is done by two lines: the actual light direction or ‘slope’ A, and the projected light direction B. Imagine a parallel light source just over your left shoulder. It will have a relatively steep slope A, and B will point slightly towards the upper right.

B A

B

All the actual light directions (slopes A) in a drawing can be drawn parallel, and all projected light directions will slightly converge.

As one’s skill increases, organic shapes or less geometric shapes can be suggested by estimated cross sections.

Usually a combination of approaches is applied in one sketch.

Constructing a cast shadow can be compared to projecting a shape on a surface, which means that rules of perspective for shading apply. The perspective of the cast shadow and that of its original converge toward the same vanishing point. The length of a line and that of its shadow are comparable in length.

The shadow of a block mounted on a wall and that of a block on a horizontal surface may actually have the same shape.

Backlight may only be desired to create a suspenseful scene.

A lot of shape characteristics of an object can be seen by the shape of its shading, such as ‘open’ and ‘closed’ volumes, or edgy and rounded volumes.

Chapter 7 Planes / cross sections

146

147

1

2

1. Choosing a light direction that comes towards you will not only put a distracting dark shape in front of the drawing, but more importantly, will leave no room for colour and contrast on the shape itself.

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SKETCHING THE BASICS

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“

Favour gonna kill you faster than a bullet

Working for free There are a number of scenarios when working for free and only two of them should ever be acceptable and all of them are your own personal choice.

These are:

“

Carlito Brigante, from the 1993 film Carlito’s Way’

FOR A MATE

PITCH

Bono means ‘good’, I wonder if the U2 frontman knew that when he chose that, bet he did

Related

Know Your Onions: Graphic Design, page 37

PRO BONO

THE PROMISE OF FUTURE WORK

For a mate If you want to produce an identity for a mate, why not?

You’ll be helping them and as they are your mate, why wouldn’t you? But make sure you set out the parameters.

As Carlito says ‘Favour gonna kill you faster than a bullet’.

Know what you have agreed to, try an keep it professional and document what you agreed. I know you are dealing with a friend, but you will lose one as quick as lightning if you both don’t understand the parameters. Buy the way, just because the work is for free, don’t think for a moment you won’t have the same issues with regard to pinion and direction, unless of course you agree otherwise.

Pro bono On occasion, and I do it too, I choose to help an organisation and deliver my skills at no cost. I’m lucky, I have a great team (that sounds like something motivational speakers says) who can step in and do the necessary at the drop of a hat, so when I get a estimate request from an organisation like a small mental health charity, I price it low, really low. This is the key point, they think they are paying for it and the reason I make them think that is when you are paying for something, it has worth. But come invoice day, I explain that we have decided to offer the work at no cost, pro bono.

It’s a nice thing to do. When projects are offered the oherway around, when the client asks for pro bono work or at a reduced cost, things often work out badly.

I was once called in after a large branding agency, who’s creative director like the limelight had delivered a pro bono identity, only to leave them (after 13 months) with nothing more tangible than a new logo. It would be unprofessional for me to mention the organisation or the agency involved (ahem) but the result was a charity with a new logo and no understanding of how to implement it. The agency did it for the press, and they did very well out of it.

There are no sour grapes here, I got paid well to ‘rescue’ the project, but if you are going to work pro bono, do the right thing and do it properly.

Pitch We get asked to pitch all the time. A pitch can mean two things, come in an present your company and its credentials, which to my mind is absolutely free. Or do a stack of design work on our project, which you won’t be paid for, so that we can see whether we like them or not, or even steal them when you are not looking. I’ve banged on about how I feel about it in my other books.You have to choose yourself whether you want to entertain this sort of thing or not. If you are working for an agency, it won’t be your decision,

Drew de Soto is the founder (2000) and Creative Director of Navig8 and has gone on to work with some of the most influential UK organisations. These include the British Council, the UK Government, international charities and brands.

November 2019 244 pages 21 x 15 cm paperback £ 16.99 ISBN 978 90 6369 539 2

Sketching with a fineliner or marker instead of a pencil and eraser causes you to take decisions, not ponder. This approach may take some time to get used to, but it is a realistic one in product design; it is a highspeed process. While sketching, each time you have to take a clean sheet of paper because the previous one is messed up, you have actually learnt something.

Some may say that studying the work of other people and trying to imitate sketches of others may ruin the development of your personal handwriting. We have seen this attitude cause students to unnecessarily reinvent the wheel again.

It can be very helpful to study the work of people you admire. It may actually speed up your learning, as it makes you aware of the existing level of work in your field, and points out your own strengths and weaknesses. But most of all, it can simply be inspiring.

It is sometimes difficult to ‘take distance’ from your sketch, to take an objective look at it. A way to look at your sketch fresh again is to look at it in the mirror!

The balance of contrast can be better assessed by looking at the sheet of drawing(s) upside down.

49

A lovely ‘thank you’ from a charity we worked with

• A broad introduction to the world of designing and managing a corporate identity project, focusing on the design process.

• Know Your Onions series 58,000 copies sold • Humorously written and very practical; full of illustrations, diagrams, notes, examples and case studies

12

2.10 MORE SKETCHING TIPS

All the theory described in this chapter is meant to help you develop your drawing skills. Beware, however, that there are also other drawing aspects that can have a bigger impact on perception. Aspects like the general contrast used, size and the position of the sketches in relation to one another.

When you sketch digitally, it is normal to sit in front of your screen and not look at it from an angle. When you sketch on paper, this position is also best. Make sure you look at your paper perpendicularly. Avoid sketching too close to your paper; you might get lost in details that do not have such a big influence.

Related

Info

35

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Know Your Onions: Web Design, page 37

Author

3

3. If the slope of light chosen is too steep, the cast shadow will become too long and dominant.

CHAPTER 2 DRAWING APPROACH / 2.10 MORE SKETCHING TIPS

2.9 FINALLY

One of these aspects that is worthy of more attention is overlap. It can occur spontaneously when ‘thinking on paper’, as in the adjacent drawing (originally A3 size), or it can also be ‘staged’, as in the drawing below. Here each object was coloured and finished before drawing the next one.

Creating overlap on purpose like this helps you train your ability to improvise and to use big (colour) contrast to help shift the attention of the reader from an undesired to a desired spot on the paper. Notice also how overlap makes these sketches more dynamic and adds more suggestion.

2. If the light direction, as shown here, is the same as one of the object’s perspective directions, a confusing situation may occur.

Sketching Product Design Presentation, page 37

• Now available; paperback edition

Author

Info

Koos 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.

Sketching November 2019 256 pages 24 x 19 cm paperback | £ 29.99 978 90 6369 533 0

Roselien Steur lectures at the Royal Academy of Arts in The Hague and specialises in design sketching workshops for professionals.

Sketching the Basics November 2019 204 pages 24 x 19 cm paperback | £ 29.99 978 90 6369 534 7

• Hardcover editions sold over 175,000 copies • Internationally leading designers from various cultures around the world have contributed • Shows drawings that have proven to be important for decision making 13

NEW TITLES

NEW TITLES

Dutch Design Cowboys

Think Like a Lawyer, / Think Like a Manager, Don’t Act Like One

This internationally well-known and prize-winning design studio never ceases to amaze with their magical and attractive designs. Ranging from graphic design, illustration, packaging and design for fashion, this 176-page book is packed with new creative projects.

Think like a Lawyer, Don’t Act Like One provides 75 strategies to solve conflicts.

It can be used when dealing with grumpy police officers, angry neighbours, unwilling debtors, failing clients, nasty lawyers and other conflict seekers. Each strategy is thoroughly tested and can be used at the kitchen table, on the street and in the boardroom. This is a complete and tested ready-to-use guide to prevent and solve conflicts.

Think Like a Manager, Don’t Act Like One offers 75 successful approaches to help you foresee or manage unpredictable situations. These 75 perspectives will add to your confusion – but also your understanding. This collection of approaches may well irritate you from time to time, and possibly inspire you, but really it should make you think. It probably wouldn’t be sensible to follow every one of them, but they might give you some fresh ideas. Because those who keep doing what they’ve always done achieve the results they’ve always achieved.

“Eager to be more John F Kennedy than David Brent?

This quirky management title can help. Think Like a Manager offers 75 successful approaches to help you manage unpredictable situations.”

- New Design Magazine

#2

never lose sight A conflict can arise when two people have opposite – thus clashing – interests. That makes it difficult to keep your focus on the goal. Take the Taekwondo fighter in the picture. He’s missed out on the bronze medal and he’s pissed. You can’t really blame him: he’s trained his whole life for an Olympic medal. But, in his rage, he kicks the referee in the face. No doubt he’s blowing off a lot of steam, but he’s also saying goodbye to any chance of an Olympic medal – which, after all, is what he wants. You’ll only achieve your objective if you focus on it.

■

# 46

Be prepAred to do it Many who are party to a conflict – particularly large companies – deal with conflict situations by dragging their feet. That’s not so stupid.

A delaying strategy often works: many cases just die a slow death and disappear. If your opponent does this, you might have to get rough: you don’t have to like it, but you have to be prepared to do it. And you’ve got to let them know. The moment you hear that sound of dragging feet, take legal action or call in the media. They’ll listen, and they’ll often want to settle fast. As Al Capone once said: “You can get much further with a kind word and a gun than you can with a kind word alone.” ■

Related

14

Work Hard, Play Harder, page 38

Related

Author

Info

Tough, no nonsense, determined, with a hint of humour.

Typical Kluif. An award-winning design studio founded in 1999, Studio Kluif focuses on the full range of design.

Packaging design, creative strategy and identity design is the foundation from which they work. They received a Crossborder award for Best International Marketing Campaign for Fat Boy, and various pentawards (world wide packaging award).

December 2019 176 pages 22 x 15 cm Slip case £ 16.99 ISBN 978 90 6369 538 5

• Latest work of an awardwinning design studio • This is the fifth monograph of Studio Kluif

Think Like an Artist, Don’t Act Like One page 39

Think Like a Designer, Don’t Act Like One, page 39

Author

Info

Aernoud Bourdrez is a copyright lawyer and negotiator. he now acts on behalf of visual artists, photographers, designers and architects. He has successfuly negotiated in conflicts across more than 40 countries.

Think Like a Lawyer November 2019 160 pages 18 x 14.5 cm paperback | £ 12.99 978 90 6369 535 4

Harry Starren is the former CEO of de Baak VNO-NCW, the premier leadership development institute in the Netherlands. He is a recognised expert on leadership and entrepreneurship and widely acclaimed as a publicist, lecturer and facilitator.

Think Like a Manager November 2019 160 pages 18 x 14.5 cm paperback | £ 12.99 978 90 6369 536 1

• New cover design • Informative, accessible, sincere and humorous • Authors have high profiles in The Netherlands • Series sold over 99,000 copies

15 15

NEW TITLES

NEW TITLES

FIZZ A Beginner’s Guide to Making Natural, Non-Alcoholic Fermented Drinks

Pregnancy Cookbook A Collection of Recipes that Appeal or Appal Depending on your Trimester

Fermentation produces fantastic non-alcoholic drinks. Think of a fresh and tart kombucha, a thirst-quenching water kefir, or an earthy beet kvass…they all fizz with healthy bacteria and they all surprise you with their complex taste. More and more, you’ll see these drinks offered in top restaurants and cocktail bars. But you can also make them yourself. Fermented drinks, with their natural sparkle and slightly yeasty taste, are a great alternative to wine or beer. They are perfect for those who want to consume less alcohol and those who want to give a probiotic boost to their body.

Being pregnant is an exciting time, as your little avocado finally metamorphoses into a fantastic watermelon. It brings a lot of change: in your body, your moods and, more often than not, your appetite. For the next nine months, your tastebuds will never be the same.

This book tells you everything you need to know to brew these healthy and alcohol-free drinks yourself.

You will find accessible recipes with step-by-step illustrations, scientific background information on the fermentation process, and ‘juicy’ anecdotes about the origin of these extraordinary drinks.

Like a roulette of feelings, this book will repulse, excite, horrify and satisfy you at every turn of the page.

You’ll experience feelings you never knew existed, and once your bundle of joy is delivered, this collection of treats will never appeal to you again – unless you get knocked up again, of course.

And while we always rejoice in the arrival of a new family member, this book celebrates the advent of pregnancy cravings. Together we’ll revel in 40 dishes; one for every week that you’re expectant.

Week 8 Your baby is now the size of a grape.

Cho-Co-La-Te Ba-Con Ingredients

You don’t have to be pregnant to appreciate this delicacy. Because bacon. And chocolate.

Bacon Milk chocolate

But also bacon.

When I first heard about this craving I thought this shouldn’t only be for pregnant women. I soon realized that this has been a thing in the US for years, and for obvious reasons, because bacon goes well with everything.

Now imagine it with chocolate. Few things in the universe complement each other better than chocolate and bacon. Rainbows and unicorns do, but their taste is supposed to be a bit bland.

Fry yourself some bacon until it’s nice and crisp. Let it cool, and dab off the grease. Melt some milk chocolate and cover your bacon in it. Make sure the bacon is dry and crispy before you completely cover it with chocolate, because soft, moist bacon isn’t really bacon.

12

13

18

19

Week 4 Your baby is now the size of a poppy seed.

Pickloreo Ingredients

A recipe that has upset and excited many

Oreo cookies

of holies, a cookie not to be tinkered with,

Pickles

springboard of flavor waiting to catapult you

people. Some see the Oreo as the holiest others as a blank canvas of opportunity, a into ecstasy. As you can probably guess, by Whipped cream

“others” I mean “other pregnant women”.

You’re about to discover the Pickloreo, a cookie and pickle sandwich with sweet cream on top. Or in the middle. Or on the bottom.

Whatever tickles your fancy. Unlike the recipes you’ve seen so far, this one requires a little bit of prep, but that’s half the fun of eating.

Disassemble each Oreo into three parts: cookie,

cream,

cookie.

Slice

up

some

pickles, two slices for each sandwich. Stack the Pickloreo in the following order: cookie, pickle, sweet, sweet delicious cream, pickle, cookie. Make sure you build plenty so you can out-eat your craving without having to build refills. So stack your stacks on stacks.

6

Related

Related

Author

Info

Barbara Serulus is a culinary journalist for Belgian magazines and newspapers such as De Standaard Magazine and Weekend Knack. On the side she works as a chef at the Table Dance restaurant in Antwerp.

November 2019 160 pages 21.5 x 15.5 cm paperback £ 15.99 ISBN 978 90 6369 544 6

Elise van Iterson is an illustrator who works for various Dutch magazines and newspapers such as Vrij Nederland, ELLE Eten, Trouw and Hollands Maandblad.

Besides that, she is a chef at the restaurant Bureau in Amsterdam.

16

• Healthy variety of soft drinks that is a very populair food trend • Higlhy illustrated with an overall vintage feeling • Easy recipes; no extra knowledge about the process needed

Football Baby Names, page 41

7

The Art of Parenting, page 41

Author

Info

Pascal Rotteveel joined VICE in 2015 to set up the VIRTUE creative department in Amsterdam working on branded partnerships for mostly EMEA and global clients. He has been recognised with more than 30 awards including Webby awards, Lovie Awards, Eurobest, ADC, Epica, Effie, The FWA, Emerce, SAN Accenten and SpinAwards.

October 2019 96 pages 25 x 20 cm hardcover £ 16.99 ISBN 978 90 6369 548 4

• Very strong gift book potential • Millenial (future) parents are the biggest pregnant audience with a big budget • The photos are taken by an acclaimed and awarded food photographer and stylist

17

NEW TITLES

NEW TITLES

Museum Activity Cards Experience the Museum with all your Senses

Frame your Imagination

Besides the overwhelming amount of visual information that can stand in the way of a pleasant museum visit, there’s another trivial matter: meaning. Many of us aim to understand and categorise everything we see, but what do you truly think when looking at a particular artwork?

Frame Your Imagination stimulates your creativity with over 50 drawing challenges. Each page contains a shape or line, some with colour, others not. Include the shape or line in a drawing/illustration of anything that comes to mind.

The activities on these cards help you to establish a connection with an artwork yourself, despite any given information. You can do this in each art museum, anywhere in the world. Follow the activities from A-Z, choose one randomly or select the ones that appeal to you most.

You can use the mentioned hashtags merely as an inspiration for your creation. The drawing challenges are designed to stimulate your creative mind and stretch your imagination. No artistic skills are required, use the art of creative thinking!

Share your creations online with #frameyourimagination to compare different interpretations from people around the world.

Related

How to Visit an Art Museum, page 40

Author

Info

Lise Lotte ten Voorde works for FOMU, the Antwerp Museum of Photography. She also writes about art, photography and contemporary culture for clients such as Vrij Nederland, Charlie Magazine, De Online Gids, SMAK museum of contemporary Art in Ghent, NRC Next and various artists.

