Rockport Publishers 2013 Design Catalog by Quarto Publishing Group

ROCKPORT publishers

Rockport Publishers 100 Cummings Center, Suite 406-L Beverly, MA 01915 www.rockpub.com

2013

THE COMPLETE DESIGN LIST

ISBN-13: 978-1-59253-900-0 Item # 213531

Cover_30084.indd 1-2

(RAY)

Job: 03-30084 Title: RP-Backlist Graphic Design 3/11/13 Catalog 2:01 PM #175 DTP: 216 Page: Cover

InspIratIon, Ideas, & opInIons from desIgn fanatIcs RockPaperInk is a place for designers to come together to share their opinions, creations, and passion for the field. From graphic art to fashion, architecture, and beyond, every topic is fair game, and each contribution builds on the sense of community headed by our experts from around the world. More than anything, this is a spot to foster dialogue about everything design and get inspired by the views, ideas, and hair-pulling conundrums of your fellow creators. Join the conversation at www.rockpaperink.com.

rocKport’s new app for the ipad Rockport has always provided designers with outstanding inspirational and educational reference book content and now designers can browse and shop for titles in e-book format through a new app for the iPad. The app fully preserves and respects the visual complexity of our books, supporting both portrait and landscape presentation with a full suite of features to enhance the reading experience. Users can download free previews and then purchase complete e-books instantly. Visit the App Store to download.

rocKport eBooKs Rockport books are also available as e-books through a wide selection of e-book retailers, wholesalers, and aggregators.

“Designed for those fanatical about design, RockPaperInk doesn’t disappoint.” —Communication Arts magazine

001-023_30084.indd 2 001-023_30084.indd 2

(RAY) (Text)

3/11/13 4:07 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 2

g 2

TABLE OF CONTENTS

BEST SELLING TITLES

BOOKS BY CATEGORY

BOOKS BY SERIES

Universal Principles of Design & Universal Methods of Design ...........6-7

Design Fundamentals......................25-27

1,000 Series ................................... 61-63

Typography .....................................28-29

Annuals ..........................................64-65

LogoLounge Series .............................8-9

Color & Pattern Design....................30-33

Best of Series .................................66-67

Design Elements ..............................10-11

Logos & Identity ..............................34-37

Design: Series......................................68

Best of Series ..................................12-13

Packaging & Branding .....................38-39

Design Elements Series........................69

Graphic Design, Referenced, Typography, Referenced & Fashion Design, Referenced..........................14-15

Grids & Layout .....................................40

Design Matters Series ..........................70

Publication Design Reference ............... 41

Essentials Series .................................. 71

Color Harmony Compendium ..........16-17

Corporate Communications ............42-43

Making and Breaking the Grid ..........18-19

Portfolios & Promotions ..................44-45

The Graphic Designerâ&#x20AC;&#x2122;s Electronic-Media Manual & Interactive Design ........................ 20-21

Research & Information Graphics ......................................... 46-47 Working Designers ...............................48

Fashion Illustration Series ....................72 Letterhead & Logo Design Series .........73 LogoLounge Series .........................74-75 Reference & Specification Book Series .........................................76 Workbook Series ..................................77

General Design & Creativity.............49-50 Art & Illustration ................................... 51 Architecture, Interior Design & Product Design ............................52-54 Fashion Design ...............................55-57

SPRING 2013 TITLES ..................78-79 INDEX...........................................80-82 CONTACT INFORMATION............83-84 DESIGN BOOKSTORES ...............85-87 DESIGN ASSOCIATIONS ................. 88

www.rockpub.com www.rockportpub.co.uk CA

001-023_30084.indd 3 001-023_30084.indd 3

= These titles are recommended by the publisher for course adoption

(RAY) (Text)

3/11/13 4:07 PM 3/11/13 7:47 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 3

ROCKPORT

BEST SELLING TITLES

001-023_30084.indd 4 001-023_30084.indd 4

(RAY) (Text)

3/11/13 4:07 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 4

g 4

001-023_30084.indd 5 001-023_30084.indd 5

(RAY) (Text)

3/11/13 4:07 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 5

Mimicry

Most Advanced Yet Acceptable

The act of copying properties of familiar objects, organisms, or environments in order to realize specific benefits afforded by those properties. In nature, mimicry refers to the copying of properties of familiar objects, organisms, or environments in order to hide from or deter other organisms. For example, katydids and walking sticks mimic the leaves and branches of plants to hide from predators, and the viceroy butterfly mimics the less tasty monarch butterfly to deter predators. In design, mimicry refers to copying properties of familiar objects, organisms, or environments in order to improve the usability, likeability, or functionality of an object. There are three basic kinds of mimicry in design: surface, behavioral, and functional. Surface mimicry is defined as making a design look like something else. When a design mimics the surface aspects of a familiar object, the design implies (by its familiar appearance) the way it will function or can be used. An example is the use of computer software icons that are designed to look like folders and documents. Behavioral mimicry is defined as making a design act like something else (e.g., making a robotic dog act like a real dog). Behavioral mimicry is useful for improving likeability, but should be used with caution when mimicking complex behaviors from large repertoires. For example, mimicking behaviors like smiling generally elicit positive responses, but can give the impression of artificiality or deceit if inconsistent with other cues (e.g., a baby doll that smiles when touched—or spanked).

Mimicry is an effective strategy to begin exploring a design problem, but it should not be assumed that mimicked solutions are correct or best. For example, the early design of the phone keypad mimicked the keypad of adding machines. Usability testing by researchers at Bell Laboratories suggested that an inverted keypad layout was easier to master. Bell decided to abandon the mimicked solution and establish a new standard for telephones.

The history of mimicry in design likely predates the development of tools by early humans. The seminal work on mimicry in plants and animals was performed by Henry Bates and Fritz Muller in the late 1800s. See, for example, The Design of Everyday Things by Donald Norman, Doubleday, 1990. See, for example, Designing Sociable Robots by Cynthia L. Breazeal, MIT Press, 2002; and “The Lovable Cat: Mimicry Strikes Again” in The Throwing Madonna: Essays on the Brain by William H. Calvin, iUniverse, 2000. See, for example, Biomimicry: Innovation Inspired by Nature by Janine M. Benyus, William Morrow & Company, 1998; and Cats’ Paws and Catapults: Mechanical Worlds of Nature and People by Steven Vogel, W. W. Norton & Company, 2000.

Functional mimicry is defined as making a design work like something else. Functional mimicry is useful for solving mechanical and structural problems (e.g., mimicking the keypad of an adding machine in the design of a touch tone telephone). Significant insights and rapid progress can be achieved by mimicking existing solutions and design analogs. However, functional mimicry must be performed with caution since the physical principles governing function may not transfer from one context to another or from one scale to another (e.g., early attempts at human flight by flapping wings).

The Mimic Octopus is capable of both surface and behavioral mimicry, in this case changing its pattern and texture, and hiding all but two legs in order to mimic the highly poisonous Sea Snake.

Trash

Recycle Bin

Documents

Work

Document

Data.txt

Universal Principles of Design

: Provision_Universal Principles Of Design :D909-63/4270

Also known as MAYA. The seminal work on MAYA is Never Leave Well Enough Alone by Raymond Loewy, The John Hopkins University Press, 1951. “‘Most Advanced, Yet Acceptable’: Typicality and Novelty as Joint Predictors of Aesthetic Preference in Industrial Design” by Paul Hekkert, Dirk Snelders, and Piet C.W. van Wieringen, British Journal of Psychology, 2003, vol. 94, p. 111–124. See also “Exposure and Affect: Overview and Meta-Analysis of Research, 1968–1987” by Robert Bornstein, Psychological Bulletin, 1989, vol. 106, p. 265–289. Though familiarity and typicality are similar and generally correlate, they are distinct. Familiarity refers to the level of past exposure (e.g., a person sees a juicer every day). Typicality refers to how recognizable a thing is for its type (e.g., a new juicer is recognizable as a juicer based on the appearance of past juicers).

The traditional four-legged upholstered chair served as the basic cognitive prototype for office chairs for more than fifty years.