November 2019 52 cards 15 x 10.5 x 3 cm boxed set £ 16.99 ISBN 978 90 6369 549 1

Naomi Boas is a Rotterdam-based art historian specialised in 19th-century photography and art education. She was educator at the Nederlands Fotomuseum between 2003-2008. Since then she has been the owner of Beeldverhalen, her one-person business for telling and writing stories about art and cultural heritage in co-creation with museums, primary and secondary schools and creatives.

18

• Can be used in every museum across the world • Segmentation of the cards ensures you can focus on parts of art you enjoy most; navigate accordingly through the cards • Cards are designed by the award-winning designer Sybren Kuiper

Author

Info

Caroline Ellerbeck graduated from the Royal Academy of Visual Arts in The Hague. Since 2003 she has worked independently as an illustrator for various clients. Whether she makes illustrations for children’s books, magazines or campaigns, her style is always recognisable and clear.

She always knows how to find the right visual language for the assignment.

October 2019 144 pages 13 x 17 cm paperback £ 10.99 ISBN 978 90 6369 542 2

• Great gift potential • Various artists and illustrators will be asked to share their creations with the hastag #frameyour imagination to start an online buzz

19

NEW TITLES

My Photography Game Learn, Connect, Click!

My Photography Game is a matching and creating game about the secrets of image making for children from 6 years upwards. While collecting quartets, the player looks carefully at images and symbols, discovering the underlying visual elements that connect them. After collecting all ten four-of-a-kind, they can take pictures following the characteristics of each theme, go online to the My First Photography Game website, share them, score likes and find out more about each theme.

Dutch language

Its intuitive design, beautiful images and visual rules allow children to figure out by themselves how the game works at a first glance. The variety of art works from different fields and periods is an added value to educate visual expression.

The game is a valuable educational tool for acquiring visual literacy. Encourages observation as well as comparison. It can be played individually or in small groups.

Related

My Photography Toolbox, page 42

Author

Info

Rosa is an interdisciplinary writer, media and games content designer. Lenno Verhoog is a researcher in Creative Practices. He is also a course leader of Image & Media Technology at HKU-Media.

November 2019 52 cards 12 x 8.5 x 4.5 cm boxed set £ 13.99 ISBN 978 90 6369 552 1

• From the same authors as My Photography Toolbox which sold over 5,000 copies • Age 7+

Image taken from Visual Doing 978 90 6369 499 9 £ 17.99

20

21

NEW TITLES

NEW TITLES

Accountable conceptdenken van slapend naar nalevend

Products that Last Productontwerpen voor circulaire businessmodellen

Een goed concept biedt toegevoegde waarde. Een concept, ook wel de zogenaamde kapstok genoemd, opent allerlei mogelijkheden en kansen en zorgt ervoor dat keuzes maken makkelijk wordt. Hoe ontwikkel je een concept? En hoe maak je deze toegevoegde waarde zichtbaar, voelbaar en herkenbaar?

Products that Last begint, waar de meeste boeken over productontwikkeling eindigen. Als een product ontworpen, gemaakt en verkocht is, verdwijnt het, vanuit het perspectief van ontwerpers en ondernemers voorbij de ‘nieuwheidshorizon’. Zij beseffen nauwelijks wat er voor kansen liggen in het volgende productuniversum, waar geld wordt verdiend aan producten in gebruik en in het ‘productenhiernamaals’.

Het is voor het creëren van onderscheidend vermogen van belang dat ontwerpers rekening houden met de verwerking van het concept door de eindgebruiker. Hierbij speelt design een belangrijke rol. Dit boek geeft een overzicht van de manier waarop concepten verwerkt worden.

Dit boek biedt lezers een innovatieve, praktische methodologie voor het ontrafelen van de levenslijn van een product en het systematisch napluizen op nieuwe kansen. Het maakt ons bekend met businessmodellen die gedijen bij de kansen die voortkomen uit een veel langer productleven. Het verandert de manier waarop ondernemers en ontwerpers producten ontwikkelen en exploiteren, die daarmee helpen het verbruik van materiaal en energie in de tijd te verminderen. Niets meer, niets minder.

Het unieke van Accountable conceptdenken, is dat de lezer de methodiek van het eerder verschenen boek zal herkennen, maar uitgedaagd wordt om meer vanuit het gewenste effect bij de ontvanger te denken. Lezers worden uitgedaagd om het door de auteurs ontwikkelde methode te gebruiken om zelf kritischer om te gaan met het accountable denken en hoe design hierbij in te zetten is.

P R O D U C T S T H AT L A S T – 1 0 9

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P R O D U C T S T H AT L A S T – 4 5

44

Circulaire economie aan de praat houden kost energie. Op dit moment is de stilzwijgende aanname dat uiteindelijk alle energie afkomstig zal zijn van hernieuwbare bronnen. Daarom zal ze oneindig beschikbaar zijn, en waarschijnlijk schoon en niet bijdragen aan globale opwarming.

CIRCULAIRE ENERGIE ACCOUNTABLE CONCEPTDENKEN

6 CONTEXT

Energiegebruik is evenwel niet zozeer een kwestie van beschikbaarheid, maar eerder van omzetting, van de ene soort energie naar de andere, en van opslag. Dat is het werk van energieomzetters, slimme logistiek en opslagmedia.

Het enthousiasme voor wat bekend staat als ‘de energietransitie’ is zo groot, dat een typisch menselijke gewoonte niet is doorbroken: negeren van de effecten van de productie van apparatuur en wat er gebeurt na de deadline van de leverdatum. Blijkbaar verwachten we voor hernieuwbare energie soelaas van toekomstige uitvindingen, net zoals we doen met ontwikkelingen en ontdekkingen rond het gebruik van fossiele energie. In beide gevallen ‘lenen’ we van toekomstige onzekerheden.

7

ACCOUNTABLE CONCEPTDENKEN

CONTEXT

8 CONTEXT

9

WAT IS ACCOUNTABLE CONCEPTDENKEN?

De huidige samenleving gaat niet langer enkel over rendement en economische waarde. Deze ontwikkeling gaat over de relatie tussen mensen en organisaties.

Concepten die gebaseerd zijn op een gedachtengoed, een betekenis, zorgen voor een relatie tussen de organisatie en de eindgebruiker. Een goed concept biedt daarmee toegevoegde waarde. Het zichtbaar en voelbaar maken van deze toegevoegde waarde is een enorme uitdaging. Maar lukt het, dan opent het allerlei mogelijkheden en kansen en zorgt een concept ervoor dat keuzes maken makkelijk wordt. Door de groeiende vraag vanuit het werkveld naar professionals die deze manier van denken begrijpen en kunnen toepassen is het voor het onderwijs een unieke methodiek om hun toekomstige professionals klaar te stomen voor het werkveld.

Er zijn twee grote verschillen met het eerder verschenen boek ‘conceptdenken’. In dit boek geven wij een overzicht van de manier waarop concepten verwerkt worden. Kennis van de verwerking van concepten is noodzakelijk om tot succesvollere keuzes te komen in het levende concept. Hierin speelt onder andere design een belangrijke rol. Daarnaast zien we regelmatig dat een concept niet altijd even goed wordt nageleefd. We bedoelen hiermee dat keuzes die gemaakt worden in het levende concept niet altijd een logisch gevolg zijn van het slapende concept, hetgeen wel zo zou moeten zijn.

De oorzaken hiervan zijn uiteenlopend. Soms wordt er bijvoorbeeld niet dezelfde taal intern gesproken, omdat het slapende concept niet helder is of niet gevoeld wordt. Soms lijken er op korte termijn zich kansen voor te doen, die economisch slim lijken, maar op lange termijn afbreuk doen aan het concept, waardoor er ‘verkeerde’ keuzes gemaakt worden. Het accountable

conceptdenken binnen de ontwikkeling van een concept is nog te weinig verankerd, zowel in het interne- als in het externe proces. Onder accountability denken verstaan we: dat er vooraf nagedacht moet wordt over mogelijke effecten van bepaalde inspanningen en de effecten die optreden moeten worden geverifieerd. Om vervolgens met die kennis het levende concept waar nodig aan te passen. De methode wordt in dit boek uitgebreid met één stadium namelijk: nalevend.

We geven aan hoe het voorgaande toe te passen is op de methode van het eerder verschenen boek; Conceptdenken, van slapend naar levend (Crucq, G. & Knitel, S. 2013). De vele ontwikkelingen en de voortschrijdende inzichten verdienen een nieuw boek dat recht doet aan de eerder beschreven methode maar past binnen het interdisciplinaire vakgebied van conceptdenken.

We zien dat creativiteit en concepten vaak worden geassocieerd met een bepaalde mate van ‘frivoliteit’.

Professionals (her)ontwikkelen concepten met symbolische betekenis zonder verdere kennis over de effecten van het concept. Dit zal wel moeten als je het concept wil bewaken, wil verrijken of uitbouwen.

Concepten zijn dan ook nooit af, vandaar ook dat we spreken van accountable conceptdenken. Dit zorgt ervoor dat conceptdenken een manier wordt om tot een betere gerealiseerde betekenis te komen. Het is dus van belang het conceptdenken meer accountable maken.

Accountable conceptdenken is een iteratief proces, een proces dat nooit stopt. Maar altijd weer terugkeert, via het nalevende concept, naar het slapende concept. Je stapt ergens in en gaat op reis, op weg naar het volgende station. Als je ergens je tas vergeet, moet je terug naar het beginpunt, want zonder bagage kom je niet verder.

Met andere woorden: je doorloopt verschillende stadia om tot een concept te komen en dit proces verloopt niet altijd lineair. Je begint en eindigt ergens, maar vaak moet je alle stappen nog een keer doorlopen of op een bepaalde stap inzoomen voordat je verder kunt. Je moet je ideeën bijvoorbeeld onderweg even spiegelen aan je visie voordat je weer verder kunt. Bij accountable conceptdenken ben je continue aan het in- en uitzoomen, oftewel aan het toetsen. Je moet gedurende dit proces bewaken dat je intern het proces blijft naleven. Dit wordt ook wel omschreven als intern accountable conceptdenken. Dit betekent dat je gedurende de ontwikkeling bij ieder stadium nadenkt of je de keuzes die je maakt een logisch gevolg zijn van het voorgaande stadium. Op weg naar je visie, het slapende concept, zoom je altijd even in op de vorige stap, bijvoorbeeld op de omgevingsanalyse of stakeholdersanalyse die je gemaakt hebt. Sluit je slapende concept nog

VAN SLAPEND NAAR NALEVEND

steeds aan op je analyse? Dit geldt ook voor je levende concept. Je levende concept ontwikkel je namelijk niet los van je slapende en ontwakende concept. Sterker nog, ze hebben elkaar nodig. Houd je beoogde effect, het slapende concept, voor ogen en vraag je af of de keuzes die je maakt dit versterken en bovendien ook realiseerbaar zijn. Na implementatie en activatie van je levende concept ben je niet klaar, je komt dan in het stadium van na het nalevende concept. Dit noemen we het externe proces. Ook wel extern accountable denken genoemd. Op dat moment is het concept geactiveerd en extern gemaakt en ga je over op het nalevende concept.

Is er een relatie zichtbaar tussen de inspanning en het uiteindelijke geleverde resultaat. Op basis van deze kennis kan je in het nalevende concept je concept weer aanscherpen. Zoals je ziet is het proces van accountable conceptdenken eindeloos. Een sterk concept is dan ook nooit af.

ACCOUNTABLE CONCEPTDENKEN

=

Accountable Conceptdenken = het intern en extern naleven van je onderscheidend vermogen door middel van creatieve betekenisvolle content en design.

HET INTERN EN EXTERN NALEVEN VAN JE ONDERSCHEIDEND VERMOGEN DOOR MIDDEL VAN CREATIEVE BETEKENISVOLLE CONTENT EN DESIGN.

In het boek Conceptdenken, van slapend naar levend (Crucq & Knitel, 2013) werd inzichtelijk dat er vele definities zijn van het begrip ‘concept’. Na uitgebreid literatuuronderzoek en een veertigtal expertinterviews bleek het begrip ‘concept’ al snel niet helder. In onze spreektaal wordt het woord concept namelijk op van alles en nog wat geplakt. Soms staat het voor een ruwe versie van iets, zoals een conceptrapport, en soms staat het voor samenhang tussen ideeën en standpunten.

Crucq en Knitel (2013) schrijven dat een concept niet in één definitie te vangen is. De definitie zoals eerder beschreven bestond uit drie stadia die elkaar nodig hebben. Voortschrijdend inzicht op basis van vele praktijkervaringen hebben ertoe geleid dat de we in dit boek er een vierde stadia aan toevoegen. Te weten: nalevend. We maken hierbij onderscheid in het interne nalevende concept en het extern nalevende concept.

Pas als je alle vier de stadia hebt doorlopen, spreken we pas van een compleet concept. Sterker nog het is een circulair proces. Een concept implementeren is één ding maar het bewaken en bijstellen waar nodig is wellicht nog wel noodzakelijker. Met de toevoeging van nalevend maken we deze cirkel van conceptdenken rond.

1. HET SLAPENDE CONCEPT Formuleer als organisatie een uitgebreide visie en je kernwaarden. Neem deze visie onder de loep en bepaal de essentie. Het slapende concept bestaat uit de essentie (kern) van de visie, ‘het waarom’ en de bijbehorende kernwaarden. Daarnaast moet je de essentie van de visie nog concreet maken zodat de

Omzetters van hernieuwbare energie, zoals windturbines en zonnepanelen, zijn producten met een beperkte levensduur en waarde­ scenario. Windturbines zetten windkracht mechanisch om in elektrisch vermogen. Het bouwen ervan is geen schoon proces.

visie ook kan leven. Dit doe je door de kernwaarden te concretiseren. Je gaat hier nadenken over hoe je de kernwaarden invulling gaat geven. De keuze van je kernwaarden bepaalt al de richting van je strategie. Het slapende concept ontwikkel en communiceer je intern.

Het geheel is je (corporate) story.

Windturbines worden geacht 12 tot 25 jaar efficiënt energie te produceren. Hun functie kan ook overbodig worden om onvoorziene redenen, waardoor enorme industriële installaties overblijven die voorwerp kunnen worden van één of ander soort opwaardering.

2. HET ONTWAKENDE CONCEPT Nu je de essentie van de visie op papier hebt staan, wil je die graag zichtbaar maken. Hiervoor gebruik je een oneliner of begrip. Soms is de essentie van je visie al zo sterk dat het ook meteen je slogan is, maar vaak zal je de essentie nog moeten doorvertalen. Taal, zowel in woord als beeld, is binnen conceptdenken een belangrijk aspect. Je moet zorgen dat je oneliner goed verwoord is en dat deze bij je visie past. Dit geldt ook voor het logo en je typografie. Je geeft in dit stadium je strategie verder vorm. Tevens worden hier de eerste denkrichtingen gevisualiseerd.

3. HET LEVENDE CONCEPT Het levende concept dient als het zintuigelijk waarneembaar bewijs van je visie. Het concept komt tot leven door de essentie van je visie door te voeren in alle conceptdragers die je inzet. Kortom: in alles wat je zegt en doet. In dit stadium wordt de betekenis van het concept daadwerkelijk geactiveerd: het concept gaat voor alle gebruikers leven, omdat het zintuigelijk waarneembaar wordt. De waarde die het concept toevoegt en het moment waarop, kan voor ieder individu anders zijn, maar bij de implementatie en

Het bouwen en onderhouden van een energie-infrastructuur zal altijd heel veel materiaal, toewijding, zorg en energie kosten.

Polysilicium, cruciaal voor de productie van zonnepanelen en het omzetten van straling van de zon in elektriciteit.

Vooral de productie van permanente magneten hangt af van het zeldzame aarde element Neodymium, waarvan het delven in China een buitengewoon smerig proces is. Er zijn nu Duitse turbines met elektromagneten en er wordt gespeurd naar meer mogelijkheden. Het is jammer dat schone alternatieven altijd op hun beurt moeten wachten, tot nadat de milieuschade is aangericht.

Windturbines worden geacht 25 jaar efficiënt energie te produceren. Dit is een ruwe schatting, want in de praktijk gaan ze vaak maar 12 tot 15 jaar mee, terwijl ze met zorg en onderhoud, het bijhouden van functioneren en reparatie een langer leven kunnen hebben. Dat is een typisch thema van Products that Last: ontwerp en bedrijf moeten mogelijkheden heroverwegen door veel verder te denken dan de nu voorziene levensduur. Als categorie moeten windturbines misschien tientallen jaren aan de gang worden gehouden, maar hun functie kan ook overbodig worden om onvoorziene redenen, waardoor enorme industriële installaties achterblijven die onderworpen kunnen worden aan één of andere vorm van gentrificatie. Kijk naar wat er is gebeurd met Hollandse windmolens, die vroeger bijdroegen aan waterbeheersing en landbouw en nu worden beschouwd als kijkvoer voor toeristen.

Bij zonnepanelen kun je vergelijkbare kanttekeningen plaatsen. Producenten, de meeste in China, hebben onvol-

doende controle over het giftige afvalwater dat vrijkomt bij de productie van polysilicium, cruciaal om zonnestraling om te zetten in elektrische stroom. Kosten besparen om concurrerend te kunnen zijn leidt tot het later-ruimen-we-de-rommelwel-op syndroom, wat de consequentie is van de nog steeds naïeve waardetoekenning van de gangbare economie, waarin vervuiling en de vernietiging van landschap simpelweg worden genegeerd. De levensduur van zonnepanelen bedraagt tot ongeveer 30 jaar, maar kan langer worden, omdat de hun vermogen een stuk langzamer daalt dan verwacht.

VERMOGENSREGELS Hoewel de maat, de chemische compositie, de plaats van de aansluitpunten en speciale kenmerken van batterijen vastliggen in internationale standaards, betekent dit niet dat alle batterijen hetzelfde zijn. Batterijen die fysiek verwisselbaar zijn kunnen nog altijd sterk verschillen in chemisch opzicht en qua prestatie. Met andere woorden: de grootte is niet het enige dat er toe doet als je batterijen vervangt. De universele reisstekker, die lijkt op een robotegel, is een oplossing voor precies het tegenovergestelde probleem: hoe krijg je een menigte gaten en pennetjes zo gek om in essentie dezelfde elektrische energie te geleiden.

Het verhaal van energieopslag is ingewikkelder, omdat er verschillende typen installaties aan te pas kunnen komen.

Het oudste is mechanisch: sla water op achter een dam en gebruik de watermassa om een mechanisme aan te drijven.

De op één na oudste is het gebruik van de energie die opgeslagen is in bepaalde brandstoffen door verbranding.

Daarna komen batterijen en accu’s als een manier om elektrische energie op te slaan met chemische middelen. Het brandstofcelprincipe, dat in 1801 werd ontdekt, bestaat uit het produceren van elektriciteit via een beheerste reactie tussen waterstof en zuurstof. Waterstof kan branden, maar het is ook een accuvulstof. Een brandstofcel is een accu die niet wordt geladen door er stroom doorheen te sturen, maar die werkt op een brandstof.

Van alle principes voor energieopslag is dat met accu’s het zwaarst per eenheid van energie. Om een overdosis detaillering te voorkomen, beperken we ons tot lithium-ion accu’s. Hun gebruik neemt snel toe, vooral in elektrische auto’s. Productie, langdurig gebruik en recycling zien er veelbelovend uit, maar is nog niet in balans. Voor het maken van deze producten zijn nikkel, grafiet, lithium en kobalt nodig. Vooral de laatste twee zijn niet makkelijk aan te komen. Het delven is duur en er komt vaak kinderarbeid aan te pas. Dit zou moeten betekenen dat het recyclen van accu’s gunstig in deze levensfase van lithium-ion accu’s, ware het niet dat de hoeveelheid accu’s beperkt is en voorlopig bescheiden zal blijven. Omdat hun levensduur ongeveer hetzelfde is als die van een auto is er waarschijnlijk een tweede leven voor, als passieve energievoorraad.

Dit leidt ertoe dat gebruik van geregenereerde materialen in nieuwe batterijen op een schaal die in de buurt komt van het circulaire concept niet gauw zal gebeuren. Bovendien is regulering van arbeidsomstandigheden geboden, misschien in de zin dat ze terechtkomen in de vergelijking die efficiëntie definieert.

BOUWSYSTEMEN Voor één aflevering van James May’s Toy Stories (BBC-televisie) schonk LEGO 3,3 miljoen plastic steentjes, zodat de presentator en nog 2000 vrijwilligers een LEGO -huis op ware grootte konden bouwen. Hieronder vielen ook het bed, een werkende wastafel met kranen, en zelfs een werkend toilet. Het echt interessante deel van dit project is hoe ze uit hebben gedokterd hoe je de constructie stevig kon maken. Ze hadden te maken met LEGO-fysica op een heel nieuwe schaal. Volgens May vonden mensen het echt leuk, simpelweg omdat ze met die enorme bergen gekleurde LEGO aan de gang konden. ‘Het is zowat spirituele bezigheid waar iedereen wel iets mee heeft.’

Voor hetzelfde programma nam hij de vraag serieus: ‘Hoe moeilijk kan het zijn om met Meccano een motorfiets te bouwen en er het eiland Man mee rond te rijden’. Meccano is de merknaam van een modelbouwsysteem van geperforeerde metalen strips, platen, balken, assen, tandwielen en wielen die zich aan elkaar laten zetten met een assortiment miniatuurmoeren en bouten. May en zijn hoofdingenieur Simon Oakley slaagden erin een hele motorfiets te bouwen, met een opwindbaar aandrijfsysteem. Dit is vooral indrukwekkend als je bedenkt dat de motor met zijspan twee volwassenen moest kunnen vervoeren, met snelheden van rond 25 km/h over een nogal lastig parcours van 60 kilometer, met steile heuvels en scherpe bochten. Ze hebben de toch volbracht, maar het zal geen verrassing zijn dat ze er drie dagen over deden, vooral omdat de mechanische aandrijfeenheid tamelijk vaak moest worden opgewonden.

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Praat met iemand over producten die lang meegaan en onmiddellijk worden bekende voorbeelden genoemd die passen in het ‘Klassiek Duurzame Model’. Mensen beschouwen het maken van duurzame producten met een hoge kwaliteit een de juiste prijs meestal als de enige optie. Het ligt dan ook inderdaad voor de hand om hiermee te beginnen.

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STAP 1 Bepaal eerst of het een conceptdrager of een lager gelegen concept is of een ‘los’ onderdeel. Het is een concept als het een eigen visie heeft. Het is een conceptdrager wanneer het de visie ‘draagt’ in de vorm van producten, service, fysieke omgeving, netwerk of als communicatie. En het is een los onderdeel als het (nog) niet onder een visie te plaatsen is.

LAGER GELEGEN CONCEPT Meestal ontstaat een lager gelegen concept als je een ontwikkeling, kans of droom ziet binnen het bestaande hoger gelegen concept. Dit gebeurt in het stadium van het nalevende concept. Hier kan je op inspelen door het creëren van een nieuwe visie, passend bij de visie van het hoger gelegen concept. Het voordeel is dat je deze visie weer tastbaar kunt maken met eigen dragers. Een bijkomend voordeel kan zijn dat je een nieuwe unieke waarde kan toekennen aan dit lager gelegen concept.

Niet elk product is geschikt voor een lange levensduur.

Nog niet zo heel lang geleden gaf een vader zijn zoon het horloge dat hij van zijn vader had gekregen, die het weer van zijn vader had. Het idee van een soortgelijke traditie rond de smartphone zou onnozel zijn. Technologie ontwikkelt zich zo snel dat zelfs de meest luxe flitsende diamanten ‘bling’-versie achterhaald is voor zijn eerste sms’je

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Gaby Crucq-Toffolo is als docent conceptontwikkeling verbonden aan de Fontys Academy for Creative Industries. Nadat haar boeken ‘Conceptdenken’ (2013) en ‘Conceptcode’ (2016 zijn verschenen heeft zij besloten om samen met Elaine haar kennis te gaan delen. Dit heeft geresulteerd in de studio And-Concepts. In 2018 heeft ze haar Master of Science behaald in brand- design- en reputation management.

September 2019 240 pagina’s 25 x 21 cm paperback met flappen € 35.00 978 90 6369 554 5

DATA THAT LAST Van de andere kant heeft hardware software broodnodig gehad sinds Jacquard zijn met ponskaarten bestuurd weefgetouw introduceerde in 1801. Gegevensopslag en elektronische rekenapparaten zijn dood zonder programma’s. Een bewusteloze smartphone is het toppunt van machteloosheid. Harde circuits zonder bytes die erin rondgaan, zijn nutteloos.

Een lange levensduur vereist service en reparatie. Om deze reden houdt Miele er een eigen serviceorganisatie op na. Ze willen het meest betrouwbare kwaliteitsbedrijf op de markt zijn.

Voor reisgoedbedrijf Eastpak is het perspectief weer anders. Ze vallen onder VF Corporation, die ook andere merken voert, zoals North Face en Timberland. Eastpak garandeert zijn producten dertig jaar. Toch moeten hun producten, om geloofwaardig te zijn op de markt waarin ze opereren, een beetje ‘fashion appeal’ hebben. Eastpak repareert wel degelijk producten en het komt voor dat er bij een product dat voor reparatie binnenkomt een briefje zit met de tekst: ‘Zelfs als jullie hem niet kunnen repareren, wil ik hem toch terug’, een waarachtig teken dat de tas een deel van iemands leven is geworden. Eastpak onderzoekt de mogelijkheden van opknappen of herfabriceren, maar denkt dat dit een onwaarschijnlijke optie is. Afgewogen tegen de prijs van hun producten ligt recycling meer voor de hand.

Deze intieme relatie heeft ook wederzijdse effecten op de respectievelijke levensduur van soft- en hardware.

De snelle evolutie van processoren en geheugen, in verwerkingssnelheid en omvang, vergroot het potentieel van programmacode. Het gevolg: meer uitgebreide en complexere software. Het gevolg daarvan is weer dat het te omvangrijk wordt voor het beschikbare geheugen. In de ogen van gebruikers worden apparaten, die maar een paar jaar oud hoeven te zijn, ook trager.

Een geopende KR580IK80A Microchip - een van de meest voorkomende Sovjet processoren. In tegenstelling tot wat men gelooft, bleek het geen gekloonde Intel 8080A (or 8080), maar een met dezelfde code werkend herontwerp te zijn (hoewel verschillende onderdelen flink op elkaar lijken, zijn de routing en de onderverdeling anders). De dunste sporen zijn 6μm.

Zorgen dat software aan zijn verwachtingen blijft voldoen, onderhoud, foutjes eruit halen, kost heel veel tijd, die derhalve niet beschik­ baar is om nieuwe software te ontwikkelen.

Er is een vuistregel die zegt dat van elk aantal softwareontwikkelaars dat betrokken is bij het schrijven van een gegeven programma, binnen twee jaar meer dan de helft verwikkeld zal zijn in onderhoud. Niet lang daarna is nog maar een fractie van de dienstdoende software engineers beschikbaar voor het schrijven van nieuwe programma’s.

Ze kunnen het groeiende technologische potentieel niet meer bijbenen. Het vermogen om bestaande software te ondersteunen bepaalt zijn levensduur. Veel digitale producten hebben een officiële (maar niet noodzakelijkerwijs openbare) datum van Levenseinde.

De kosten van het onderhouden van code remt hierdoor, helaas, ‘backward compatibility’, het vermogen van eigentijdse hardware om bejaarde software te draaien.

Tegelijk stimuleren nieuwe applicaties de vraag naar hogere verwerkingssnelheid en betrouwbaardere, kleinere en slimmere hardware en stekkertjes, waarvan de totale verdwijning de hoogste roeping van de computerwereld lijkt. Samengevat: de evolutie van software en hardware zijn van elkaar afhankelijk, maar verlopen niet synchroon.

Ze zijn als twee honden, elk vastgemaakt aan één uiteinde van een riem.

LOS ONDERDEEL Benoem voor jezelf waarom dit onderdeel nu passend is bij je concept. Vraag jezelf bijvoorbeeld af of dit onderdeel je concept versterkt, of omdat je hebt willen inspelen op een trend of financiële kans. Wanneer dit laatste het geval is, is het advies om afscheid te nemen van dit onderdeel. Of, zorg dat het je concept versterkt door de visie en waarden expliciet te maken (zonder dat het gekunsteld wordt).

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Duurzaamheid zou het heel goed afkunnen zonder software. Een conservatieve schatting van de hoeveelheid CO2 die wordt geproduceerd door data­verwerkende machines voor 30 ‘software’ Google zoekopdrachten, is ongeveer hetzelfde als de hoeveelheid die we de atmosfeer injagen door een ‘hardware’ keteltje water te koken. Het ‘ontginnen’ van cryptogeld (zoals Bitcoin), is nu al berucht van wege de buitenproportionele hoeveelheid energie die het vergt om monetaire veranderingen op beeldschermen bij te houden.

Het runnen van een bedrijf met producten die lang meegaan is de normale praktijk voor de Duitse private onderneming Miele. De huishoudelijke apparaten worden getest om een functionele levensduur van twintig jaar te kunnen garanderen (wat iets anders is dan ontworpen om twintig jaar mee te gaan). Dit brengt met zich mee dat ze niet alle grillen van de markt kunnen volgen. Op dit moment krijgen stofzuigers steeds langere snoeren, om veel vloeroppervlak aan te kunnen zonder de stekker in een ander stopcontact te hoeven steken. Maar zulke snoeren zijn plat (om ruimte te sparen) en raken vaak in elkaar gedraaid. De snoeren van Miele zijn korter, maar op den duur beter.

CONCEPTLADDER ONTWAKEND

Concept Code, pagina 33

Elaine Meys is als docent conceptontwikkeling en design verbonden aan de Fontys Academy for Creative Industries. Vanuit haar opleiding Art & Design aan de Artez in Arnhem gaf Elaine een gezicht aan haar passie voor identiteit.

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CONCEPTDRAGER Het is een drager van het hoger gelegen concept.

Versterkt deze drager de visie? Ja? Doen. Nee? Kan je het onderbrengen als drager wanneer je deze versterkt en invulling geeft vanuit de visie of de waarden?

binnenkomt. De luxe horlogeparadox is dat zo’n accessoire dan wel kan kloppen met het Klassiek Duurzame Model, maar dat in dit tijdsgewricht het bezit van een prachtig functioneel polsuurwerk niet echt zin heeft.

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Verzamel al je uitingen, services, producten en diensten. Teken op een groot vel de ladder zoals hieronder staat afgebeeld. Op de bovenste trap van de ladder beschrijf je het slapende en ontwakende hoger gelegen concept.

Steeds maar in de rondte gaan ze, zonder ooit versleten te raken: De Rolls Royce Phantom, Märklin modeltreinen en Thorens draaitafels.

Het Klassiek Duurzame businessmodel wordt heel goed vertegenwoordigd. Sterker nog, er is geen commercieel terrein zonder zulke klassiekers met zo’n duurzame reputatie. Maar kijk je iets beter, dan zie je dat die allemaal verschillende levens leiden, en dat ze zich niet allemaal even goed voegen naar de principes van dit boek. Waarschijnlijk het grootste klassieke product is de Boeing 747 Jumbo Jet. Passagiersvliegtuigen worden extreem intensief gebruikt gedurende een operationele periode van tussen de dertig en veertig jaar. Het levensduurperspectief van de 747 is natuurlijk een business-to-business-kwestie, wat onvermijdelijk is omdat voor vliegtuigen forse investeringen en zorgvuldig onderhoud nodig zijn. Passagiers profiteren van de geboden internationale reisdiensten, maar het is niet aan hen om het product te exploiteren. Zij zitten er gewoon in en wachten tot ze er zijn.

Sommige auto’s hebben een duurzame reputatie. Iedereen kent de Rolls Royce vanwege zijn traditionele chique degelijkheid. Aan de andere kant zijn de Fiat 500, de Volkswagen Kever en de Mini klassiekers, maar daarbij is levensduur vooral van toepassing op hun imago. Van de originele auto’s zijn er niet heel veel over. Het grootste deel van de Porsches die ooit zijn geproduceerd rijden wel nog steeds rond. Blijkbaar dekt het woord ‘klassiek’ de lading onvoldoende. Het gaat om lange levensduur. Vervolgens moeten we definiëren wat het dan is dat lang mee moet, om de waardepropositie te kunnen vaststellen. Het antwoord is: individuele producten zelf. Een lange productlevensduur betreft in de allereerste plaats het product dat gebruikers kopen, zoals Lego, een Herman Miller Aeron stoel, of misschien een Chanel 2.55 handtas.

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Nog voordat je met de ontwikkeling van het eerste stadium, het slapende concept, begint moet je weten wat je startpunt is. Je moet begrijpen waar het concept zich op de ladder bevindt en wat de motivatie is waarmee het proces in gang gezet wordt. Je moet ook weten voor welke branche je ontwikkelt. We onderscheiden hierbij drie aanvliegroutes binnen het proces van conceptdenken. Je proces start óf van scratch af aan bij iets wat je ziet of ervaart in de context en vanaf dat moment ontwikkel je een geheel nieuw concept óf het nalevende stadium geeft je inzichten

Dit stadium is niet zo zwart-wit te scheiden als dat de woorden op papier doen geloven. Dit stadium bevindt zich namelijk ook tussen de stadia door. Dit noemen we het intern nalevende stadium. Je visie voer je door van binnen naar buiten: je begint intern bij de organisatie

VOORBEREIDING Je visie bepaalt de plaats op de conceptladder.

Hoe tastbaarder de visie, hoe lager de plaats op de ladder. Hier vinden we vaak de productconcepten.