The Aeron chair, introduced in 1992, stretched this cognitive prototype for most consumers. Its novel form and high price were not acceptable to most at that time. It would take several years for norms to adjust and allow the Aeron to become widely accepted.

The Variable Balans was introduced in 1976. Its highly unique form and approach to active sitting continues to be too different for most consumers, garnering positive attention almost exclusively from the design community where novelty is more highly valued.

Consider MAYA when designing for mass audiences. When introducing innovative products that define a new category, consider incorporating elements that reference familiar forms. In contexts where aesthetic assessments are made by design or art experts (e.g., design competitions refereed by expert judges), MAYA does not apply —in these cases, emphasize novelty, as it will be weighed more heavily than typicality.

See also Affordance, Anthromorphic Form, Baby-Face Bias, Convergence, Savanna Preference, and Scaling Fallacy.

1st Proof

What does it mean to create a successful design? Some define success in terms of aesthetics, others in terms of function, and still others in terms of usability. The noted industrial designer, Raymond Loewy, defined success in terms of commercial performance — that is, sales. By this standard, Loewy believed that aesthetic appeal was essentially a balancing act between two variables: familiarity and uniqueness — or, in modern psychological parlance, typicality and novelty — and to find the optimal balance between these variables was to find the commercial sweet spot for success. According to Loewy, the sweet spot could be identified using the Most Advanced Yet Acceptable (MAYA) principle, which asserts that the most advanced form of an object or environment that is still recognizable as something familiar will have the best prospects for commercial success. Though Loewy generally equated “most advanced” with “most streamlined,” a more accurate modern interpretation would be “most novel.” Although MAYA clearly has pragmatic appeal, the question as to its correctness is an empirical one, and a growing body of research supports the principle. People do indeed like the familiar, an observation supported by the exposure effect, which claims that the appeal of objects and environments increases with repeated exposures. People also like the novel, especially within design and fine art circles — two communities that tend to value originality above all else. Additionally, people tend to notice and remember novelty greater than typicality, a phenomenon known as the von Restorff effect. Research assessing the relative value of typicality and novelty suggests that the two variables seem to weigh about equally in influencing perceptions of aesthetic appeal. The last question is whether MAYA’s proposed point along the familiarity-novelty continuum is the ideal one, and there is good evidence that Loewy got it pretty much right. When dealing with everyone but design and art experts, the most novel design that is still recognizable as a familiar object or environment is perceived to have the greatest aesthetic appeal.

The Sony AIBO mimics many key canine behaviors—barking, wagging tail—leveraging the positive feelings many people have for dogs to make the design more appealing.

Mimicry is perhaps the oldest and most efficient method for achieving major advances in design. Consider surface mimicry to improve usability, ensuring that the perception of the design corresponds to how it functions or is to be used. Consider behavioral mimicry to improve likeability, but exercise caution when mimicking complex behaviors. Consider functional mimicry to assist in solving mechanical and structural problems, but also consider transfer and scaling effects that may undermine the success of the mimicked properties.

156

A method for determining the most commercially viable aesthetic for a design.1

Surface mimicry is common in the design of software icons and controls. Even to those unfamiliar with the software, the familiar appearance of these objects hints at their function.

Mimicry

Text Black

1st Proof

: Provision_Universal Principles Of Design :D909-63/4270

Text Black

157

See also Exposure Effect, Normal Distribution, and von Restorff Effect.

162

Universal Principles of Design

3rd Proof

: Provision_Universal Principles Of Design :CD0210-74/4270

Most Advanced Yet Acceptable

Text Black

2nd Proof

: Provision_Universal Principles Of Design :CD909-214/4270

163

Text Black

001-023_30084.indd 6 001-023_30084.indd 6

(RAY) (Text)

3/11/13 4:08 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 6

BEST SELLING TITLES UNIVERSAL PRINCIPLES OF DESIGN & UNIVERSAL METHODS OF DESIGN These highly-organized and easy-to-navigate reference books support cross-disciplinary thinking and problem solving. Design concepts and research methods are paired with compelling visualizations that illustrate them in practice. For more information, see pages 27 and 46 CA ReseaRch MethoD

23 Crowdsourcing

Design Phase:

g 6

Crowdsourcing occurs when an undefined, large group of people (a “crowd”) voluntarily responds to an open call and completes tasks and microprojects.1 experienced researchers know that planning research takes effort, time, and money to align the necessary tools, participants, and resources. When extra care is taken to properly devise remote

1. The term “Crowdsourcing” is a portmanteau of the word “crowd” and the

user evaluation tasks and experiments, the method of crowdsourcing can be used to elicit a large

business word “outsourcing.” Jeff Howe

quantity of data from real people in less time.

coined it in “The rise of Crowdsourcing,” a 2006 wired magazine article.

Crowdsourcing leverages the “strength of weak ties” in a decentralized model that brings together users and testers—members of the crowd—to evaluate prototypes and submit potential solutions to problems. The “microtasks” that are assigned to volunteers are specifically structured to focus the degree and the nature of effort required from volunteers. A microtask is defined as a short task—either qualitative or quantitative—that is accessed via a common platform, and that can be completed by volunteers within just a few seconds or minutes. once completed, the participants receive some sort of compensation, which can be either monetary (a micropayment) or nonmonetary (e.g., reputation points). like most research methods, time and care taken in the design of crowdsourcing evaluations can serve the team well when collecting and analyzing data downstream. When planning crowdsourcing evaluations and microtasks, there are some key design recommendations to consider. First, uncomplicated tasks seem to get the most volunteers to participate, so design tasks to be straightforward. Be sure to include questions that have a bona-fide answer as part of the task. not only will this prevent volunteers from “gaming” the system by entering nonsense that minimizes their time investment while increasing how much they are rewarded, but also it can help teams to flag suspicious responses as potentially invalid. devise the tests so that completing them correctly and in good faith requires as much or even less work than entering random, invalid responses.

2. Kittur, Aniket, ed H. Chi, and Bongwon Suh, Palo Alto research Center. “Crowdsourcing for Usability: Using Micro-Task Markets for rapid, remote, and low-Cost User Measurements,” 2007, www.clickadvisor.com 3. See note 1 above. 4. See note 2 above. 5. See note 2 above. Further Reading Howe, Jeff. crowdsourcing: why the power of the crowd is driving the future of business. new York: Crown Business, 2009. Quinn, Alexander J., and Benjamin B. Bederson. “A Taxonomy of distributed

Using crowdsourcing, frog's frogmob invites people from all over the world to upload their photographs of interesting trends to inform and inspire designers. The images come together to tell a compelling narrative of how people live in their environments, how they visualize concepts, and the ways in which artifacts create meaning in people’s every day lives.

Human Computation.” university of maryland technical report, 2009.

If your stakeholders value quantitative data and require large, statistically relevant samples to take user-centered research seriously, consider using crowdsourcing as a “gateway” method to open their eyes to the potential of other user-centered research methods. Having access to a global crowdsourcing community has both benefits and drawbacks: on one hand, crowdsourcing provides an opportunity for teams to gather and generalize results to represent a more varied, diverse population. on the other hand, there is a lack of demographic information provided by testers, not to mention other unknowns regarding their expertise or intentions. Ideally, to hedge against these drawbacks, consider triangulation to increase confidence of research outcomes.

Behavioral Attitudinal

Quantitative Qualitative

Innovative Adapted Traditional

Exploratory Generative Evaluative

Universal Methods of Design

001-208_26863.indd 52 001-208_C66602.indd 52

courtesy of frog, frogmob.frogdesign.com

Participatory Observational Self reporting Expert review Design process

See also 05. Automated Remote Research • 64. Photo Studies • 91. Triangulation

9/23/11 10:51 AM 4/2/12 11:17 AM

(Text) (RAY) (RAY)

“Universal Principles of Design reveals the driving forces behind human motivation and brings the designer to an understanding of the intuitive. These principles aren’t guesswork. They’re real, based on sound research, and they work.” —Chair of Graphic + Interactive Communication Department, Ringling College of Art and Design

001-208_C65020.indd 53 001-208_C66602.indd 53

(Fogra 39) (Fogra 39) Job:09-26863 Title:RP-Universal Methods of Design 03-C66602 (225) #175 Dtp:204 Page:52

10/11/11 7:23 PM 4/2/12 11:17 AM

(Text) (RAY)

(Fogra 39) Job:09-26863 Title:RP-Universal Methods of Design 03-C66602 10-C65020 (225) #175 Dtp:204 Page:53

“Universal Methods of Design functions as a great reference when we hear of a method none of us is familiar with, but more importantly it’s an excellent “unsticker” when we run into a challenge in the design or analysis of a study. This is a book that every research team should have on hand.” -UX Magazine

001-023_30084.indd 7 001-023_30084.indd 7

(RAY) (Text)

3/11/13 4:08 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 7

001-023_30084.indd 8 001-023_30084.indd 8

(RAY) (Text)

3/11/13 4:08 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 8

g 8

Design Firm

A suite of logos can add another level of depth and dimension to a brand, keeping the viewer enter-

tained by what it will become next.