Zoals ‘swapfiets’, een concept met een visie op een product (de fiets). Dat het concept onderaan of lager op de ladder staat wil niets zeggen over de kwaliteit van een concept. Wel over het aantal dragers dat je er onder kunt hangen. Bovenaan de ladder bevinden zich de concepten met een abstracte, ideologische visie. Dit noemen we ‘hoger gelegen concepten’. De visie is abstract genoeg om er meerdere concepten onder te hangen, omdat deze niet specifiek op een product gericht is. Daarnaast bestaat hierbij de mogelijkheid om lager gelegen concepten te ontwikkelen. Dit zijn concepten met een eigen visie, voortgekomen uit het hoger gelegen overkoepelende concept.

Wanneer we de lader gaan invullen is dit dan ook het eerste dat je moet bepalen.

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Accountable conceptdenken is een iteratief proces. De stadia lopen in elkaar over en je moet altijd toetsen of het geheel nog klopt. Juist om dat kloppend geheel gaat het namelijk! Het kloppend geheel blijkt alleen niet zo vanzelfsprekend dan we het hier opschrijven. Het kloppend geheel zorgt voor betekenis, maar hoe maak en belangrijker nog houd je het kloppend?! Dit is de reden voor de toevoeging van het nalevende stadium. In het boek Conceptdenken, van slapend naar levend zagen we dat conceptdenken een manier is van denken waarbij je steeds de puzzel compleet probeert te maken. Je zoekt naar de constante fit van alledrie de stadia. Als er ergens in één van de stadia iets verandert, heeft dit consequenties voor de andere stadia. Daarnaast neem je de voorgaande stadia mee onder je arm als je nieuwe keuzes moet maken. De eerste drie stadia van een concept haken in elkaar, ze hebben elkaar nodig. In het midden treffen ze elkaar en dat is waar de betekenis ontstaat. Een levend concept heeft geen body zonder een ontwakend en een slapend deel.

die je weer terugbrengen bij één van de andere stadia van het reeds bestaande concept óf je wordt getriggerd in het nalevende concept door een vraag, kans, mogelijkheid, verandering, ontwikkeling, probleem of een effect door het meten van je concept hetgeen zorgt voor hoe ontwikkelen van een lager gelegen concept.

Besef je dat vanaf het moment dat het proces van conceptdenken start, het concept nooit af is.

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Er zijn verschillende conceptdragers te onderscheiden.

Deze overlappen elkaar in sommige gevallen of zijn in meer of mindere mate aanwezig in het levende concept.

Dit is afhankelijk van de startsituatie en van het domein binnen de creatieve industrie waarin de activiteit zich bevindt. Wanneer je enkel te maken hebt met de activatie van het levende concept, zal je nog altijd met andere bedrijfstakken in de creatieve industrie moeten afstemmen om de juiste ontwikkelde creatieve content te activeren. Welke conceptdragers zet je in en welke niet? We onderscheiden zes conceptdragers:

en als de visie hier volledig wordt nageleefd, kun je de visie en het levende concept gaan activeren.

In de praktijk zien we regelmatig dat het concept levend gemaakt wordt en verder eigenlijk aan haar spreekwoordelijke lot wordt overgelaten. Het concept wordt dan vaak vanuit het ontwerpperspectief ontwikkeld en geïmplementeerd. Als ontwerpers gedurende het proces van conceptdenken meer bewust rekening houden met de manier waarop het concept verwerkt wordt door de ontvanger dan kan dit de verwerking van het concept bevorderen, wat kan leiden tot een betere gerealiseerde betekenis van het concept.

Onder het nalevende concept verstaan we in hoeverre het betreffende levende concept in staat is de vooraf gestelde potentiële betekenis (op een efficiënte wijze) te realiseren. Er zijn heel veel factoren denkbaar die het succes van een goed concept bepalen, maar tot op heden is het binnen de creatieve industrie op voorhand moeilijk inschatten waar een succes op gebaseerd is.

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activatie neem je het slapende en ontwakende concept als uitgangspunt. Bij iedere keuze die je maakt moet dit je slapende en ontwakende concept versterken.

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• De conceptdenken methode wordt in dit boek uitgebreid met één fase namelijk: nalevend.

• Vorige twee titels die verschenen zijn meer dan keer verkocht.

• Informatief en vol met voorbeelden, perfect voor studenten en young professionals

Products that Last (EN), pagina 36

Products that Flow, pagina 36

Author

Info

Dr. Conny Bakker is professor aan de TU Delft, faculteit Industrieel Ontwerpen. Ze coördineert en geeft les in Duurzaam Ontwerpen en Circulair Productontwerp.

Als een van de eerste industriële ontwerpers met een Ph.D. in circulair productontwerp werkt Marcel den Hollander als onafhankelijk onderzoeker en industrieel ontwerpconsulent in circulair productontwerp en bedrijfsmodellen voor de circulaire economie.

Ed van Hinte s opgeleid als industrieel ontwerper. Hij heeft veel artikelen en boeken geschreven en is een veelgeprezen ontwerpcriticus, die zich concentreert op professionele conventies. Zijn voornaamste interesse gaat uit naar manieren om materiaalstromen te verminderen.

September 2019 128 pages 25.5 x 20 cm flexicover € 29.99 978 90 6369 559 0

• Innovatieve en praktische methodologie • Introduceert bedrijfsmodellen die een langere levensduur van het product en minder materiaal en energieverbruik mogelijk maken • Verandert de manier waarop ontwerpers en ondernemers goederen ontwikkelen en exploiteren 23

RECENTLY PUBLISHED

Food Futures

23 Innovations in Digital Communication For many innovations marketing is always the precursor. However, in VR marketing is somewhat lurking behind. Most companies are still in a waiting mode and want to be sure that VR can be used as an efficient marketing tool. A considera-

For professionals to gain founded insights into the merits of innovations for application in communication.

“A masterful combination of theory and scientific research. This book provides communication professionals with guidelines for innovative digital communication and insights from the industry of digital media. It is meaningfully and concisely presented.” - L I S A C E D R O NE For students to discover their areas of interest and to help them become the experts in the field.

‘23 Innovations in Digital Communication’ describes, critiques, and evaluates digital innovations that are applied in communication. Innovations that are not hypes, but are becoming part of organisations and life, causing permanent changes in media use and communication.

The goal of this book is to help readers master these innovations. It is a source of inspiration for anybody who wants to understand how digital innovations can impact communication and change the media landscape in the future. Reading this book will render valuable insights into digital innovations in communication, and how they can be used to influence information processing, decision making, and buying behaviour.

Each innovation is discussed, looking at its impact and professional, scientific, future, and societal challenges. The chapters contain examples and cases from advertising, healthcare, journalism, and entertainment.

23 INNOVATIONS IN DIGITAL COMMUNICATION

‘WHAT IS THE IMPACT OF DIGITAL INNOVATIONS IN COMMUNICATION?’ This book is valuable for the disciplines of Communication and Marketing and anybody who is interested in digital innovations in communication.

tion for marketers are the high costs involved in making VR-campaigns and the insecure return on investment. Reach might be low because VR goggles, even the cheap ones, are not commonplace yet. In theory, VR may bring people in touch with brands in an original way, but the question is how. VR has already been used in retail (i.e. Coca cola), in real estate to show properties (i.e. Matterport) and the car industry to give product demonstrations (i.e. Hyunday, Lexus, Nissan and Volvo) and to intensify story telling (i.e. Elle magazine). In the traveling branche (i.e.

Quantas and Marriot hotels) VR makes you experience your holiday before you book it, because the inside and outside views of the hotel rooms give you the feeling that you already reached and are enjoying your holiday destination. The popularity of VR in marketing is on the rise as communication campaigns using VR get awards in prestigious contests such as the annual Digital Communication Awards (DCA) and Cannes Lions Innovations Conference.

For teachers to find various anchors to develop courses and lectures about innovative communication.

“A fine piece of work. The innovations are contemporary. They are discussed from various angles, including the valuable view of experts in the field. As a lecturer in communication and media studies, I find this book very insightful for my students, and a pleasure to read.” - PAUL VA N DE R B I JL And for anyone else with an interest in developments in digital communication.

leading to generic dimensions related to emotions and evaluation. On the other hand, it might be better to measure types of experiences that best fit the specific medium of VR. This makes it difficult to find the right angle for academic research.

The dimension that is most often measured in VR related research is immersion.

We do not often encounter this dimension in studies of print experiences, or in

“Should robots get moral rights?”

the comparison of brand experiences. Immersion is defined as a psychological state in which virtual objects are experienced as if they are real, giving the illusion of presence and making the virtuality unnoticed.

“What is the persuasive power of chatbots?”

KETELAAR AARTS DEMIR

Move beyond speculations and master mediated communication

VIRTUAL REALIT Y

VIRTUAL REALIT Y

“How can I prepare for voice marketing?”

“Is persuasion profiling unethical?”

“What is SOCIAL online VIRTUAL privacy,REALITY and how – to respect UNDERSTANDING THE POWER OF it in the digital age?”

VIRTUAL PLACES AND BODIES FOR

not readily available and communication is difficult. In these worlds, their identity is tied to a body they choose and by the actions they take, where they have so often been marginalized in the physical world in a culture that does not understand or rejects these individuals and/or their appearance. Stories of a community of

PEOPLE WITH DISABILITIES

such individuals are documented in the film Our Digital Selves.

“Does digital technology change our brain?”

By Donna Davis

Robert Cialdini

“I learned a lot from reading the book! The content is very relevant to today’s world of communication, and explains things in a clear manner. So even though I am not an expert in this field, I understood it perfectly.” - S A ND R A R AW L IN

But what should we measure? On the one hand, we can argue that for the sake of comparability it is best to choose an experience measurement that ‘fits’ all media,

23 INNOVATIONS IN DIGITAL COMMUNICATION

T H I S B O O K C O N TA I N S • Visions of communication experts about the current and future digital media landscape • Discussions of digital innovations from a practical, scientific, and ethical perspective with contributions of experts about its implementation

“Science and practice need each other to grow. This book brings both perspectives together and gives you an all-round scope of recent innovations.”

In order to establish whether VR has an added value, academic research compares experiences in virtual worlds with experiences generated via traditional media.

“What are the limits of virtual reality?”

20

“As a student, I found this book immensely helpful in getting a comprehensive understanding of digital communication. Anyone who wants to know the field could benefit from this state-of-the-art book!” - S HUA N G L I

SCIENTIFIC EXPLANATION

“How do Artificial Intelligence and Machine Learning impact our society?”

This example also has important implications for the future of health commu-

https://www.linkedin.com/in/donnazdavis/

nication. Research consistently reveals a sense of safety, security, and a resulting

As virtual and mixed reality technologies are increasingly being utilized for im-

share in any other setting, online or offline. In a virtual world, individuals are able

willingness to share insights about their conditions that they would often not

mersive storytelling, marketing, and entertainment, organizations are likewise

to build communities of support that healthcare providers may want to consider

attempting to identify how to best utilize these environments to build online com-

for reaching vulnerable and often inaccessible populations. Such is the case with a

munities. Although many people think of VR for gaming and entertainment, so-

KETELAAR AARTS DEMIR

Parkinson’s support community that has been meeting in the virtual world since

cial virtual worlds also offer a vibrant and effective platform for building commu-

2011. This community was founded by an 84-year-old woman with Parkinson’s

nity, especially for globally dispersed populations or among individuals who may

disease who immediately felt benefits through the playful social activities she

be limited by mobility. Consider, for example, the potential of social virtual worlds

was able to enjoy in the virtual world. The story of Fran Serenade (as she is known

for people with disabilities or who are immune compromised, who are often una-

in Second Life) has been well documented. As telehealth continues to experience

ble to work or be socially active in the physical world. Two features of social virtual

rapid growth and adoption, social virtual worlds provide a viable and eminently

worlds that make this especially effective emerge through the sense of presence.

more engaging alternative to the typical webcam or text platforms currently uti-

When individuals feel physically present and able to interact in and with a space

lized. Other examples of the sense of presence in VR as used in healthcare can be

as well as embodied through the user’s avatar that can also interact with other

seen in a 2018 commercial showing the power of the mind for an amputee learn-

avatars, the sense of engagement and connection is also elevated.

ing to walk with a prosthetic.Similarly, VR is being used very effectively in working with burn victims and physical therapy.

One example of this use of VR is in the exploration of disability communities in 3D platforms that exist as screen-based virtual reality but are also important to

Technological transformation including VR is also raising critical questions re-

the evolution of social virtual worlds optimized for headsets. Second Life (secon-

garding the future of work as automation and virtual and augmented reality are

dlife.com), a social virtual world that went online in 2004, is home to more than a

changing the nature of jobs, of the workplace and of the labor force. Consider both

half million active users worldwide. Among these “residents” are people with dis-

the challenges and the opportunities to build alternative work opportunities for

abilities (PWD). These individuals can choose how to represent themselves in the

disabled people who are often not given access to work due to their disability. As

virtual world where a wheelchair-bound person can create an avatar body that may

technology continues to improve speech to text, text to speech, and eye-tracking,

or may not include a wheelchair. In a virtual world, where most communication is

new work and research opportunities will continue to emerge people who repre-

text-based, the deaf person can communicate with all people, where in the physical world they have so often been left out of communities when sign language is

BIS_23_Inno_Cover_DRUK.indd 1 22

Food designer Chloé Rutzerveld questions and explores new food production technologies and translates multidisciplinary research into future food scenarios. This book explains her thoughts, process and work, which is often described as provocative, cheeky and playful - inspiring and involving consumers in the discussion about potential food futures.

sent many types of disabilities. And, once again, human resources professionals will be watching closely as the focus on equity and inclusion means the inclusion

09-05-19 10:31

VIRTUAL REALIT Y

VIRTUAL REALIT Y

Authors: Paul Ketelaar, Sanne Demir & Jan Aarts 340 pages | 25 x 20 cm | paperback | 978 90 6369 518 7 | £ 35.00

How to Survive the Organizational Revolution 3 h o w t o s urv i v e t h e o rg a n i z at i o n a l

of people in a tribe is 100. People in a tribe are colocated.

manager is mainly on maintaining high quality knowledge in the group that

The popularity of agile ways of working on a project level has raised interest in the possibility to build entire organizations according to agile processes. In

Chapter A chapter bundles expertise in the organization. It contains people with similar skills in the same tribe. For

Guild A guild is a group in the organizations that shares knowledge on a voluntary

agile dialect, the question is: how to scale agile? Especially in online environ-

example, a chapter may focus on data

basis across the organization. They

ments in which speed of innovation is of high importance organizations the search for organizational forms that enable fast deployment has been pursued with vigor. The necessity to make new or improved applications available to customers fast is very high in these industries. It is no coincidence then that

analytics or user experience. Without chapters, there would be no learning from each other. An interesting feature

tend to connect similar chapters in different tribes but they are open for everybody to join.

one of the scaled agile models that attracts most attention emerged at Spo-

manager who reports to the tribe lead.

The chapter lead fulfills line manager tasks like setting salaries and ensuring development of individuals. Howe-

The Spotify model

tify, the online music streaming service.

a gu id e to agile contemporary operating mod els, platforms and ecosystems

reports to him.

here is that the chapter lead is the line A final but smaller role is that of system owner. This is a role somebody has next to a squad membership or chapter lead role. It exists to ensure

Figure x depicts the basic form of the

functionalities available online without

ver, the chapter lead is not a fulltime

the overall system remains coherent.

Spotify model. The model builds on five elements:

asking for permission of a higher hierarchical layer. This is one way to ensure speedy deployment of new features. Another way to create speed

manager, but is also part of one of the squads. This way of working is interesting because the focus of the line

With so many different squads working independently and making changes, the risk that consistency is lost is not

Product owner The product owner performs the same role as in agile/scrum processes. She or he determines the deliverables that need to be made, prioritizes the work

is to organize squads such that they

Tribe

can function as independent from each other as possible. Each dependency is likely to slow down the process becau-

to be done, but does not specify how

se it requires meeting and coordinati-

the work should be done.

on.

Squad

Tribe

A squad is a team that creates tho-

A tribe is a collection of squads working in a related area, like back end

se deliverables. For example a squad can focus on payment solutions. An interesting feature of a squad is that, provided a fixed process is followed, individuals in a squad can make new

Tribe

Chapter

Chapter

Guild

Chapter

infrastructure or the Spotify music player. The tribe lead is responsible for creating the right habitat for people to be effective in. The maximum number

Chapter

Figure x: The Sp otify model

High

We need to cross the river

Build a brigde

We need to cross the river

Alignment

”The Spotify model is about creating minimal viable bureaucracy with high autonomy and high alignment” > Joakim Sunden

Image taken from ‘Food Futures’ 978 90 6369 517 0 £ 22.00

24

A R D -P I E T E R D E M A N , P I E T E R K O E N E & M A RT I J N A R S

The Innovation Matrix simplifies and structures innovation management and strategy. Intellectual property, which is at the core of every innovation, is urged to be used as a tool in defining a strategy and managing the innovation. Through three key steps (Think-Strategise-Act), you build an Innovation and IP Strategy.