Client Project

BEST SELLING TITLES

Very often, a new logo design comes with a new name. Brands seeking a fresh start are advised to first seek a new brand name, and out of this a logo can be born. This was the case with the Perth Zoo’s successful Twilight Concert Series. The park had been offering summer concerts on its grounds for more than one hundred years. When a new promoter was brought in to expand the series with higher-profile acts appealing to an older demographic, it was time for an identity change. The first step The Brand Agency, based throughout Western Australia, took when designing a logo for the new series was to rethink the name. “Twilight” had grown overused. After wading through many possibilities, the team settled on “Nocturnal Concerts at the Zoo,” as it tied in with the concert setting—nighttime at the zoo with all the animal intrigue this implied—as well as a certain level of adult sophistication.

It was quickly established that we were trying

to target a demographic who were seeking

a safe and comfortable environment to enjoy

quality, live entertainment.

“It was quickly established that we were trying to target a demographic who were seeking a safe and comfortable environment to enjoy quality, live entertainment,” explains Daniel Agostino, head of design at the agency’s Perth office. “They would much prefer the relaxed surroundings of the zoo’s location to a packed auditorium or crammed pub environment. It also needed to reflect a level of fun one would expect from being at the zoo as well as showcase a feeling of a relaxed West Australian summer’s night.” Early on, the team had the idea to create a suite of logos that could be ever-changing and flexible yet still remain part of an overarching “family,” as Agostino calls it. “This can add another level of depth and dimension to a brand, keeping the viewer entertained by what it will become next,” he says.

The Brand Agency created a suite of logos for Perth Zoo’s “Nocturnal Concerts at the Zoo” series that could be ever-changing and flexible yet still remain part of an overarching family.

course, the animals. It outlined a number of different directions, including constellations in a night sky, nocturnal animal calling signs, and the shapes of musical instruments.

The new identity for “Nocturnal Concerts at the Zoo” appears in bus-shelter advertisements and as stage decoration at the concerts themselves.

Of the directions, the image of the vinyl record stood out. Not only did it link to the demographic, who would certainly connect with the icon more so than, say, today’s iPod generation, but also the team could tie the

The Brand Agency team also knew it wanted a layered identity to represent the event’s many characteristics: music, nighttime, summer, and of

aesthetic elements of a record to a full summer moon against a backdrop of star trails. With the basic route determined, the designers played more thematically with color and with animal shapes embedded in the central “moon.” They chose Dez Boulder Id for the word type because of its bold, fat characteristics, which link well to the feel of vinyl and recall the lettering of album

LogoLounge 7

056-069_28027.indd 56 056-069_28027.indd 56

2/15/12 12:25 PM 2/15/12 12:24 PM

056-069_28027.indd 57 056-069_28027.indd 57

(Fogra 39) Job:02-28027 Title:RP-Logo Lounge 7 #175 DTP:225 Page:56

(Text) (RAY)

(Fogra 39) Job:02-28027 Title:RP-Logo Lounge 7 #175 DTP:225 Page:57

(Text) (RAY)

The team experimented with different names for the series, which

covers. The typeface is understated and so does not compete with the icon itself.

inspired different logo trials, before arriving at “Nocturnal Concerts at the Zoo.”

Ultimately the font needed to create a solid foundation but really take on a supporting role. The circular forms bring a feeling of repetition that again links to the circular form of the logo shape, and a splash of color added to the inside of the letter O gives a small nod to the color of each record label. “The logo encourages people to discover more,” says Agostino. “So many who look at it see only one or two elements. For example, they might only focus on the silhouette of an animal against a bright-colored moon, but later they recognize that it also looks like a vinyl record. On another glance they might see star trails in the night sky, or even a different animal altogether. Over time, they discover more and more, and the reaction is always a positive one.” The variation-on-a-theme approach worked perfectly with the series, so that each concert would have a certain measure of individuality and personality. And, with the ability to add new “albums” to the suite each summer, the system allows for greater longevity. With the accumulation of slightly different album covers, the identity will gradually become quite eclectic, rather than static. “I love design that challenges, and almost invites, the viewer to keep looking and keep discovering,” Agostino continues. “If you can do it at the initial branding level, then it has the potential to add so much more depth to each and every level of application. Why does a logo have to be this one static mark that always appears in the same way, shape, and form? Why can’t it come to life and change, yet still represent the same thing?” The logo launched in the Australian summer of 2010/11, with six concerts held between November and February, and was used across a wide variety of print, press, and online applications.

Sketches for the logo mark played with a number of different “characters” at the center of the album image.

LogoLounge 7

056-069_28027.indd 58 056-069_28027.indd 58

2/15/12 12:25 PM 2/15/12 12:24 PM

056-069_28027.indd 59 056-069_28027.indd 59

(Fogra 39) Job:02-28027 Title:RP-Logo Lounge 7 #175 DTP:225 Page:59

(Text) (RAY)

For more information, see pages 34-36 and 74-75

LOGO SEARCH 1

Keywords Type:

Symbol

1 Initials

Typographic

Combo

All

D = Design Firm

C = Client

D = Design Firm

1C D DOXA C Assisting Single Parents in Reaching Education 1D D Gizwiz Studio C AETERNA 2A D Face. C Agent 2B D One Man’s Studio C Anna Jones Photography 2C D Glad Head C Advance Inform 2D D Gavula Design Associates C Ani Villas D Studio Absolute C Mary F. Anderson, PC 3B D vanillashake media C Acadia Real Estate Properties 3C D Gehring Co. C Adaptor 3D D petervasvari.com C ACTUART D Studio French C Anchor Publishing 4B D Matto C Altorius Community of Catholics 4C D Chris Trivizas | Design C Stellas Philotheos 4D D LPA C Creative Arts Alliance D entz creative C Vanessa Williams 5B D notamedia C Actual Comments 5C D J.D. Gordon Advertising C All Power, Inc. 5D D fallindesign C Vladimir Afanasenko

070-081_28027.indd 70 070-081_28027.indd 70

2/15/12 10:23 AM 2/15/12 10:22 AM

(Text) (RAY)

001-023_30084.indd 9 001-023_30084.indd 9

Each volume in the popular LogoLounge series brings together a diverse collection of thousands of new logos from top designers around the world. The logos are organized by visual categories for easy reference. The LogoLounge Master Library books feature expanded and highly focused collections of logos in areas such as initials and crests, animals and mythology, and shapes and symbols. Available in hardcover, paperback and pocket-size mini editions, the LogoLounge series provides designers with invaluable sources for inspiration and resources for design solutions.

2/15/12 12:25 PM 2/15/12 12:24 PM

(Fogra 39) Job:02-28027 Title:RP-Logo Lounge 7 #175 DTP:225 Page:58

(Text) (RAY)

LOGOLOUNGE SERIES

2/15/12 12:25 PM 2/15/12 12:24 PM

070-081_28027.indd 71 070-081_28027.indd 71

(Fogra 39) Job:02-28027 Title:RP-Logo Lounge 7 #175 DTP:225 Page:70

(RAY) (Text)

C = Client

1A D Gizwiz Studio C Beebe Commercial 1B D Ninet6 Ltd. 1C D Hellofolio s.r.o. C Endresz Boldizsar 1D D Principals Pty Ltd. C The Bionics Institute of Australia 2A D Emilio Correa C Arteis, Inc. 2B D BRAND BROTHERS C La Boqueria 2C D Worthen Design C Bid Boomerang 2D D FutureBrand BC&H D Poppyseed Creative C Jeff Boerboon Aerobatics 3B D Lemon Design Pvt Ltd. C Brahma Group 3C D The Netmen Corp C Bounce 3D D The Martin Group C LH Brubaker Appliances 4A D Worthen Design C Bennett and Porter 4B D Brook Hagler C Circle Craft 4C D Studio Ink C OpenCandy 4D D Hayes Image C Candysource 5A D J Fletcher Design C Celadon 5B D Steve Biel Design C Careers Industries 5C D Tandem Design Agency C Cone Drive 5D D 01d C Blue Whale

2/15/12 10:23 AM 2/15/12 10:22 AM

(Text) (RAY)

(Fogra 39) Job:02-28027 Title:RP-Logo Lounge 7 #175 DTP:225 Page:71

3/11/13 4:08 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 9

001-023_30084.indd 10 001-023_30084.indd 10

(RAY) (Text)

3/11/13 4:09 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 10

g 0

1 BEST SELLING TITLES DESIGN ELEMENTS With hundreds of tips and examples, this is the most complete manual available outlining the basic principles of layout, typography, color usage, space, image, and how to put it all together. Design Elements was created with the design student in mind. The instructional and informative imagery make this the perfect text for designers to learn the fundamental skills that contribute to successful design. For more information, see pages 25 and 69 CA “Design Elements is a great overview and loaded with images, layouts, and great advice. I am definitely requiring it for my class.” —Professor, Iowa State University’s College of Design “The first day I started reading Design Elements, I realized it would be perfect for my students. This book is a must have in the library.” —Instructor, Art Center College of Design

001-023_30084.indd 11 001-023_30084.indd 11

(RAY) (Text)

3/11/13 4:09 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 11

BEst of BusinEss card dEsign 9

022

023

tYpus maXimus

Boccalatte dEsign firm

001 spEcimEn

Suzanne Boccalatte dEsignEr(s)

Suzanne Boccalatte art dirEctor

Joan Sutherland Performing Arts Centre cliEnt notEs

InDesign CS3, Illustrator CS3; Flouro Inks, Sovereign Offset 300 gsm

003 D*MNGOOD dEsign firm

002 spEcimEn

Dan Adler dEsignEr(s)

Dan Adler art dirEctor

D*MNGOOD cliEnt notEs

InDesign CS3; Finch Fine Opaque Smooth

Dreambox Creative dEsign firm

003 spEcimEn

Matt Stuart dEsignEr(s)

Doru Ghedeon Bere art dirEctor

Brand the Speaker

001

cliEnt notEs

Strathmore Writing Cover 110 lb.

Marc O’Brien dEsign firm

004 spEcimEn

Marc O’Brien dEsignEr(s)

Marc O’Brien art dirEctor

Marc O’Brien cliEnt

004

notEs

Cougar Bright White 130 lb. Cover

002

008-033_C54041.indd 22 008-033_15281.indd 22

11/17/09 2:20:10 PM 10/23/09 3:50:03 PM

(10-15281) Job:09-14712 Title:RP-Best of Business Card 9 11-AC54041(59) #175 Dtp:201(P) Page:22

(RAY) Text

008-033_15281.indd 23 008-033_15281.indd 23

10/23/09 4:01:58 PM 10/23/09 3:50:03 PM

(RAY) Text

(10-15281) Job:09-14712 Title:RP-Best of Business Card 9 #175 Dtp:201(P) Page:23

(RAY) Text

(10-15281) Job:09-14712 Title:RP-Best of Business Card 9 #175 Dtp:174(P) Page:79

S W E E To U S BACKUS • Two sided

• Colorful & Attractive

• Often Full bleed

• Unexpectedly Expressive

• Patterns or Images

KEY CHARACTERISTICS

The ancestors of Cardious de Business were commonly simple and distinctly conservative. As time passed, the need for a card to distinguish itself from the pack became increasingly important—a proverbial survival of the fittest. A certain species of cards—Sweetous Backus—rose to the occasion. They grew colorful, creative backsides to attract attention to themselves. Their numbers flourished as more and more of these creatures began to adopt similar practices. We have captured the best examples from the creative arms race to exhibit the most interesting two-sided creatures.

NoTES

12 078-133_15281.indd 78 078-133_15281.indd 78

10/24/09 2:24:40 PM 10/24/09 3:21:40 PM

(RAY) Text

001-023_30084.indd 12 001-023_30084.indd 12

(10-15281) Job:09-14712 Title:RP-Best of Business Card 9 #175 Dtp:174(P) Page:78

(RAY) (Text)

078-133_15281.indd 79 078-133_15281.indd 79

10/24/09 2:24:55 PM 10/24/09 3:21:40 PM

3/11/13 4:21 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 12

g 2

1 BEST SELLING TITLES BEST OF SERIES These go-to sourcebooks for brochure, business card, cover, letterhead and logo, and news design feature innovative collections of the most current and best work by internationally acclaimed designers. Each highly visual volume offers hundreds of ideas, pages of inspiration, and armloads of advice. Professional designers, corporate executives, and students will want to have these essential resources on their bookshelf to refer to again and again. For more information, see pages 34, 41-42, 66-67 and 78

Opposite page: The Best of Business Card Design 9

001-023_30084.indd 13 001-023_30084.indd 13

(RAY) (Text)

3/11/13 4:21 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 13

knowledge

102

Conceived as an offshoot of Print › 94 in 1985, HOW was originally billed as “The Magazine of Ideas and Technique in Graphic Design,” and its primary focus was how-to articles. In 1989, when it was purchased by Cincinnati-based F + W Publications and Laurel Harper became editor, the magazine shifted to a more general focus on business and creativity.

HOW

on paper

journals and magazines

Since then—and with a change of the editorial guard in 1998 to Bryn Mooth, who had been a staff member since 1990—HOW has established itself as a lively resource for business and career advice as well as some of the most energetic work from the United States. It has been able to extend that attitude and persona to the popular Design, Mind Your Own Business, and In-HOWse Designer conferences.

HOW MAGAZINE / cover art direction, Tricia Bateman / Photos: Hal Barkan

With more than six years in its second incarnation as STEP inside design, it might be easy to forget that, from 1985, when it was ﬁrst published, to 2002, it was called Step-by-Step Graphics, and its content was primarily a literal interpretation of its name, highlighting the skills and techniques of graphic design. Originally intended to serve designers looking to embrace desktop publishing and the possibilities of the computer, the scope of

STEP inside design

STEP-BY-STEP GRAPHICS MAGAZINE / USA, 1990, 1999

080-119_C50477.indd 102

content became less relevant as the industry matured, leading to changes in name, design, and editorial approach to cover the creativity behind the design and the professionals who make it happen. Overseeing this transition was Emily Potts, the magazine’s editor from 1998 to 2006; she established a dynamic publication later headed by Tom Biederbeck. One of the magazine’s most popular and unique issues was the “STEP 100 Design Annual,” a selective compendium chosen from up to 3,000 entries. In 2009 STEP ceased publication.