Author: Deepika Jeyakodi and Mirjam Ros | 208 pages | 20 x 17 cm | paperback with flaps | 978 90 6369 520 0 | £ 25.99

Figure out how

I hope someone is working on the river problem...

Low Low

Autonomy

High

Figure x: C oncept of aligned autonomy

imaginary. The system owner role is kept small though, so as not to impede much on the independence of the squads.

Spotify reinvents the matrix organization Looking at this model the question arises whether this is really a new orga-

Recently published

21

This book describes, criticizes and evaluates 23 digital innovations that are used in media and communication.

Innovations that are not hypes, but that were implemented to reach permanent changes in media and communication. The impact and professional, scientific and social challenges coming with these innovations are discussed.

Author: Chloé Rutzerveld | 120 pages | 23 x 19 cm | paperback with flaps | 978 90 6369 517 0 | £ 22.00

The Innovation Matrix

0010011101010101010001011 1101101100010100111001101 0101010100110101011101011 1010010011101010101010001 011110110110001010011100 110101010101001101010111 0101110100100111010101010 1000101111011011000101001 1100110101010101001101010 1110101110100100111010101 0101000101111011011000101 0011100110101010101001101 0101110101110100100111010 1010101000101111011011000 1010011100110101010101010 1110101110100100111010101 0101000101111011011000101 0011100110101010101001101 0101110101110100100111010 1010101000101111011011000 1010011100110101010101001 1010101110101110100100111 0101010101000101111011011 0001010011100110101010101 0011010101110101110100100 1110101010101000101111011 0110001010011100110101010 1010011010101110101110100 1001110101010101000101111 0110110001010011100110101 0101010011010101110101110 1001001110101010100011101 0101010100010111101101100 0101001110011010101010100 1101010111010111010010011 1010101010100010111101101 1000101001110011010101010 1001101010111010111010010 0111010101010100010111101 1011000101001110011010101 0101001101010111010111010 0100111010101010100010111 1011011000101001110011010 1010101001101010111010111 0100100111010101010100010 1111011011101010101010011 21 0101011101011101001001110 1010101010001011110110110 0010100111001101010010100 0101111011011000101001110 0110101001010111010111010

a variety of skills. In a matrix work is often project based meaning that team composition changes form project to project, but in the Spotify model team composition is stable. Finally in the pure version of the matrix, each member of the organization is accountable to two line managers. In the Spotify model there is only one: the chapter lead. A squad member gets the input what to do from the product owner

nizational form or whether it just uses new words for old forms. The model

and how to do it from the chapter lead. But the chapter lead does the

looks conspicuously like a matrix. However there are a few notable differences with a matrix structure. In a matrix similar skills are grouped together in departments whereas squads contain

performance review.

Probably more relevant than a discussion about whether this structure is really new and different is the realiza-

Self-organized, dynamic and externally oriented structures replace hierarchical, predictable and internally oriented structures. This book is the first complete overview of new organizational forms in the information economy. It is an indispensable guide to profit from the opportunities new organizational forms present.

Authors: Pieter Koene, Martijn Ars and Ard-Pieter de Man | 176 pages | 21 x 17 cm | paperback with flaps | 978 90 6369 521 7 | £ 25.99

25

RECENTLY PUBLISHED

Products that Last

Connecting

The Empathy Game

Robot Memory Game

Products that Last starts where most books on product development end. The book offers readers an innovative and practical methodology to unravel a product’s afterlife and systematically evaluate it for new opportunities. It introduces business models that enable us to benefit from the opportunities offered by a much longer product life.

How can we cultivate our creativity to live a more emotionally rewarding life? Drawing on insights from neuroscience and psychology, Connecting will explore seven paradoxical aspects of our emotional experiences that fuel our creativity. Each page is an illustrative example designed to enlighten, illuminate, challenge and provoke.

Empathy fuels connections between people. But, what’s a real connection in the digital age? When do we still sit down, actively listen and engage with each other’s stories? The Empathy Game encourages sharing, listening and engaging with our fellow humans. There’s often more to discover than we assume to know.

Match the robots within a category - can you match the two self-driving robots, the clone robots or the kiss robots? The Robot Memory Game presents many different ro­bots that we have already come across in daily life.

From recognisable robots to hidden robots or help-robots to self-reliant robots.

Authors: Conny Bakker, Marcel den Hollander and Ed van Hinte | 112 pages | 25.5 x 20 cm | paperback otabind | 978 90 6369 522 4 | £ 28.00 |

Authors: Paulina Larocca and Tony Ibbotson | 160 pages | 19 x 19 cm | hardcover | 978 90 6369 526 2 | £ 17.99 |

How to Research Trends Workbook

Football Baby Names

Trend research is a powerful method to detect and recognise change at an early stage. You can use this guide to challenge yourself or your team to ‘learn-by-doing’. For easy usage, the guide follows the same structure as How to Research Trends and it has the same colour coding and signage navigation.

The most important choice for future parents: what will be the name of the baby? Evidently, you would like to pick a name that gives the child a headstart, name that suits the successful and fabulous human being it will evolve into.

With these football names your newborn is ahead of the game.

Author: Els Dragt | 64 pages | 18.4 x 21 cm | paperback | 978 90 6369 527 9 | £ 8.99 |

26

RECENTLY PUBLISHED

Authors: Saskia H. Herrmann and Jorik Elferink | 3 x 50 cards | 13 x 16 x 3 | boxed set + 2 dice | 978 90 6369 524 8 | £ 17.99 |

Author: Mieke Gerritzen | 60 cards | 14.5 x 7.5 x 5 cm | boxed set | 978 90 6369 525 5 | £ 13.99 |

Authors: Tim Nikken and Boudewijn Bosman | 112 pages | 16 x 16 cm | hardcover | 978 90 6369 523 1 | £ 10.99 |

27

Highlighted Gifts

3rd

printing

2nd

5th

printing

printing

4th printing

2nd printing

Think Like an Artist, Don’t Act Like One | Author: Koos de Wilt | 160 pages | 18 x 14 cm | paperback with flaps | £ 12.99 | ISBN 978 90 6369 468 5

28

This is a Good Guide - for a Sustainable Lifestyle | Author: Marieke Eyskoot | 280 pages | 23 x 17 cm | hardcover | £ 22.00 | ISBN 978 90 6369 492 0

Food Futures Author: Chloé Rutzerveld | 120 pages | 23 x 19 cm | paperback with flaps | £ 22.00 | ISBN 978 90 6369 517 0

Dilemmarama The Game Concept: Dilemma op Dinsdag | 64 cards in a box | 9.8 x 13.3 x 4 cm | £ 13.99 | ISBN 978 90 6369 424 1

Linjaa Concept: Renske Solkesz 80 cards in a box | 12 x 12 x 4 cm | £ 13.99 | ISBN 978 90 6369 503 3

Creativity Works!

Author: Coen Luijten and Joris van Dooren | 160 pages | 17 x 17 cm | paperback | £ 13.99 | ISBN 978 90 6369 506 4

Once Upon a Time I Was...

Author: Lavinia Bakker | 144 pages | 22 x 17 cm | paperback | £ 12.99 | ISBN 978 90 6369 421 0

Creativity + Author: Paulina Larocca | 60 pages | 20 x 10 cm | £ 13.99 | ISBN 978 90 6369 488 3

Little Creative Thinker’s Connection Dominoes 28 cards | 10 x 5 cm | box: 11 x 11 x 5.5 cm | £ 12.99 | ISBN 978 90 6369 513 2 | Age: 4 years +

My Photography Toolbox Concept: Rosa Pons-Cerdà and Lenno Verhoog | 72 cards in a box | 11.5 x 8 x 4 cm | £ 13.99 | ISBN 978 90 6369 504 0

29

Highlighted Creative Business

7th

printing

3rd

printing

11th

3rd

printing

printing

8th

5th

printing

printing

2nd printing

Visual Thinking | Author: Willemien Brand | 144 pages | 25 x 21 cm | paperback | £ 17.99 | ISBN 978 90 6369 453 1

30

Visual Doing Author: Willemien Brand 144 pages | 25 x 21 cm | paperback | £ 17.99 | ISBN 978 90 6369 499 9 |

Know Your Onions: Graphic Design | Author: Drew de Soto | 186 pages | 20 x 15 cm | paperback with elastic band | £ 14.99 ISBN 978 90 6369 258 2

Inspiration for Innovation Author: Gijs van Wulfen 224 pages | 16 x 16 cm | paperback | £ 12.99 | ISBN 978 90 6369 496 8

Designing With and Within Public Organizations Author: André Schaminée | 208 pages | 25 x 18 cm | paperback | £ 29.99 | ISBN 978 90 6369 497 5

Design . Think . Make .

Break . Repeat | Authors: Martin Tomitsch, Cara Wrigley and Madeleine Borthwick et.al.| 208 pages | 23 x 19 cm | £ 27.99 | ISBN 978 90 6369 479 1

This Is Service Design Thinking | Editors: Marc Stickdorn and Jakob Schneider | 376 pages | 23 x 17.5 cm | paperback | £ 27.99 | ISBN 978 90 6369 279 7

The Innovation Matrix Authos: Mirjam E. Ros and Deepika Jeyakodi | 136 pages | 17 x 20 cm | paperback | £ 25.99 | ISBN 978 90 6369 520 0

Don’t Read This Book | Author: Donald Roos | 160 pages | 21.5 x 14.5 cm | paperback | £ 14.99 | ISBN 978 90 6369 423 4

Don’t/Do This – Game Author: Donald Roos | 156 cards | 17.8 x 9.2 x 2.2 cm | £ 13.99 | ISBN 978 90 6369 484 5

31

CREATIVE BUSINESS

3rd

ho w t o s u rv i v e t he o rg a ni z at i o n a l

printing

a g u i d e t o a g i l e co n t e mp o r a ry o p e r at i n g m o d e l s , p l at f o r m s a n d e co s ys t e ms

ARD-P IE TE R DE M AN, P IE TE R KOE NE & M ARTIJN ARS

How to Survive the Organizational Revolution

Mastering the Art of Negotiation

This Human

Author: Geurt Jan de Heus | 216 pages | 19 x 24 cm | paperback with flaps | £ 29.99 | ISBN 978 90 6369 431 9

Author: Pieter Koene, Martijn Ars and Ard-Pieter de Man | 176 pages | 21 x 17 cm | paperback with flaps | £ 25.99 | ISBN 978 90 6369 521 7

Author: Melis Senova | 208 pages | 23 x 19 cm | paperback | £ 27.99 | ISBN 978 90 6369 460 9

The 7 Principles of Complete Co-Creation Authors: Stefanie Jansen and Maarten Pieters | 208 pages | 23 x 18 cm | paperback with flaps | £ 29.99 | ISBN 978 90 6369 473 9

Convivial Toolbox Authors: Elizabeth B.-N. Sanders and Pieter Jan Stappers | 312 pages | 23 x 17.5 cm | paperback with flaps | £ 35.00 | ISBN 978 90 6369 284 1

exper jou

2nd printing

Change Ahead

CEX Sells

Design Roadmapping

Author: Carola Verschoor | 240 pages | 19 x 24 cm | paperback with flaps | £ 29.99 | ISBN 978 90 6369 398 5

Authors: Beate van Dongen Crombags and Deborah Wietzes | 176 pages | 20 x 20 cm | paperback with flaps | £ 27.99 | ISBN 978 90 6369 444 9

Author: Dr Lianne W.L. Simonse | 244 pages | 23 x 19 cm | hardcover | £ 35.00 | ISBN 978 90 6369 459 3

For professionals to gain founded insights into the merits of innovations for application in communication.

“A masterful combination of theory and scientific research. This book provides communication professionals with guidelines for innovative digital communication and insights from the industry of digital media. It is meaningfully and concisely presented.” - L I S A C E D R O NE For students to discover their areas of interest and to help them become the experts in the field.

“As a student, I found this book immensely helpful in getting a comprehensive understanding of digital communication. Anyone who wants to know the field could benefit from this state-of-the-art book!” - S HUA N G L I For teachers to find various anchors to develop courses and lectures about innovative communication.

“A fine piece of work. The innovations are contemporary. They are discussed from various angles, including the valuable view of experts in the field. As a lecturer in communication and media studies, I find this book very insightful for my students, and a pleasure to read.” - PAUL VA N DE R B I JL And for anyone else with an interest in developments in digital communication.

‘23 Innovations in Digital Communication’ describes, critiques, and evaluates digital innovations that are applied in communication. Innovations that are not hypes, but are becoming part of organisations and life, causing permanent changes in media use and communication.

The goal of this book is to help readers master these innovations. It is a source of inspiration for anybody who wants to understand how digital innovations can impact communication and change the media landscape in the future. Reading this book will render valuable insights into digital innovations in communication, and how they can be used to influence information processing, decision making, and buying behaviour.

Each innovation is discussed, looking at its impact and professional, scientific, future, and societal challenges. The chapters contain examples and cases from advertising, healthcare, journalism, and entertainment.

23 INNOVATIONS IN DIGITAL COMMUNICATION

‘WHAT IS THE IMPACT OF DIGITAL INNOVATIONS IN COMMUNICATION?’ This book is valuable for the disciplines of Communication and Marketing and anybody who is interested in digital innovations in communication.

“Science and practice need each other to grow. This book brings both perspectives together and gives you an all-round scope of recent innovations.”

KETELAAR AARTS DEMIR

Author: Els Dragt | 200 pages | 23 x 19 cm | paperback | £ 25.99 | ISBN 978 90 6369 433 3

Author: Els Dragt | 64 pages | 18.4 x 21 cm | paperback | £ 8.99 | ISBN 978 90 6369 527 9

sta visito

“What are the limits of virtual reality?”

“Should robots get moral rights?”

“What is the persuasive power of chatbots?”

“How can I prepare for voice marketing?”

“Is persuasion profiling unethical?”

“What is online privacy, and how to respect it in the digital age?”

Move beyond speculations and master mediated communication

“Does digital technology change our brain?”

Robert Cialdini

“I learned a lot from reading the book! The content is very relevant to today’s world of communication, and explains things in a clear manner. So even though I am not an expert in this field, I understood it perfectly.” - S A ND R A R AW L IN

KETELAAR AARTS DEMIR

BIS_23_Inno_Cover_DRUK.indd 1

09-05-19 10:31

Concept Code Authors: Gaby Crucq - Toffolo and Sanne Knitel | 192 pages | 25 x 20 cm | paperback with flaps | £ 27.99 | ISBN 978 90 6369 432 6

Backlist

How to Research Trends Workbook

“How do Artificial Intelligence and Machine Learning impact our society?”