STEP INSIDE DESIGN MAGAZINE / USA, 2002, 2008, 2008

3/19/09 11:41:40 AM

(RAY) Text

001-023_30084.indd 14 001-023_30084.indd 14

02-09900 Job:02-09880 Title:RP: Graphic Design Referenced (160)03-AC50477 #175 Dtp:59(P) Page:102

knowledge

on paper

journals and magazines

103

@Issue Around 1986, writer Delphine Hirasuna and Pentagram › 162 partner Kit Hinrichs attempted to find a publisher for a proposed magazine. They envisioned a bridge between designers and corporate clients, addressing the everpresent perception that neither party clearly understands what each other contributes to their intended collaboration. Not until 1994, when Hinrichs mentioned the idea to the new marketing manager of Potlatch papers, did they find someone to underwrite the project. The Corporate Design Foundation, founded in 1985, got involved as the official publisher of @Issue: Journal of Business and Design. Since 1995, with Hirasuna as editor and Hinrichs as creative director, @Issue has been publishing real-life case studies that bring to life the original concept with incisive interviews and overviews of designers and clients working together. Offered by subscription only, its circulation is a remarkable 100,000 as of its latest issue. With the success of the magazine, a spinoff conference was started in 2006, with designers and clients speaking jointly about specific projects and further cementing

Illustration, Gerard DuBois / 2005

Photography, Gerald Bybee / 2001

Illustration, John Hersey / 1998

the relationship between business and design. Photography, Stephen Smith / 2006

Illustration, Michael Schwab / 2002

@ISSUE MAGAZINE / Pentagram: Kit Hinrichs / USA

Through two decades of publishing, starting with its founding in 1990 by British writer and critic Rick Poynor › 237, Eye has established itself as one of the most diverse design publications. It continually delves deeply into the past, present, and future of graphic design with incisive, critical, and challenging writing from a multitude of writers around the world. In 1997, Dutch writer and editor Max Bruinsma › 237 took on the editorial responsibilities, and in 1999, music industry writer John Walters became the editor. Comparable in attitude to its writing, the design of the magazine has rarely settled for conventions, with a unique editorial design approach developed quite boldly between 1997 and 2005 by creative director Nick Bell and now extended by art director Simon Esterson. In 2008, Walters purchased the magazine from Haymarket Brand Media, the latest of four publishers and owners of the magazine, now self-publishing through Eye Magazine Ltd, a new company established with Esterson and business director Hannah Tyson.

Eye

080-119_C50477.indd 103

EYE MAGAZINE / UK

3/19/09 11:41:55 AM

(RAY) Text

02-09900 Job:02-09880 Title:RP: Graphic Design Referenced (160)03-AC50477 #175 Dtp:59(P) Page:103

(RAY) (Text)

3/11/13 4:22 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 14

g 4

1 BEST SELLING TITLES GRAPHIC DESIGN, REFERENCED, TyPOGRAPHy, REFERENCED & FASHION DESIGN, REFERENCED The books in this series chronicle and examine the history of graphic design, typography, and fashion design. Each book is richly illustrated with 1,000 photographs and drawings. For more information, see pages 27, 29 and 56 Fundamentals

The System

Specializations

CA Fundamentals

The System

Graphic Design, Referenced and Typography, Referenced have both been named Outstanding Academic Titles by Choice magazine.

Specializations

Photos by Michael Guran.

Photo by Giuseppe Aresu, Bloomberg, Getty Images.

Photo by Bill Hogan, Chicago Tribune, MCT via Getty Images.

Photo by Carlos Munoz Yague, Getty Images.

From the collection of the Museum of Fine Arts, Boston.

“Graphic Design, Referenced is highly recommended for design students.” —Library Journal “Typography, Referenced is a beautifully illustrated and superbly designed compendium of typographic history, language, and practice. Highly recommended.” —Choice magazine

Above Top “Misplaced heel” Photos by Claire Zeller Barclay; hair and makeup by Sarah Brown Roux.

shoe, Marc Jacobs, 2007 • Above Creating a new model, Christian Louboutin studio, Paris, 2011 • Above Right Mary Janes, Manolo

Private collection.

Blahnik, 2007

Above Top Fabricating a

handbag, Gucci factory, Classic Hermès handbags

001-416_29436.indd 84 001-416_29436.indd 84

(Text) (Ray)

Above Manolo Blahnik advertisement, 2004

(Fogra 39)Job:10-29436 Title:RP-Fashion Design Referenced #175 Dtp:225 Page:84

Photo by firstVIEW.

Casellina, 2009 • Above

Left Prada, Spring/ Summer 2011

10/26/12 1:27 PM 10/26/12 1:14 PM

001-416_29436.indd 83 001-416_29436.indd 83

(Text) (Ray)

001-023_30084.indd 15 001-023_30084.indd 15

(RAY) (Text)

(Fogra 39)Job:10-29436 Title:RP-Fashion Design Referenced #175 Dtp:225 Page:83

10/26/12 1:27 PM 10/26/12 1:14 PM

3/11/13 4:22 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 15

001-023_30084.indd 16 001-023_30084.indd 16

(RAY) (Text)

3/11/13 4:22 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 16

g 6

1 BEST SELLING TITLES COlOR HARmONy COmPENDIum This is the most comprehensive reference book on the usage of color available today. It provides expert advice and insight into how color works, what can be achieved with the right color choices, and how to determine what the right color combination is for any project whether itâ&#x20AC;&#x2122;s being printed, packaged, or posted online. An interactive CD-ROM is included that allows users to choose layouts, logos, and package designs featured in the book, experiment with colors, and print them for reference. For more information, see page 30

001-023_30084.indd 17 001-023_30084.indd 17

(RAY) (Text)

3/11/13 4:22 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 17

001-023_30084.indd 18 001-023_30084.indd 18

(RAY) (Text)

3/11/13 4:22 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 18

g 8

1 BEST SELLING TITLES mAkING AND BREAkING THE GRID Making and Breaking the Grid is a comprehensive layout design workshop that assumes that in order to effectively break the rules of grid-based design, one must first understand those rules and see them applied to real-world projects. With this book, designers who havenâ&#x20AC;&#x2122;t formally been introduced to grid use, or who usually avoid using them, may find inspiration to pursue new methods; designers who always use grids may reevaluate the organizing potential of more organic or spontaneous structures. To students, this book can be a valuable resource for seeing a diversity of related work in context. For more information, see pages 27 and 40

001-023_30084.indd 19 001-023_30084.indd 19

(RAY) (Text)

3/11/13 4:22 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 19

Know the Material

By reading the content, a designer takes the first step toward developing a concept, a key ingredient in successfully solving any visual problem. Whether you’re designing a large-scale enterprise site with a massive amount of content or a microsite with a minimum amount, you should read and analyze all of the material that could, should, or will go into the site design. Researching outside and in addition to the given material is also worthwhile, and is not limited to market-related materials, brand positioning, trend analysis, and media use. Consider a full SWOT (Strengths, Weaknesses, Opportunities, Threats) analysis to fully plan and evaluate the job.

Know the Audience

011

012

Designers have always had to understand the audience and how they will engage with the material. Understanding consumer behavior, brand loyalty, reading habits, learning styles, and the bevy of factors that play into those issues and influences are just some of the ways that designers can begin to define users’ anthropological makeup.

Understand the Scope Ask a number of questions at the outset in order to determine project control, implementation, and finalization. How much work needs to be done? What amount of text and imagery will go into the design? Who supplies that material? Where will it all reside? What updates, if any, will need to be made over time? And what about a timeline, and any foreseeable delays? Throughout this analysis, keep quality in mind, along with the team makeup and creative process that ensures it. And be wary of people adding things to an already-defined project that will create what’s known as scope creep.

If given the choice between a text-heavy website with static photographs and an interactive online game, most Red Bull drinkers would opt for the latter. Archrival understood this, and developed an entertaining online game that pulled consumers closer to the brand. For the Travis Pastrana Super Mega Nitro Jump game, Archrival put users into the action of riding a dirt bike, speedboat, donkey, magic carpet, golf cart, and even more ridiculous vehicles.

T h e G r a p h i c D e s i G n e r’s e l e c T r o n i c - M e D i a M a n u a l

week

Understand the Final Production Traditional designers who work predominantly in printed media know the specifics of building a document that’s press-ready, specifying the right paper, getting bids on a job, and seeing the design through the printing and delivery process. Electronic media has its own final production process with checkpoints in place to meet the end goal and quality concerns. The five key checkpoints, in addition to visual design, include implementation, testing, documentation, launch, and maintenance. During implementation, developers program the site so that it functions. Testing investigates how the site operates on browsers and the ways users interact with it. Documentation collects all of that information and analyzes it in order to aid in the launch and maintenance. Finally, designers may have to come to grips with the word final, as Eric Karjaluoto explains: “Designers have to become more accustomed to the notion of defined job ‘cutoffs.’ When a print job goes to press the changes end; on a website they seemingly never have to. As such, designers have to clearly note when the scope of a project has come to a close, and address additional content changes and software/media upgrades as separate (billable) projects.”