23 INNOVATIONS IN DIGITAL COMMUNICATION

T H I S B O O K C O N TA I N S • Visions of communication experts about the current and future digital media landscape • Discussions of digital innovations from a practical, scientific, and ethical perspective with contributions of experts about its implementation

How to Research Trends

2nd printing

23 Innovations in Digital Communication

The Seven Laws of Guaranteed Growth

From Selling to Co-Creating

Authors: Paul Ketelaar, Sanne Demir & Jan Aarts | 340 pages | 24.5 x 18 cm | paperback | £ 35.00 | ISBN 978 90 6369 518 7

Author: Frans de Groot | 156 pages | 19 x 24 cm | paperback with flaps | £ 27.99 | ISBN 978 90 6369 413 5

Authors: Régis Lemmens, Bill Donaldson and Javier Marcos | 256 pages | 21 x 21 cm | paperback | £ 29.99 | ISBN 978 6369 351 0

2nd printing

The Digital Metrics Field Guide Author: Stephen D. Rappaport | 320 pages | 28 x 21.6 cm | paperback | £ 27.99 | ISBN 978 90 6369 377 0

This chapter explo

design: the time fa 2nd

NEW

a sequence of exp printing

specific order. The

be considered ‘jou consistency to be Storytelling on Steroids Image taken from 'Worlds of Wonder' 978 90 6369 464 7 £ 39.00

32

Author: John Weich | 160 pages | 23 x 17 cm | paperback | £ 12.99 | ISBN 978 90 6369 311 4

Brand the Change

Branded Protest

Contrarian Branding

Author: Anne Miltenburg | 224 pages | 25 x 21 cm | paperback | £ 27.99 | ISBN 978 90 6369 478 4

Author: Klaus Kempenaars en Ingeborg Bloem 192 pages | 27 x 18 cm | paperback | £ 29.99 | ISBN 978 90 6369 541 5

Author: Roland van der Vorst | 192 pages | 17 x 11 cm | paperback | £ 15.99 | ISBN 978 90 6369 463 0

1 : 1 One to One

Mapping this struc Author: Michel van Tongeren | 240 pages | 25 x 20 cm | hardcover | £ 35.00 | ISBN 978 90 6369 264 3

achieve the functio 33

CREATIVE BUSINESS

CREATIVE BUSINESS

NEW

Different Brains, Different Approaches Author: Huub van Osch | 192 pages | 21 x 21 cm | paperback | £ 27.99 | ISBN 978 90 6369 435 7

Hidden Persuasion Authors: Marc Andrews, Dr. Van Leeuwen and Prof. Dr. Van Baaren | 192 pages | 23 x 17 cm | paperback with flaps | £ 16.99 | ISBN 978 90 6369 531 6

Music Thinking Jam Cards

How to Have Your Cake and Eat It Too

Concept: Christof Zürn | 18.5 x 18.5 cm | 44 cards in a box | £ 24.99 | ISBN 978 90 6369 514 9

Author: J. Margus Klaar | 112 pages | 21.6 x 14 cm | paperback | £ 12.99 | ISBN 978 90 6369 381 7

2nd

8th

printing

Thinking in Services Author: Majid Iqbal | 240 pages | 23 x 17 cm | paperback with flaps | £ 29.99 | ISBN 978 90 6369 489 0

3rd

printing

Event Design Handbook

printing

Worlds of Wonder

Authors: Roel Frissen, Ruud Janssen and Dennis Luijer | 204 pages | 21 x 21 cm | paperback | £ 27.99 | ISBN 978 90 6369 434 0

3rd

NEW

Authors: Stan Boshouwers and Erik Bär | 272 pages | 23 x 29 cm | paperback with flaps | £ 35.00 | ISBN 978 90 6369 464 7

NEW

printing

Good Services

Visual Doing

Author: Lou Downe | 192 pages | 19.5 x 13 cm | paperback | £ 15.99 | ISBN 978 90 6369 543 9

Author: Willemien Brand 144 pages | 25 x 21 cm | paperback | £ 17.99 | ISBN 978 90 6369 499 9

Visual Doing Workbook Author: Willemien Brand 32 pages | 29.7 x 21 cm | paperback | £ 8.99 | ISBN 978 90 6369 500 2

The Secret of the Highly Creative Thinker Authors: Dorte Nielsen and Sarah Thurber | 176 pages | 23.4 x 15.5 cm | paperback | £ 16.99 | ISBN 978 90 6369 532 3

6th

5th

printing

This Is Service Design Thinking (paperback)

This Is Service Design Thinking (hardcover)

Editors: Marc Stickdorn and Jakob Schneider | 376 pages | 23 x 17.5 cm | paperback editon | £ 27.99 | ISBN 978 90 6369 279 7

Editors: Marc Stickdorn and Jakob Schneider | 376 pages | 23 x 17.5 cm | hardcover edition | £ 39.99 | ISBN 978 90 6369 256 8

printing

The Divergent and Convergent Thinking Notebook Author: Dorte Nielsen | 152 pages | 25 x 12.5 cm | triangular hardcover | £ 12.99 | ISBN 978 90 6369 439 5

3rd

Connecting Authors: Paulina Larocca and Tony Ibbotson | 160 pages | 19 x 19 cm | hardcover | £ 17.99 | ISBN 978 90 6369 526 2

Authors: Booreiland | 75 cards in a box | 13 x 9.5 x 5.5 cm | £ 20.99 | ISBN 978 90 6369 275 9

printing

Creative Thinker’s Exercise book Authors: Dorte Nielsen and Katrine Granholm | 112 pages | 24 x 19 cm | paperback | £ 14.99 | ISBN 978 90 6369 438 8

NEW

Little Creative Thinker’s Exercise Book Author: Dorte Nielsen and Katrine Granholm | 112 pages | 23 x 16.5 cm | paperback | £ 12.99 | ISBN 978 90 6369 491 3

5th

printing

Don’t Buy This Book

Don’t Read This Book

Authors: Donald Roos and Anne de Bruijn 160 pages | 21.5 x 14.5 cm | paperback | £ 14.99 | ISBN 978 90 6369 537 8

Author: Donald Roos | 160 pages | 21.5 x 14.5 cm | paperback | £ 14.99 | ISBN 978 90 6369 423 4

5th

NEW

2nd

printing

75 Tools for Creative Thinking

3rd

printing

printing

The Service Innovation Handbook

The Innovation Expedition

Author: Lucy Kimbell | 240 pages | 19 x 24 cm | paperback with flaps | £ 29.99 | ISBN 978 90 6369 353 4

Author: Gijs van Wulfen | 240 pages | 19 x 24 cm | paperback with flaps | £ 29.99 | ISBN 978 90 6369 313 8

4th printing

34

The Innovation Maze Author: Gijs van Wulfen | 240 pages | 19 x 24 cm | paperback with flaps | £ 29.99 | ISBN 978 90 6369 410 4

Creativity in Business Authors: Igor Byttebier and Ramon Vullings | 204 pages | 23.8 x 17 cm | paperback with flaps | £ 17.99 | ISBN 978 90 6369 380 0

Don’t/Do This – Game

Author: Sam Bucolo | 216 pages | 21.5 x 14 cm | paperback | £ 14.99 | ISBN 978 90 6369 409 8

Author: Donald Roos | 156 cards | 17.8 x 9.2 x 2.2 cm | £ 13.99 | ISBN 978 90 6369 484 5

4th

printing

printing

Authors: Ramon Vullings and Marc Heleven | 220 pages | 15 x 15 cm | paperback with flaps | £ 12.99 | ISBN 978 90 6369 379 4

Author: Gijs van Wulfen 224 pages | 16 x 16 cm | paperback | £ 12.99 | ISBN 978 90 6369 496 8

Are We There Yet?

7th

2nd

Not Invented Here

Inspiration for Innovation

The Innovation Matrix Authos: Mirjam E. Ros and Deepika Jeyakodi | 136 pages | 17 x 20 cm | paperback | £ 25.99 | ISBN 978 90 6369 520 0

Visual Thinking Author: Willemien Brand | 144 pages | 25 x 21 cm | paperback | £ 17.99 | ISBN 978 90 6369 453 1

printing

Visual Thinking Workbook Author: Willemien Brand 32 pages | 29.7 x 21 cm | paperback | £ 8.99 | ISBN 978 90 6369 511 8

Get Agile!

Authors: Pieter Jongerius et al. | 176 pages | 21 x 14.8 cm | paperback with flaps | £ 22.00 | ISBN 978 90 6369 302 2

When the Box is the Limit Author: Walter Vandervelde 192 pages | 20 x 17 cm | paperback | £ 22.00 | ISBN 978 90 6369 512 5

Pitching Ideas

Author: Jeroen van Geel | 128 pages | 21 x 14.5 cm | paperback | £ 14.99 | ISBN 978 90 6369 529 3

Creativity +

Author: Paulina Larocca | 60 pages | 20 x 10 cm | £ 13.99 | ISBN 978 90 6369 488 3

Creative Personal Branding

Author: Jürgen Salenbacher | 228 pages | 21.5 x 14 cm | paperback | £ 15.99 | ISBN 978 90 6369 315 2

3rd

printing

Blue is the New Black Author: Susie Breuer | 232 pages | 23 x 17.5 cm | paperback with Key Dates Calendar insert | £ 27.99 | ISBN 978 90 6369 340 4

35

DESIGN

DESIGN

2nd printing

3rd

4th

printing

printing

Augmenting Alice

Notes on Design

Strategic Design

Make Design Matter

The Designer As…

Author: Galit Ariel | 256 pages | 25 x 21cm | hardcover | £ 29.99 | ISBN 978 90 6369 470 8

Author: Kees Dorst | 208 pages | 22 x 15 cm | paperback | £ 15.99 | ISBN 978 90 6369 465 4

Authors: Dr. Giulia Calabretta, Prof. Gerda Gemser and Dr. Ingo Karpen | 228 pages | 19 x 24 cm | paperback with flaps | £ 29.99 | ISBN 978 90 6369 445 6

Author: David Carlson | 160 pages | 18 x 12 cm | paperback with flaps | £ 10.99 | ISBN 978 90 6369 304 6

Author: Steven McCarthy | 248 pages | 24 x 17.5 cm | paperback with flaps | £ 27.99 | ISBN 978 90 6369 292 6

Design . Think . Make .

Break . Repeat Authors: Martin Tomitsch, Cara Wrigley, Madeleine Borthwick et.al. | 208 pages | paperback | 23 x 19 cm | £ 27.99 | ISBN 978 90 6369 479 1

Transformations: 7 Roles to Drive Change by Design Authors: Joyce Yee, Emma Jefferies and Dr Kamil Michlewski | 246 pages | 23.4 x 15.5 cm | paperback | £ 27.99 | ISBN 978 90 6369 457 9

Products that Flow

Products that Last

Authors: Siem Haffmans, Marjolein van Gelder and Ed van Hinte 128 pages | 25.5 x 20 cm | flexicover | £ 27.99 | ISBN 978 90 6369 498 2

Authors: Conny Bakker and Marcel den Hollander | 112 pages | 25.5 x 20 cm | paperback otabind | £ 27.99 | ISBN 978 90 6369 522 4

Sustainist Design Guide Editors: Michiel Schwarz and Diana Krabbendam | 144 pages | 24.5 x 17.5 cm | paperback with flaps | £ 16.99 | ISBN 978 90 6369 283 4

5th

Authors: Sabine Wildevuur, Dick van Dijk, Anne Äyväri, Mie Bjerre, Thomas Hammer-Jakobsen and Jesper Lund | 192 pages | 20 x 15 cm | paperback with flaps | £ 27.99 | ISBN 978 90 6369 331 2

Designing for the Common Good Authors: Kees Dorst, Lucy Kaldor, Lucy Klippan and Rodger Watson | 216 pages | 19 x 24 cm | paperback with flaps | £ 29.99 | ISBN 978 90 6369 408 1

Designing With and Within Public Organizations Author: André Schaminée | 208 pages | 25 x 18 cm | paperback | £ 29.99 | ISBN 978 90 6369 497 5

The Politics of Design

CO LAB:

Author: Ruben Pater | 192 pages | 17.5 x 11.1 cm | paperback | £ 12.99 | ISBN 978 90 6369 422 7

Authors: Elizabeth Herrmann and Ryan Shelley | 240 pages | 24 x 17.5 cm | paperback with flaps | £ 25.99 | ISBN 978 90 6369 373 2

printing

36

Meta Products

The Form of Design

Author: Tijmen Schep and Moti | 160 pages | 18 x 12 cm | paperback | £ 10.99 | ISBN 978 90 6369 437 1

Authors: Wimer Hazenberg, Menno Huisman | 160 pages | 23 x 19 cm | paperback | £ 16.99 | ISBN 978 6369 251 3

Author: Prof. Josiah Kahane | 240 pages | 25 x 20 cm | paperback with flaps | £ 29.99 | ISBN 978 90 6369 375 6

Simplicity: A Matter of Design Author: Per Mollerup | 192 pages | 29.5 x 16 cm | hardcover | £ 29.99 | ISBN 978 90 6369 402 9

Delft Design Guide

Dynamic Identities

Identity Colour Codes

LOIS Logos

Edited by: Annemiek van Boeijen, Jaap Daalhuizen, Jelle Zijlstra, Roos van der Schoor | 168 pages | 25.5 x 20 cm | flexicover | £ 28.00 | ISBN 978 90 6369 327 5

Concept: Irene van Nes | 192 pages | 25 x 21.5 cm | paperback | £ 27.99 | ISBN 978 90 6369 339 8

Author: Felix Janssens | 304 pages | 21 x 15 cm | paperback with flaps | £ 25.99 | ISBN 978 90 6369 335 0

Author: George Lois | 204 pages | 24 x 19 cm | paperback with flaps | £ 22.00 | ISBN 978 90 6369 399 2

NEW

NEW

Logo Life

Anthon Beeke

Sketching: the Basics

Sketching

Author: Ron van der Vlugt | 312 pages | 21 x 16 cm | hardcover | £ 22.00 | ISBN 978 90 6369 260 5

Author: Lidewij Edelkoort | 448 pages | 27 x 21 cm | paperback with flaps | £ 39.99 | ISBN 978 90 6369 330 5

Authors: Koos Eissen and Roselien Steur | 204 pages | 24 x 19 cm | paperback | £ 29.99 | ISBN 978 90 6369 534 7

Authors: Koos Eissen and Roselien Steur | 256 pages | 24 x 19 cm | paperback | £ 29.99 | ISBN 978 90 6369 533 0

11th printing

Sketching Product Design Presentation Authors: Koos Eissen and Roselien Steur | 192 pages | 27 x 21 cm | hardcover | £ 29.99 | ISBN 978 90 6369 329 9

3rd

printing

printing

2nd

Design My Privacy

printing

3rd

printing

Connect

2nd

printing

printing

Authors: Joyce Yee, Emma Jefferies and Lauren Tan | 224 pages | 24 x 17.5 cm | paperback with flaps | £ 29.99 | ISBN 978 90 6369 321 3

printing

2nd

2nd

Design Transitions

4th

ViP Vision in Design Authors: Matthijs van Dijk and Paul Hekkert | 376 pages | 19 x 15 cm | paperback | £ 27.99 | ISBN 978 90 6369 371 8 |

The Exceptionally Simple Theory of Sketching Author: George Hlavács | 48 pages + 14 practice sheets | 22 x 17 cm | paperback | £ 10.99 | ISBN 978 90 6369 334 3

Designing Diagrams

HotchPotch

Author: Jan Gauguin | 200 pages | 25 x 25 cm | hardcover | £ 27.99 | ISBN 978 90 6369 228 5

Author: Ralph Burkhardt | 192 pages | 17.5 x 11.1 cm | paperback | £ 12.99 | ISBN 978 90 6369 455 5

2nd

NEW

Know your Onions: Corporate Identity Author: Drew de Soto | 244 pages | 21 x 15 cm | paperback | £ 16.99 | ISBN 978 90 6369 539 2

printing

Know Your Onions: Graphic Design

Know Your Onions: Web Design

Author: Drew de Soto | 186 pages | 20 x 15 cm | paperback with elastic band | £ 14.99 | ISBN 978 90 6369 258 2

Author: Drew de Soto | 212 pages | 20 x 15 cm | paperback with elastic band | £ 14.99 | ISBN 978 90 6369 312 1

2nd printing

Reading Letters

Type Tricks

Shaping Text

Author: Sofie Beier | 182 pages | 25 x 21.5 cm | hardcover | £ 27.99 | ISBN 978 90 6369 271 1

Author: Sofie Beier | 208 pages | 16 x 12 cm | paperback | £ 13.99 | ISBN 978 90 6369 458 6

Author: Jan Middendorp | 176 pages | 22 x 15.5 cm | flexicover | £ 27.99 | ISBN 978 90 6369 223 0

37

DESIGN / ARCHITECTURE AND SPATIAL DESIGN

GIFT BOOKS

NEW

NEW

Work Hard Play Harder

Dutch Design Cowboys

Graduation Guide for Design Students

Think Like a Lawyer, Don’t Act Like One

Think Like a Manager, Don’t Act Like One

Design and concept: Studio Kluif | 160 pages | 22 x 15 cm | hardcover in slipcase | £ 16.99 | ISBN 978 90 6369 298 8

Design and concept: Studio Kluif | 176 pages | 22 x 15 cm | paperback | £ 16.99 | ISBN 978 90 6369 538 5

Author: Moniek Paus | 144 pages | 15.5 x 12 cm | hardcover with poster as dust jacket | £ 12.99 | ISBN 978 90 6369 286 5

Author: Aernoud Bourdrez | 160 pages | 18 x 14.5 cm | paperback with flaps | £ 12.99 | ISBN 978 90 6369 535 4

Author: Harry Starren | 160 pages | 18 x 14.5 cm | paperback with flaps | £ 12.99 | ISBN 978 90 6369 536 1

8th

printing

7th

printing

Operative Design

Conditional Design

Authors: Anthony Di Mari and Nora Yoo | 152 pages | 15 x 10.5 cm | paperback | £ 10.99 | ISBN 978 90 6369 289 6

Author: Anthony Di Mari | 156 pages | 15 x 10.5 cm | paperback | £ 10.99 | ISBN 978 90 6369 365 7

2nd printing

Performative Geometries Edited by: Asterios Agkathidis and Gabi Schillig | 160 pages | 23.8 x 17 cm | paperback with flaps | £ 12.99 | ISBN 978 90 6369 250 6

2nd printing

Bio-structural Analogues In architecture Author: Joseph Lim | 232 pages | 15 x 10.5 cm | paperback | £ 10.99 | ISBN 978 90 6369 204 9

38

NEW

7th

printing

2nd

Innovative Architecture Strategies

Author: Baires Raffaelli | 144 pages | 15 x 10.5 cm | paperback | £ 10.99 | ISBN 978 90 6369 411 1

Author: Simos Vamvakidis | 160 pages | 15 x 10.5 cm | paperback | £ 10.99 | ISBN 978 90 6369 456 2

3rd

printing

Modular Structures

Author: Sophia Vyzoviti | 144 pages | 15 x 10.5 cm | paperback | £ 10.99 | ISBN 978 90 6369 121 9

Author: Asterios Agkathidis | 136 pages | 15 x 10.5 cm | paperback | £ 10.99 | ISBN 978 90 6369 206 3

printing

Eccentric Structures in Architecture Author: Joseph Lim | 160 pages | 15 x 10.5 cm | paperback | £ 10.99 | ISBN 978 90 6369 242 1

printing

The Fast Guide to Architectural Form

Supersurfaces

2nd

2nd

printing

14th printing

Composing Architecture and Interior Design Author: Simos Vamvakidis | 160 pages | 15 x 10.5 cm | paperback | £ 10.99 | ISBN 978 90 6369 487 6

5th

printing

4th printing

3rd

printing

Think Like an Artist, Don’t Act Like One Author: Koos de Wilt | 160 pages | 18 x 14.5 cm | paperback with flaps | £ 12.99 | ISBN 978 90 6369 468 5

2nd printing

Once Upon a Time I Was...

Once Upon a Time I Wanted to Be…

Once Upon a Time I Went To...

Author: Lavinia Bakker | 144 pages | 22 x 17 cm | paperback | £ 12.99 | ISBN 978 90 6369 421 0

Author: Lavinia Bakker | 144 pages | 22 x 17 cm | paperback | £ 12.99 | ISBN 978 90 6369 419 7

Author: Lavinia Bakker | 144 pages | 22 x 17 cm | paperback | £ 12.99 | ISBN 978 90 6369 454 8

2nd

3rd

printing

Think Like A Designer, Don’t Act Like One Author: Jeroen van Erp | 160 pages | 18 x 14.5 cm | paperback with flaps | £ 12.99 | ISBN 978 90 6369 485 2

5th

printing

What Are They Saying About You?

Author: Frank Peters | 144 pages | 18.5 x 13.5 cm | paperback with flaps | £ 12.99 | ISBN 978 90 6369 400 5

2nd printing

Don’t Read This Book

Don’t/Do This – Game

Author: Donald Roos | 160 pages | 21.5 x 14.5 cm | paperback | £ 14.99 | ISBN 978 90 6369 423 4

Author: Donald Roos | 156 cards | 17.8 x 9.2 x 2.2 cm | box with sleeve | £ 13.99 | ISBN 978 90 6369 484 5

Little Creative Thinker’s Exercise Book

Little Creative Thinker’s Connection Dominoes

Authors: Dorte Nielsen and Katrine Granholm | 112 pages | 23 x 16.5 cm | paperback | £ 12.99 | ISBN 978 90 6369 491 3

28 cards | 10 x 5 cm | box: 11 x 11 x 5.5 cm | £ 12.99 | ISBN 978 90 6369 513 2 | Age: 4 years +

Creativity Works!

The Book of Do-ness

Author: Coen Luijten and Joris van Dooren | 160 pages | 17 x 17 cm | paperback | £ 13.99 | ISBN 978 90 6369 506 4

Author: Sara van de Ven | 240 pages | 15 x 14.5 cm | hardcover | £ 13.99 | ISBN 978 90 6369 451 7

3rd

printing

printing

Digital Manufacturing

Computational Architecture

Author: Asterios Agkathidis | 136 pages | 15 x 10.5 cm | paperback | £ 10.99 | ISBN 978 90 6369 232 2

Author: Asterios Agkathidis | 160 pages | paperback | 15 x 10.5 cm | £ 10.99 | ISBN 978 90 6369 287 2

2nd

To Don’t List

Logo R.I.P.

Author: Donald Roos 200 pages | 14 x 9 cm | calendar block | £ 8.99 | ISBN 978 90 6369 505 7

Authors: The Stone Twins | 192 pages | 17 x 12 cm | hardcover with gold gilded edges | £ 14.99 | ISBN 978 90 6369 290 2

Creative Thinker’s Exercise Book Authors: Dorte Nielsen and Katrine Granholm | 112 pages | 25 x 19 cm | paperback | £ 14.99 | ISBN 978 90 6369 438 8

NEW

printing

Folding architecture

The Spontaneous City

Inspiration

Author: Sophia Vyzoviti | 144 pages | 15 x 10.5 cm | paperback | £ 10.99 | ISBN 978 90 6369 059 5

Authors: Urhahn Urban Design | 176 pages | 30 x 24 cm | paperback | £ 27.99 | ISBN 978 90 6369 265 0

Authors: Prof. Mark Mückenheim and Dipl. Ing. Juliane Demel | 274 pages | 29.5 x 23.5 cm | hardcover | £ 29.99 | ISBN 978 90 6369 267 4

Frame Your Imagination

Your Work and Your Life

Author: Caroline Ellerbeck | 144 pages | 13 x 17 cm | paperback | £ 10.99 | ISBN 978 90 6369 542 2

Author: Krist Pauwels | 128 pages | 19.5 x 13.5 cm | hardcover | £ 12.99 | ISBN 978 90 6369 469 2

Creativity +

Author: Paulina Larocca | 160 pages | 20 x 10 cm | £ 13.99 | ISBN 978 90 6369 488 3

39

GIFT BOOKS

7th

printing

Don’t Eat the Yellow Snow Concept: Marcus Kraft | 512 pages | 18 x 12 cm | hardcover | £ 15.99 | ISBN 978 90 6369 288 9

GIFT BOOKS / NOTEBOOKS

2nd

3rd

Author: Lorenzo, SerraGlia, Servi | 112 pages | 14.5 x 22 cm | paperback | £ 10.99 | ISBN 978 90 6369 418 0

Philographics

Create with Artists

Trashures

Football Baby Names

The Art of Parenting

Read Nothing in Here

Author: Genís Carreras | 208 pages | 20 x 17 cm | paperback | £ 14.99 | ISBN 978 90 6369 341 1

Authors: Rixt Hulshoff Pol and Hanna Piksen | 120 pages | 20 x 25 cm | hardcover | £ 15.99 | ISBN 978 90 6369 416 6

Author: Anja Brunt and Tineke Meirink | 80 pages | 28 x 21 cm | paperback with flaps | £ 13.99 | ISBN 978 90 6369 425 8

Tim Nikken en Boudewijn Bosman 112 pages | 16 x 16 cm | hardcover | £ 10.99 | ISBN 978 90 6369 523 1

Author: Drew de Soto | 60 pages | 17 x 15 cm | hardcover | £ 6.99 | ISBN 978 90 6369 480 7

Author: Seema Sharma | 144 pages | 18.5 x 13.5 cm | paperback with band | £ 10.99 | ISBN 978 90 6369 441 8

4th printing

2nd printing

Museum Activity Cards

How to Visit an Art Museum

How to be a Better Tourist

Author: Lise Lotte ten Voorde | 52 cards | 15 x 10.5 x 3 cm | boxed set | £ 16.99 | ISBN 978 90 6369 549 1

Author: Johan Idema | 128 pages | 18.5 x 15 cm | hardcover | £ 12.99 | ISBN 978 90 6369 355 8

Author: Johan Idema | 144 pages | 18.5 x 15 cm | hardcover | £ 12.99 | ISBN 978 90 63 69 493 7

Food Futures

Creative Chef

FIZZ

Author: Chloé Rutzerveld | 120 pages | 23 x 19 cm | paperback with flaps | £ 22.00 | ISBN 978 90 6369 517 0

Author: Jasper Udink ten Cate | 240 pages | 25.4 x 20.8 cm | hardcover | £ 16.99 | ISBN 978 90 6369 414 2

Authors: Barbara Serulus and Elise van Iterson | 160 pages | 21.5 x 15.5 cm | paperback | £ 15.99 | ISBN 978 90 6369 544 6

2nd

40

3rd

2nd

printing

printing

This is a Good Guide for a Sustainable Lifestyle Author: Marieke Eyskoot | 280 pages | 23 x 17 cm | hardcover | £ 22.00 | ISBN 978 90 6369 492 0

2nd printing

Never Sleep with the Director

Never Leave the House Naked

Never Photograph People Eating

Edited by: Anneloes van Gaalen | 160 pages | 17 x 12 cm | hardcover | £ 12.99 | ISBN 978 90 6369 276 6

Edited by: Anneloes van Gaalen | 160 pages | 17 x 12 cm | hardcover | £ 12.99 | ISBN 978 90 6369 214 8

Edited by: Anneloes van Gaalen | 144 pages | 17 x 12 cm | hardcover | £ 12.99 | ISBN 978 90 6369 277 3

Never Use More Than Two Different Typefaces

The Medium is the Message

Write Nothing in Here Auhor: Seema Sharma | 160 pages | 23.5 x 16 cm | paperback | £ 12.99 | ISBN 978 90 6369 403 6

5th

printing

Never Use White Type on a Black Background Edited by: Anneloes van Gaalen | 160 pages | 17 x 12 cm | hardcover | £ 12.99 | ISBN 978 90 6369 207 0

Never Touch a Painting When it’s Wet Edited by: Anneloes van Gaalen | 160 pages | 17 x 12 cm | hardcover | £ 12.99 | ISBN 978 90 6369 280 3

2nd printing

Never Use Pop Up Windows Edited by: Anneloes van Gaalen | 160 pages | 17 x 12 cm | hardcover | £ 12.99 | ISBN 978 90 6369 217 9

2nd printing

Home Made Food Notebook Author: Yvette van Boven | 160 pages | 21 x 16 cm | flexibound with ribbon and elastic band | £ 12.99 | ISBN 978 90 6369 397 8

2nd

printing

Authors: Mieke Gerritzen and Koert van Mensvoort | 160 pages | 19 x 13 cm | hardcover | £ 10.99 | ISBN 978 90 6369 401 2

printing

Concept: Marcus Kraft | 512 pages | 18 x 12 cm | hardcover | £ 15.99 | ISBN 978 90 6369 452 4

NEW

Save the Humans!

2nd

printing

Don’t Talk Just Kiss

NEW

Art Is Everywhere

2nd

printing

printing

printing

The Do-It-Yourselfie Guide

The Social Climber’s Handbook

The F***ing History of Swearing

Author: Willem Popelier | 160 pages | 15 x 10.5 cm | sewn paperback | £ 8.99 | ISBN 978 90 6369 387 9

Author: Nimrod Kamer | 112 pages | 17 x 12 cm | hardcover | £ 8.99 | ISBN 978 90 6369 483 8

Author: Anna Maria Kiosse | 168 pages | 23 x 17 cm | paperback | £ 12.99 | ISBN 978 90 6369 467 8

Dear Fashion Diary Authors: Emmi Ojala and Laura de Jong | 160 pages | 22 x 17 cm | paperback | £ 12.99 | ISBN 978 90 6369 310 7

Edited by: Anneloes van Gaalen | 160 pages | 17 x 12 cm | hardcover | £ 12.99 | ISBN 978 90 6369 216 2

Edited by: Anneloes van Gaalen | 160 pages | 17 x 12 cm | hardcover | £ 12.99 | ISBN 978 90 6369 215 5

2nd

NEW

printing

Pregnancy Cookbook

This is my New York

This is my Berlin

This is my London

This is my Paris

Author: Pascal Rotteveel | 96 pages | 25 x 20 cm | hardcover | £ 16.99 | ISBN 978 90 6369 548 4

Author: Petra de Hamer | 128 pages | 23.5 x 14 cm | paperback | £ 12.99 | ISBN 978 90 6369 420 3

Author: Petra de Hamer | 128 pages | 23.5 x 16 cm | paperback | £ 12.99 | ISBN 978 90 6369 396 1

Author: Petra de Hamer | 128 pages | 23.5 x 16 cm | paperback | £ 12.99 | ISBN 978 90 6369 395 4

Author: Petra de Hamer | 128 pages | 23.5 x 16 cm | paperback | £ 12.99 | ISBN 978 90 6369 394 7

The Divergent and Convergent Thinking Notebook Author: Dorte Nielsen | 152 pages | 25 x 12.5 cm | triangular hardcover | £ 12.99 | ISBN 978 90 6369 439 5

41

GAMES

GAMES / POSTCARDS

3rd

4th

printing

2nd printing

printing

2nd printing

8th

printing

5th

printing

2nd printing

ISBN 978 90 6369 301 5

Pixel-Art Game – The Milkmaid Concept: Vanessa Catalano | 32 cards | box with sleeve | 13 x 6 x 2.5 cm | £ 8.99 | ISBN 978 90 6369 481 4

Pixel-Art Game – Café Terrace at Night Concept: Vanessa Catalano | 32 cards | box with sleeve | 13 x 6 x 2.5 cm | £ 8.99 | ISBN 978 90 6369 482 1

Old Masters Memory Game

Collage Memory Game

Optical Illusions Game

Concept: Mieke Gerritzen | 2 x 30 cards in a box | 14.5 x 7.5 x 5 cm | £ 13.99 | ISBN 978 90 6369 386 2

Anja Brunt | 2 x 30 cards in a box | 14.5 x 7.5 x 5 cm | boxed set | £ 13.99 | ISBN 978 90 6369 466 1

Concept: Paul M. Baars | with playing rules in English, Dutch, German, Spanish and French | 20 optical illusions | 80 cards in a box | 14 x 14 x 2.6 cm | £ 13.99 | ISBN 978 90 6369 388 6

Numbers Game

Mezza Card Game

Mozaa

Linjaa

Concept: Paul M. Baars | with playing rules in English, Dutch, German, Spanish and French | 80 illustrations | 80 cards in a box | 14 x 14 x 2.6 cm | £ 13.99 | ISBN 978 90 6369 370 1

Author: Thomas Michaël | 68 cards in a box | 7 x 2.1 x 4 cm | £ 13.99 | ISBN 978 90 6369 472 2

Concept: Renske Solkesz 64 cards in a box | 12 x 12 x 4 cm | £ 13.99 | ISBN 978 90 63 69 296 4

Concept: Renske Solkesz 80 cards in a box | 12 x 12 x 4 cm | £ 13.99 | ISBN 978 90 6369 503 3

2nd printing

The Startup Game

Don’t/Do This – Game

The Empathy Game

Author: SixWaypoints | 68 cards in a box | 14 x 11 x 4 cm | £ 13.99 | ISBN 978 90 6369 442 5

Author: Donald Roos | 156 cards | box with sleeve | 17.8 x 9.2 x 2.2 cm | £ 13.99 | ISBN 978 90 6369 484 5

Authors: Saskia H. Herrmann and Jorik Elferink | 3 x 50 cards | 13 x 16 x 3 cm | boxed set + 2 dice | £ 17.99 | ISBN 978 90 6369 524 8

4th

Concept: Dilemma op Dinsdag | 64 cards in a box | 9.8 x 13.3 x 4 cm | £ 13.99 | ISBN 978 90 6369 424 1

42

Fake for Real Memory Game

Editors: Janne Ettwig and Lilian van Dongen Torman | 2 x 30 cards in a box | 14.5 x 7.5 x 5 cm | £ 13.99 | ISBN 978 90 6369 322 0

Concept: Maaike Strengholt | Photography: Dim Balsem | 2 x 30 cards in a box | 14.5 x 7.5 x 5 cm | £ 13.99 | ISBN 978 90 6369 301 5

Authors: Mieke Gerritzen and Koert van Mensvoort | 2 x 30 cards in a box | 14.5 x 7.5 x 5 cm | £ 13.99 | ISBN 978 90 6369 098 4

Published in collaboration with All Media | 2 x 30 cards in a box | 14.5 x 7.5 x 5 cm | £ 13.99 | ISBN 978 90 6369 177 6

Little Creative Thinker’s Connection Dominoes Authors: Dorte Nielsen and Katrine Granholm | 28 cards | box with sleeve | 11 x 11 x 5.5 cm | £ 12.99 | ISBN 978 90 6369 513 2 Age: 4 years +

You Are What You Eat Memory Game Concept: Marije Vogelzang | 2 x 25 cards in a box | 14.5 x 7.5 x 4.5 cm | £ 13.99 | ISBN 978 90 6369 272 8

Brand Memory Game Concept: Hendrik-Jan Grievink | 2 x 30 cards in a box | 14.5 x 7.5 x 5 cm | £ 13.99 | ISBN 978 90 6369 262 9

2nd printing

Can You See What I See Memory Game Concept: Tineke Meirink | 2 x 30 cards in a box | 14.5 x 7.5 x 5 cm | £ 13.99 | ISBN 978 90 6369 299 5

Play Van Abbe Edited by: Van Abbemuseum | 2 x 30 cards in a box | 14.5 x 7.5 x 5 cm | £ 13.99 | ISBN 978 90 6369 241 4

NEW

My Photography Toolbox

My Photography Game

Concept: Rosa Pons-Cerdà and Lenno Verhoog | 72 cards in a box | 11.5 x 8 x 4 cm | £ 13.99 | ISBN 978 90 6369 504 0

Authors: Rosa and Lenno Verhoog | 52 cards | 12 x 8.5 x 4.5 cm | boxed set | £ 13.99 | ISBN 978 90 6369 552 1

2nd

printing

Dilemmarama The Game

Visual Power Memory Game

printing

printing

printing

Twins Memory Game (new edition)

2nd

4th

2nd

Street Art Memory Game

printing

Robot Memory Game Concept: Mieke Gerritzen | 2 x 30 cards in a box | 14.5 x 7.5 x 5 cm | £ 13.99 | ISBN 978 90 6369 525 5

Make a Face Memory Game

Street Style Memory Game III

Author: Anja Brunt | 2 x 30 cards in a box | 14.5 x 7.5 x 5 cm | £ 13.99 | ISBN 978 90 6369 348 0

Concept and photography: Barbara Iweins | 2 x 25 cards in a box | 13 x 10 x 3 cm | £ 10.99 | ISBN 978 90 6369 336 7

Creative Chef Postcards

Philographics Postcard Book

Creatures of Creativeland

Free Your Mind Postcard Block

Eat Your Heart Out Poscard Block

Author: Jasper Udink ten Cate | 25 postcards in a book | 15 x 10 cm | £ 6.99 | ISBN 978 90 6369 440 1

Design: Genis Carreras | 24 postcards in a book | 16.5 x 12 cm | £ 6.99 | ISBN 978 90 6369 389 3

Concept: Jana Pejkovska and Adrian Flores | 20 postcards in a book | 16.5 x 12 cm | £ 6.99 | ISBN 978 90 6369 390 9

Concept: Marcus Kraft 20 postcards in a book | 16.5 x 12 cm | £ 6.99 | ISBN 978 90 6369 507 1

Concept: Marcus Kraft | 20 postcards in a book | 16.5 x 12 cm | £ 6.99 | ISBN 978 90 6369 508 8

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DUTCH TITLES

DUTCH TITLES

3rd

NEW

printing

NEW

NEW

Think Like a Designer, Don’t Act Like One

Think Like an Artist, Don’t Act Like One

Think Like a Manager, Don’t Act Like One

Think Like a Lawyer, Don’t Act Like One

What Are They Saying About You?