013

I N T R O D U C T I O N · T W E Lv E f U N D a m E N Ta L s

T h e G r a p h i c D e s i G n e r’s e l e c T r o n i c - M e D i a M a n u a l

010

Gather Assess

Design + Code

Define Plan Roughs Review 1 Revision

Test

Review 2

Fix

Revision Review 3

today

Revise Deploy By specializing in marketing and design for the sports, hospitality, and entertainment industries, carbonhouse understands how to create engaging visual communications for venues such as the Memphis Orpheum Theatre and Cleveland PlayhouseSquare.

20 006-049_27528.indd 10 006-049_27528.indd 10

12/22/11 1:51 PM 12/22/11 3:58 PM

(RAY) Text (RAY)

001-023_30084.indd 20 001-023_30084.indd 20

Gantt charts assign tasks to days, or in this case weeks, to give a visualization of the project components. Steps can include gathering, discovery, problem understanding, calendar definition, team building, design, revisions, and final outcome. Certain tasks can get color coded and assigned to teams, and critical tasks may receive hot colors such as red or orange. Tasks may push forward or backward to adjust for internal and external factors. In some cases, the final outcome isn’t always foreseeable.

(Fogra 39) (Fogra 39) Job:12-27528 Title:RP-Graphic Designer’s Electroinic-Media Manual #175 DTP:204. Page:010

006-049_27528.indd 11 006-049_27528.indd 11

12/22/11 1:51 PM 12/22/11 3:58 PM

(RAY) Text

(Fogra 39) Job:12-27528 Title:RP-Graphic Designer’s Electroinic-Media Manual #175 DTP:204. Page:011

(RAY) (Text)

006-049_27528.indd 12 006-049_27528.indd 12

Design, development, and release can lead to ongoing coding, and fixing. These iterative and overlapping steps may happen repeatedly because of fluctuating user needs, text or image content, and hardware or software changes.

12/22/11 1:51 PM 12/22/11 3:58 PM

(RAY) Text

(Fogra 39) Job:12-27528 Title:RP-Graphic Designer’s Electroinic-Media Manual #175 DTP:204. Page:012

006-049_27528.indd 13 006-049_27528.indd 13

12/22/11 1:51 PM 12/22/11 3:58 PM

(RAY) Text

(Fogra 39) Job:12-27528 Title:RP-Graphic Designer’s Electroinic-Media Manual #175 DTP:204. Page:013

3/11/13 4:23 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 20

g 0

1 BEST SELLING TITLES THE GRAPHIC DESIGNER’S ElECTRONIC-mEDIA mANuAl & INTERACTIvE DESIGN Two of Rockport’s latest titles focus on designing for the screen. They help readers navigate the challenges to create informative and engaging experiences. In both books, key lessons are highlighted in image-packed case studies and examples from top designers around the world. For more information, see page 27 CA

pRoFessioNAl bAckGRouND oF

graPhiC Design

PartiCiPants

Library sCienCes

5% 26%

10 0

inDustriaL Design mix of Design anD teChnoLogy

user experIence Backgrounds

LiberaL arts

11% 7% 2%

other

our online survey for user–experience (uX) professionals

We found the variety of job titles included in the survey

asked three questions: What is the professional

interesting. Many were expected, such as director

background that led to your uX position? Where do you

of user experience, uX design lead, and information

live? What is your current job title?

architect. however, titles such as front-end developer,

18%

samples included engineering, Anthropology, broadcast Design, economics, and information sciences

21%

teChnoLogy

arChiteCture

ux or interaCtive

design director, and computer engineer were a little in the interest of full disclosure, this survey hardly

less obvious, suggesting perhaps that a certain degree

met the guidelines required by the scientific method.

of uX proficiency is now expected in other interactive

“professional background,” for example, is a little vague.

professions. our favorite title: hackstar.

but as we expected, the results indicated a varied range of backgrounds for this profession. As colleges and

As digital design continues to expand, new professions

universities continue to develop programs to meet the

will grow out of its changing needs. For example, a survey

needs of interactive design, this landscape may well

about content strategists or social media managers may

shift, becoming something that more people engage

well have revealed a similar diversity of backgrounds

in at an earlier age.

and titles. the field is changing all the time. you may look back one day and be surprised at how your job as a designer has evolved.

locAtioNs oF

PartiCiPants

illustration by William Ranwell

iNteRActiVe DesiGN pAGe | 8

001-083_28323.indd 8 001-083_28323.indd 8

5/8/12 3:31 PM 5/8/12 3:42 PM

(Text)(RAY)

001-023_30084.indd 21 001-023_30084.indd 21

uNiteD stAtes

st. paul

portland

chicago

seattle

cANADA

VeNezuelA

tuRkey

iNDiA

toronto

porlamar

istanbul

hyderabad

Atlanta

Montreal

bRAzil

uNiteD

AustRAliA

san Francisco

Austin

Vancouver

buenos Aires

kiNGDoM

sydney

los Angeles

burlington

GeRMANy

london

Geelong

Mountain View

Rochester

berlin

south

Melbourne

pasadena

New york

AFRicA

santa Monica

brooklyn

cape town

Minneapolis

Washington, Dc

001-083_C66575.indd 9 001-083_28323.indd 9

(Fogra 39)Job:05-28323 Title:RP-Interactive Design #175 DTP:225 Page:8

(RAY) (Text)

5/29/12 8:05 PM 5/8/12 3:42 PM

(Text)(RAY)

(Fogra 39)Job:05-28323 Title:RP-Interactive Design 05-C66575 #175 DTP:225 Page:9

3/11/13 4:23 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 21

001-023_30084.indd 22 001-023_30084.indd 22

(RAY)

3/11/13 4:23 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 22

g 2

001-023_30084.indd 23 001-023_30084.indd 23

(RAY)

3/11/13 4:23 PM 3/11/13 4:36 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 23

ROCKPORT

BOOKS BY CATEGORY

024-059_30084.indd 24 024-059_30084.indd 24

(RAY) (Text)

3/11/13 7:01 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 24

g 4

2 CA

Design Elements

A Graphic Style Manual Timothy Samara ISBN: 9781592532612 Item # 153185 AQ 8 x 10 in, 203 x 254 mm 272 pages, Flexi-bind 300 color photos Rights sold: Russian, Spanish, Italian, Japanese, Czech, German, Korean, Chinese, Portuguese, English language in Asia excluding Japan, India, Korea Ct. Qty. 10 $30.00 US/£19.99 UK/$37.50 CAN

Design Elements, Typography Fundamentals

A Graphic Style Manual for Understanding How Typography Affects Design Kristin Cullen ISBN: 9781592537679 Item # 195050 AQ 8 x 10 in, 203 x 254 mm 160 pages, Flexi-bind 300 color photos All rights available Ct. Qty. 20 $24.99 US/£16.99 UK/$27.99 CAN

024-059_30084.indd 25 024-059_30084.indd 25

Design Elements, Color Fundamentals

A Graphic Style Manual for Understanding How Color Affects Design Aaris Sherin ISBN: 9781592537198 Item # 193939 AQ 8 x 10 in, 203 x 254 mm 160 pages, Flexi-bind 300 color photos Rights sold: Korean, Spanish Ct. Qty. 20 $24.99 US/£16.99 UK/$27.99 CAN

Design Elements, Using Images to Create Graphic Impact

A Graphic Style Manual for Effective Image Solutions in Graphic Design Aaris Sherin ISBN: 9781592538072 Item # 199836 AQ 8 x 10 in, 203 x 254 mm 168 pages, Flexi-bind 250 color photos All rights available Ct. Qty. 20 $35.00 US/£22.50 UK/$39.00 CAN

(RAY) (Text)

BOOKS BY CATEGORY

Design Elements, Form & Space

A Graphic Style Manual for Understanding Structure and Design Dennis Puhalla ISBN: 9781592537006 Item # 193875 AQ 8 x 10 in, 203 x 254 mm 168 pages, Flexi-bind 300 color photos Rights sold: Korean Ct. Qty. 20 $24.99 US/£16.99 UK/$27.99 CAN

Design Matters

An Essential PrimerBrochures, Logos, Packaging, Portfolios Capsule, Michelle Taute, and Maura Keller ISBN: 9781592537389 Item # 195013 AQ 8 x 10 in, 203 x 254 mm 448 pages, PB 900 color photos Rights sold: Chinese Ct. Qty. 10 $40.00 US/£27.50 UK/$44.00 CAN

DESIGN FUNDAMENTALS

Digital Design Essentials

100 Ways to Better Desktop, Web, and Mobile Interfaces Rajesh Lal ISBN: 9781592538034 Item # 199825 AQ 8.5 x 10, 216 x 254 mm 208 pages, HC 200 color photos All rights available Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

3/11/13 7:01 PM 3/11/13 7:48 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 25

2 CA

Drawing for Graphic Design

Understanding Conceptual Principles and Practical Techniques to Create Unique, Effective Design Solutions Timothy Samara ISBN: 9781592537815 Item # 199782 AQ 9 x 9 in, 229 x 229 mm 192 pages, PB 500 color photos Rights sold: English language in Taiwan, Chinese Ct. Qty. 6 $40.00 US/£27.50UK/ $44.00 CAN

DESIGN FUNDAMENTALS

Forms, Folds, and Sizes, Second Edition

All the Details Graphic Designers Need to Know but Can Never Find Poppy Evans and Aaris Sherin ISBN: 9781592534616 Item # 153204 AQ 5.75 x 8.25 in, 145 x 210 mm 336 pages, PB 400 color photos Rights sold: German Ct. Qty. 10 $30.00 US/£19.99 UK/ $32.95 CAN

Graphic Design and Architecture, A 20thCentury History A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World Richard Poulin ISBN: 9781592537792 Item # 199783 AQ 8.5 x 10 in, 216 x 254 272 pages, HC 300 color photos All rights available Ct. Qty. 6 $55.00 US/£35.00 UK/ $60.00 CAN

30 /31

In conventional drawing, gesture results from the body’s movement. If one is working digitally using a tablet, this authentic rhythm is translated directly; creating gesture with the tools in a software application may be challenging, given the limitations of movement imposed by a mouse, the spatial disconnect created by the screen interface, and the mechanical nature of point-based vector drawing. However, drawing software usually offers brush forms that mimic the irregularity of conventional mark-making, and working digitally also allows a designer analytical control that is nearly impossible when working conventionally by adjusting the points and line segments of a vector shape, or by distorting and skewing.

Behaviorial Grammar: The Gesture

TEXT BLACK

The mark expresses a specific movement called its gesture, and it’s this quality of drawing that gives it life. Gesture translates into energy and behavior. It may be passive and delicate or bold and aggressive; it articulates directionality, rhythm, punctuation, and fluidity through repetition, variation, and pattern—clustering, dispersing, rising or falling, circulating, and so on /A, B /. As marks accumulate, this gestural rhythm becomes an identifiable, fundamental part of the drawing’s form language. Further the specific nature of the gestural rhythm will contribute to the drawing’s narrative (see pp. 80–81) influencing the viewer’s emotional response to the message /C /.

Refined letterforms /F / express gesture derived from their source in writing /G /; the evidence is their shading, or

D Pushing and pulling curvilinear gestural

motion ensures dynamism in a reductive symbol / STIM Visual Communication United States

Maintaining gestural rhythm in reductive drawings /D, E / is critical for their liveli ness. Symbols, logos, diagrams, and letterforms rarely exhibit surface activity beyond that of their actual form components. What must be discernable is a culmination of many evolutionary gestures so that they appear to pulse, to push and pull against each other.

thick-and-thin contrast, as well as in their width proportion and the “speed” at which strokes modulate from thick to thin. Selecting a particular typeface for a project often depends on how tight or open it feels, how far the strokes rise and fall from the baseline, and how this movement repeats itself from character to character /H, I /.

Drawing / for Graphic Design

(Fogra 29) Job:02-28048 Title:Drawing For Graphic Design 03-C66292 (204) #175 Dtp:160 Page:31

BOOKS BY CATEGORY

Discovery Universal Principles First Principle: Unified Form Language

F Gesture is immediately evident in oldstyle (left)

and script forms (middle), but may also be appreciated in more controlled forms (right).

G The fluid, bold, slashing gesture in this calli-

TEXT BLACK

graphic logo establishes a dynamic, confident feeling / PCD Estudio de Diseño Argentina

A This nonpictorial drawing shows a variety of gestures: waving, staggered, aggressively angular, curvilinear and meandering, fluid and staccato / Christine Hiebert United States

H An irregular, up-and-down gesture across the

line of type imparts a casual, playful, quirky quality / Javirroyo Spain

(Fogra 29) Job:02-28048 Title:Drawing For Graphic Design 03-C66292 (204) #175 Dtp:160 Page:30

I Feelings to be evoked in text depend on a given

C Dramatically swooping downward B A singular, continuous, looping and arcing gesture / LoSiento Spain

and upward gestures impart a sensation of movement / Flúor Portugal

001-085_C66292.indd 30 001-085_C66292.indd 30

E The wavelike, lateral gesture of the line patterns is restated

typeface’s gestural cadence—the rhythm created by the alternation between the letters’ strokes and counterspaces. Compressed faces usually impart a sharp, anxious, or energetic tone (top), while open or extended faces express a tone that is restful, or seems drawn out over time (bottom).

by the type’s back and forth movement, but contrasted by its vertical gesture / Rudi Meyer France

3/27/12 4:12 PM 3/27/12 4:03 PM

001-085_C66292.indd 31 001-085_C66292.indd 31

3/27/12 4:12 PM 3/27/12 4:03 PM

Drawing for Graphic Design

024-059_30084.indd 26 024-059_30084.indd 26

(RAY) (Text)

3/11/13 7:01 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 26

g 6

The Graphic Design Reference & Specification Book

Everything Designers Need to Know Everyday Poppy Evans ISBN: 9781592538515 Item # 210655 AQ 5.46 x 7.83 in, 139 x 199 mm 336 pages, PB 400 color photos All rights available Ct. Qty. 10 $25.00 US/£16.99 UK/ $28.00 CAN

Graphic Design, Referenced

A Visual Guide to the Language, Applications, and History of Graphic Design Bryony Gomez-Palacio and Armin Vit ISBN: 9781592537426 Item # 195006 AQ 8.5 x 10 in, 216 x 254 mm 400 pages, PB 1000 color photos Rights sold: English language in Asia, French Ct. Qty. 10 $35.00 US/£25.00 UK/ $39.00 CAN

The Graphic Designer’s Electronic-Media Manual

How to Apply Visual Design Principles to Engage Users on Desktop, Tablet, and Mobile Websites Jason Tselentis ISBN: 9781592537785 Item # 199779 AQ 8 x 10 in, 203 x 254 mm 256 pages, Flexi-bind 300 color photos Rights sold: English language in Asia, Korean, Chinese, French Ct. Qty. 6 $40.00 US/£27.50 UK/ $44.00 CAN

Graphic Designer’s Essential Reference

Visual Elements, Techniques, and Layout Strategies for Busy Designers Timothy Samara ISBN: 9781592537433 Item # 195007 AQ 8 x 10 in, 203 x 254 mm 248 pages, PB 1500 color photos Rights sold: Chinese, Czech Ct. Qty. 10 $25.00 US/£16.99 UK/ $28.00 CAN

CA CA CA

Interactive Design

An Introduction to the Theory and Application of User-Centered Design Andy Pratt and Jason Nunes ISBN: 9781592537808 Item # 199784 AQ 8 x 10 in, 203 x 254 mm 224 pages, Flexi-bind 250 color photos All rights available Ct. Qty. 6 $45.00 US/£30.00 UK/ $49.99 CAN

024-059_30084.indd 27 024-059_30084.indd 27

The Language of Graphic Design

An Illustrated Handbook for Understanding Fundamental Design Principles Richard Poulin ISBN: 9781592538256 Item # 200345 AQ 8.25 x 10.25 in, 210 x 2260 mm 288 pages, PB 400 color photos Rights sold: Polish, Chinese, Czech, French, Spanish Ct. Qty. 10 $29.99 US/£20.00 UK/$32.99 CAN HC ISBN: 9781592536764 $45.00 US/£30.00 UK/ $49.99 CAN