Auteur: Jeroep van Erp | 160 pagina’s | 18 x 14 cm | paperback met flappen | € 14.99 | ISBN 978 90 6369 494 4 EN ed.: ISBN 978 90 6369 485 2

Auteur: Koos de Wilt | 160 pagina’s | 18 x 14 cm | paperback met flappen | € 14.99 | ISBN 978 90 6369 476 0 EN ed.: ISBN 978 90 6369 468 5

Auteur: Harry Starren | 160 pagina’s | 18 x 14 cm | paperback met flappen | € 14.99 | ISBN 978 90 6369 385 5 | EN ed.: ISBN 978 90 6369 347 3

Auteur: Aernoud Bourdrez | 160 pagina’s | 18 x 14 cm | paperback met flappen | € 14.99 | ISBN 978 90 6369 308 4 | EN ed.: ISBN 978 90 6369 307 7

Auteur: Frank Peters | 144 pagina’s | 18 x 14 cm | paperback met flappen | € 14.99 | ISBN 978 90 6369 407 4 | EN ed.: ISBN 978 90 6369 400 5

Auteur: Geurt Jan de Heus | 216 pagina’s | 19 x 24 cm | Paperback met flappen | € 35.00 | ISBN 978 90 6369 449 4 EN ed.: ISBN 978 90 6369 431 9

Conceptdenken Ontwerp: Gaby Crucq-Toffolo en Sanne Knitel | 304 pagina’s | 25 x 20 cm | paperback met flappen | € 35.00 | ISBN 978 90 6369 320 6

Accountable Conceptdenken Auteurs: Gaby Crucq-Toffolo and Elaine Meys | 240 pagina’s | 25 x 21 cm | paperback met flappen | € 35.00 | ISBN 978 90 6369 554 5

Philographics

Auteurs: Mieke Gerritsen en Koert van Mensvoort | 160 pages | 19 x 13 cm | hardcover | € 12.99 | ISBN 978 90 6369 426 5 | EN ed.: ISBN 978 90 6369 401 2

Auteur: Genis Carreras | 208 pagina’s | 20 x 17 cm | paperback | £ 16.99 | ISBN 978 90 6369 342 8 | EN ed.: ISBN 978 90 6369 341 1

Het jonge creatieve denkers werkboek

Alles is Onderhandelen

Red de Mens!

Auteurs: Barbara Serulus en Elise van Iterson | 21,5 x 15,5 cm | paperback | € 17.99 | ISBN 978 90 6369 553 8 EN ed.: ISBN 978 90 6369 544 6

NEW

NEW

printing

Bruis

Auteur: Jasper Udink ten Cate | 192 pagina’s | 25,4 x 20,8 cm | hardcover | ISBN 978 90 6369 429 6 | € 19.99 | EN ed.: ISBN 978 90 6369 414 2

Nielsen & Granholm

3rd

Creative Chef

Design My Privacy

Products That Last

Anthon Beeke

Auteur: Tijmen Schep en het MOTI | 160 pagina’s | 18 x 12 cm | Paperback | ISBN 978 90 6369 447 0 | € 10.99 EN ed.: ISBN 978 90 6369 437 1

Auteurs: Conny Bakker, Marcel den Hollander & Ed van Hinte | 128 pagina’s | 25.5 x 20 cm | Flexicover | € 29.99 | ISBN 978 90 6369 559 0 EN ed.: ISBN 978 90 6369 522 4

Concept: Lidewij Edelkoort | 448 pagina’s | 27 x 21 cm | paperback met flappen | € 45.00 | ISBN 978 90 6369 326 8 | EN ed.: ISBN 978 90 6369 330 5

creatieve Het jonge

denkers

NEW

werkboek Dorte Nielsen & Katrine Granholm

Het jonge creatieve denkers werkboek Auteurs: Dorte Nielsen en Katrine Granholm | 112 pagina’s | paperback | € 14.95 | ISBN 978 90 6369 556 9 EN ed.: ISBN 978 90 6369 491 3

6th

printing

Handboek voor het leven als grafisch ontwerper

Handboek voor het opzetten van een ontwerppraktijk

Auteur: Adrian Shaughnessy | 176 pagina’s | 23 x 19 cm | softcover + flappen | € 29.99 | ISBN 978 90 6369 252 0

Auteur: Kitty de Jong e.a. | 152 pagina’s | 23,8 x 17 cm | paperback | € 29.99 | ISBN 978 90 6369 318 3

2nd printing

44

NEW

De Vorm van Tekst

Museum doe kaarten

Auteur en ontwerp: Jan Middendorp | 160 pagina’s | 26 x 21 cm | flexicover | € 29.99 | ISBN 978 90 6369 133 2 | EN ed.: ISBN 978 90 6369 223 0

Auteurs: Lise Lotte ten Voorde en Naomi Boas | 52 kaarten | 12,5 x 8,5 x 4 cm | € 19.99 | ISBN 978 90 6369 549 1 EN ed.: ISBN 978 90 6369 549 1

Grids Auteur: Beth Tondreau | 208 pagina’s | 25 x 21,5 cm | hardcover | € 19.99 | ISBN 978 90 6369 211 7

2nd printing

Auteursrecht voor ontwerpers Auteurs: Vincent van den Eijnde, Anouk Siegelaar | 144 pagina’s | 23,8 x 17 cm | paperback | € 29.99 | ISBN 978 90 6369 317 6

NEW

7th

printing

Maak het met Kunstenaars

Dilemma op Dinsdag blije editie!

Het Grote Dilemma Op Dinsdag-Spel

Auteurs: Rixt Hulshoff Pol en Hanna Piksen | 120 pagina’s | 25 x 20 cm | hardcover | ISBN 978 90 6369 427 2 | € 17.99 | EN ed.: Create with Artists ISBN 978 90 6369 416 6

Autheurs: Dilemma op Dinsdag | 65 kaarten | 9.8 x 13.3 x 4 cm | doosje | € 15.00 | ISBN 978 90 6369 557 6

Concept: Dilemma op Dinsdag | 65 kaarten | 9,8 x 13,3 x 4 cm | € 15.00 | ISBN: 978 90 6369 446 3 | EN ed.: ISBN 978 90 6369 424 1

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CONTACT

CONTACT

How to contact us

Sales Representation

General enquiries

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Export Special Sales Karina Boensoe Export Special Sales Manager E: kboensoe@abramsandchronicle.co.uk M: +49 160 9129 1309

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Caribbean HRA Lynda Hopkins T: +44 (0) 7834 030 134 E: lynda.hra@gmail.com

47

INDEX 1/100: 1 to 1 The essence of Retail Branding and Design 1 to 1: De Essentie van Retail Branding en Design 23 Innovations in Digital Communication 7 Principles to Complete Co-Creation, The 75 Tools for Creative Thinking

p. 33 p. 44 p. 33 p. 33 p. 35

A: Accountable Conceptdenken Alles is onderhandelen Anthon Beeke It’s a Miracle!

Anthon Beeke NL Augmenting Alice Auteursrecht voor ontwerpers Are We There Yet? Art Is Everywhere Art of Parenting, The

Don’t Buy This Book Don’t Do this - Game Don’t Eat the Yellow Snow Don’t Read this Book Don’t Talk, Just Kiss Dutch Design Cowboys Dynamic Identities

p. 44 p. 44 p. 37 p. 45 p. 36 p. 44 p. 34 p. 40 p. 41

E: Eccentric Structures in Architecture Eat Your Heart Out Empathy Game, The Event Design Handbook Exceptionally Simple Theory of Sketching, The

p. 38 p. 43 p. 42 p. 34 p. 37

F: Fake for Real Memory Game Fast Guide to Architectural Form, The FIZZ Folding Architecture Food Futures Football Baby Names Form of Design, The Frame Your Imagination From Selling to Co-Creating Free Your Mind F***ing History of Swearing, The

p. 43 p. 38 p. 40 p. 38 p. 40 p. 41 p. 36 p. 39 p. 33 p. 43 p. 40

G: Get Agile Good Services Graduation Guide for Design Students Grids Het Grote Dilemma op Dinsdag-Spel

p. 35 p. 34 p. 38 p. 44 p. 45

H: Handboek voor het leven als grafisch ontwerper Handboek voor het opzetten van een ontwerppraktijk Hidden Persuasion Hotchpotch Home Made Food Notebook How to Be a Better Tourist How to Have Your Cake and Eat it too How to Research Trends How to Research Trends Workbook How to Survive the Organizational Revolution How to Visit an Art Museum

p. 44 p. 44 p. 34 p. 37 p. 40 p. 40 p. 34 p. 33 p. 33 p. 33 p. 40

I: Identity Colour Codes Innovation Expedition, The Innovation Matrix, The Innovation Maze, The Innovative Architecture Strategies Inspiration - design methodology in architecture Inspiration for Innovation

p. 37 p. 34 p. 34 p. 34 p. 38 p. 38 p. 34

K: Het kleine creatieve denkers werkboek Know your Onions Know Your Onions Corporate Identity Know Your Onions Web design

p.45 p. 37 p. 37 p. 37

B: Bio-Structual Analogues in Architecture Blue is the New Black Book of Do-ness, The Branded Protest Brand Memory Game Brand the Change Bruis C: Can You See What I See Memory Game CEX Sells Change Ahead Co Lab: Collaborative Design Survey Collage Memory Game Composing Architecture & Interior Design Computational Architecture Concept Code Conceptdenken Conditional Design Connect Connecting Contrarian Branding Convivial Design Toolbox Create to Conquer Creative Chef Creative Chef NL Creative Chef Postcards Creative Thinkers Excercise Book Creative Personal Branding Creativity + Creativity in Business (Creativity Today) Creativity Works!

Creatures of Creativeland D: Dear Fashion Diary Delft Design Guide Designer As…, The Designing Diagrams Designing for the Common Good Designing With(in) Public Organisations Design My Privacy Design My Privacy (NL) Design Roadmapping Design.Think.Make.Break.Repeat Design Transitions Different Brains, Different Approaches Digital Manufacturing in Design and Architecture Digital Metrics Field Guide, The Dilemma op Dinsdag - blije editie Dilemmarama The Game Divergent Convergent Thinking Book, The Do-It-Yourselfie Guide, The

48

p. 38 p. 35 p. 39 p. 33 p. 43 p. 33 p. 45 p. 43 p. 33 p. 33 p. 36 p. 42 p. 38 p. 38 p. 33 p. 44 p. 38 p. 36 p. 35 p. 33 p. 33 p. 40 p. 40 p. 45 p. 43 p. 35, 39 p. 35 p. 35, 39 p. 34 p. 39 p. 43 p. 40 p. 37 p. 36 p. 37 p. 36 p. 36 p. 36 p. 44 p. 33 p. 37 p. 36 p. 34 p. 38 p. 33 p. 44 p. 42 p. 35, 41 p. 40

p. 35 p. 35, 39, 42 p. 40 p. 35, 39 p. 40 p. 38 p. 37

L: Linjaa Little Creative Thinker’s Connection Dominos Little Creative Thinker’s Exercise Book Logo Life Logo RIP LOIS Logos M: Maak het met Kunstenaars Make a Face Memory Game Make Design Matter Mastering The Art of Negotiating Medium is the Message, The; Ridiculous Advertising Rules Meta Products, Building the internet of things Mezza Card Game Modular Structures in Design and Architecture Mozaa Museum doe kaarten Museum Activity Cards Music Thinking Jam Cards My Photography Game My Photography Toolbox N: Never Leave the House Naked Never Photograph People Eating Never Sleep with the Director Never Touch a Painting when it’s wet Never Use More Than Two Different Typefaces; Ridiculous Typography Rules Never Use Pop Up Windows; Ridiculous web design rules Never Use White Type on a Black Background Notes on Design Not Invented Here Numbers Game O: Old Masters Memory Game Once Upon a Time I Was...

Once Upon a Time I Wanted to be…

Once Upon a Time I Went Operative Design Optical Illusions Game

p. 42 p. 39, 42 p. 35, 39 p. 37 p. 39 p. 37 p. 44 p. 42 p. 36 p. 33 p. 41 p. 36 p. 42 p. 38 p. 42 p. 44 p. 40 p. 34 p. 42 p. 42 p. 41 p. 41 p. 41 p. 41 p. 41 p. 41 p. 41 p. 36 p. 34 p. 42 p. 42 p. 39 p. 39 p. 39 p. 38 p. 42

P: Performative Geometries Philographics Philographics NL Philographics Postcard Book Pitching Ideas Pixel Art Game - Café Terrace at Night Pixel Art Game - The Milkmaid Play van Abbe Politics of Design, The Pregnancy Cookbook Products that Flow Products that Last Products that Last NL

p. 38 p. 40 p. 45 p. 43 p. 35 p. 42 p. 42 p. 43 p. 36 p. 40 p. 36 p. 36 p. 44

R: Reading Letters Read Nothing in Here Red de Mens!

Robot Memory Game

p. 37 p. 41 p. 45 p. 42

S: Save the Humans!

Secret of the Highly Creative Thinker, The Service Innovation Handbook, The Seven Laws of Guaranteed Growth, The Shaping Text Simplicity: A Matter of Design Sketching Sketching -The Basics Sketching: Product Design Presentation Social Climber’s Handbook, The Spontaneous City, The Startup Game, The Storytelling on Steroids Strategic Design Street Art Memory Game Street Style III Supersurfaces Sustainist Design Guide

p. 40 p. 35 p. 34 p. 33 p. 37 p. 36 p. 37 p. 37 p. 37 p. 40 p. 38 p. 42 p. 33 p. 36 p. 43 p. 42 p. 38 p. 36

T: Thinking in Services Think Like a Designer, Don’t Act Like One Think Like a Designer, Don’t Act Like One (NL) Think Like a Lawyer Don’t Act Like One Think Like a Lawyer Don’t Act Like One (NL) Think Like a Manager Don’t Act Like One Think Like a Manager Don’t Act Like One (NL) Think Like an Artist, Don’t Act Like One Think Like an Artist, Don’t Act Like One (NL) This Human This is a Good Guide - for a Sustainable Lifestyle This is my Berlin This is my London This is my New York This is my Paris This is Service Design Thinking To Don’t List Transformations: 7 Roles to Drive Change by Design Trashures Twins Memory Game - New edition Type Tricks

p. 34 p. 39 p. 44 p. 39 p. 44 p. 39 p. 34 p. 39 p. 44 p. 33 p. 40 p. 41 p. 41 p. 41 p. 41 p. 34 p. 39 p. 36 p. 40 p. 43 p. 37

U: Universele ontwerpprincipes

p. 44

V: Vision in Product Design Visual Power Memory Game Visual Doing Visual Doing Workbook Visual Thinking Visual Thinking Workbook De Vorm van Tekst

p. 36 p. 43 p. 35 p. 35 p. 34 p. 34 p. 44

W: What Are They Saying About You? What Are They Saying About You?(NL) When the Box is the Limit Worlds of Wonder Work Hard Play Harder Write Nothing in here

p. 39 p. 44 p. 35 p. 34 p. 38 p. 41

Y: You are what you eat Memory Game Your Work and Your Life

p. 43 p. 39

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