(RAY) (Text)

Making and Breaking the Grid A Graphic Design Layout Workshop Timothy Samara ISBN: 9781592531257 Item # 153276 AQ 9 x 11 in, 228 x 280 mm 208 pages, PB 508 color photos Rights sold: Portuguese, Chinese, English language in Russia Ct. Qty. 10 $25.00 US/£16.99 UK/ $34.95 CAN

Universal Principles of Design 125 Ways to Enhance Usability, Influence Perception, Increase Appeal, Make Better Design Decisions, and Teach through Design William Lidwell, Kritina Holden, and Jill Butler ISBN: 9781592535873 Item # 158942 AQ 8.5 x 10 in, 215 x 255 mm 272 pages, PB 400 color photos Rights sold: Dutch, Portuguese, Japanese, Spanish, French, Chinese, Czech, Russian, Korean, Croatian Ct. Qty. 10 $30.00 US/£18.99 UK/$37.50 CAN

3/11/13 7:01 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 27

2 BOOKS BY CATEGORY TYPOGRAPHY

30 Essential Typefaces for a Lifetime

Imin Pao and Joshua Berger ISBN: 9781592532780 Item # 153052 AQ 7.5 x 10.25 in, 190 x 260 mm 302 pages, PB 300 color photos All rights available Ct. Qty. 10 $40.00 US/£27.50 UK/$56.00 CAN

Design Elements, Typography Fundamentals

Design: Type

A Seductive Collection of Alluring Type Designs Paul Burgess ISBN: 9781592537983 Item # 199806 AQ 8 x 10 in, 203 x 254 mm 272 pages, Flexi-bind 500 color photos Rights sold: English language in Asia Ct. Qty. 6 $45.00 US/£30.00 UK/$49.99 CAN

type specimen poster

Barker letterpress poster Designer: Annica Lydenberg Photo: Juan Carlos Pagan

Type specimen sheets began as a way for printers to demonstrate to buyers how a certain typeface would look at various sizes on paper. They developed into a way for typographers to showcase their work using design, color, and word combinations. Create a poster showcasing an alphabet you have created.

Playing with Type

024-059_30084.indd 28 024-059_30084.indd 28

50 Graphic Experiments for ExploringTypographic Design Principles Lara McCormick ISBN: 9781592538171 Item # 211090 AQ 9 x 9 in, 229 x 229 mm 192 pages, Flexi-bind 300 Color Photos Rights sold: Chinese Ct. Qty. 10 $40.00 US/£25.00 UK/$44.00 CAN

Select your text. This should include the title of your typeface. The remaining content could be a pangram, text from a book, lyrics from a song, or something funny and clever that is memorable. Look at type foundry sites for inspiration. Create an 18"  24" (46  5 cm) canvas and set your alphabet. Vary the size of your text so that you can provide an example of how your typeface looks as a headline and body copy. If you have more than one weight or style in your alphabet, incorporate that as well. Use color sparingly (remember, it’s the type you’re showing off). Before finalizing your type specimen, be sure to check the kerning and letterspacing!

Alfonso letterpress plate Photo: Juan Carlos Pagan

Pangram One way to display all the letters in the alphabet legibly is through the use of a pangram, a sentence that contains all the letters of the alphabet. The most common is “The quick brown fox jumped over the lazy dog.”

“I began looking at typefaces, thinking of what I liked about them, analyzing what kind of typeface I wanted to design: serif, sans, what would the x-height be? Where would it be used? After sketching for days, I finally set my sights on the sketches for Olivia. Its quirky yet elegant features made this typeface different and interesting to pursue. After the digitizing process, many decisions were made to help regularize the overall look and character of the font. Olivia is a work in progress; next I will be designing a bold weight and an italic.”

“What I like most about drawing letters is the drawing part. As a result, Alfonso has an illustrative quality that I wanted to feature in the specimen poster. While a traditional type specimen with varying lines of copy serves an important function, I wanted something a little more visually arresting. And since this was made for letterpress, there was also the selfish consideration of making something that I could hang on my wall. I think this design highlights the character of the individual letters, while also showing that they work well together as a system. Plus, it looks good in a frame.”

Designer: Isabel Urbina

Designer: Mark McCormick

If you loved this, you’ll love these! Modular Type, page 82; Handwriting, page 85; Opposites Attract, page 88; 3-D Type, page 90

playing with type

080-101_29438.indd 98 080-101_29438.indd 98

Playing with Type

(RAY) (Text)

(Text) (Ray)

(Fogra 39)Job:10-29438 Title:RP-Playing with Type #175 Dtp:225 Page:98

10/24/12 4:05 PM 10/24/12 4:02 PM

alphabet play

080-101_29438.indd 99 080-101_29438.indd 99

(Text) (Ray)

(Fogra 39)Job:10-29438 Title:RP-Playing with Type #175 Dtp:225 Page:99

10/24/12 4:05 PM 10/24/12 4:02 PM

10 10

3/11/13 7:01 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 28

g 8

Stop, Think, Go, Do

How Typography and Graphic Design Influence Behavior Steven Heller and Mirko Ilic ISBN: 9781592537662 Item # 195051 AQ 9 x 9 in, 229 x 229 mm 224 pages, Flexi-bind 500 color photos All rights available Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

Typography Essentials

Type, Form & Function

100 Design Principles for Working with Type Ina Saltz ISBN: 9781592537402 Item # 195003 AQ 8.5 x 10 in, 216 x 254 mm 208 pages, PB 300 color photos Rights sold: Chinese Ct. Qty. 10 $25.00 US/£16.99 UK/$28.00 CAN

A Handbook on the Fundamentals of Typography Jason Tselentis ISBN: 9781592536740 Item # 193884 AQ 9 x 9 in, 229 x 229 mm 208 pages, Flexi-bind 300 color photos Rights sold: Korean, Spanish, Chinese Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

Typography, Referenced

A Comprehensive Visual Guide to the Language, History, and Practice of Typography Jason Tselentis, Allan Haley, Richard Poulin, Tony Seddon, Gerry Leonidas, and Ina Saltz ISBN: 9781592537020 Item # 193943 AQ 8.5 x 10 in, 216 x 254 mm 400 pages, HC 700 color photos Rights sold: Italian Ct. Qty. 6 $50.00 US/£35.00 UK/$55.00 CAN

“The more I drew type, the more fun I had. I was warping letter features and creating strange ligatures. It was the exact opposite of all the rules of typography I held dearly. I’ve posted nearly 1,110 daily drawings and the majority of them incorporate lettering. Since I post daily, I always try to do something a little different—this desire has led me to try things that I wouldn’t have normally thought to do. I can’t say it enough: Draw, draw, draw! Creating your own voice using hand-drawn letters is not an easy thing to teach; there really aren’t any set rules.” Lettering: Chris Piascik

“Hand lettering becoming a hallmark of my work happened almost accidentally. As a child, I would take apart the music albums around me and re-create my own. Fast-forward ten years and I was obsessing over typography as a graphic design student at the Hartford Art School. The lettering I have become known for didn’t begin to take shape until a few years after my graduation. My schedule was hectic and I felt disheartened by the fact that I was no longer drawing for drawing’s sake. I decided to change that by committing myself to posting a drawing each day on my website. Early on, I started drawing type and text out of necessity because I was struggling to come up with things to draw late at night—I’d hear a random song lyric or an absurd quote on the news and make it into a drawing.”

Typography Workbook

Lettering: Chris Piascik

106

PM PM

playing with type

102-127_29438.indd 106 102-127_29438.indd 106

Playing with Type

024-059_30084.indd 29 024-059_30084.indd 29

lettering play

(Text) (Ray)

(Fogra 39)Job:10-29438 Title:RP-Playing with Type #175 Dtp:225 Page:106

10/24/12 4:20 PM 10/24/12 4:19 PM

102-127_29438.indd 107 102-127_29438.indd 107

(RAY) (Text)

(Text) (Ray)

(Fogra 39)Job:10-29438 Title:RP-Playing with Type #175 Dtp:225 Page:107

107

10/24/12 4:20 PM 10/24/12 4:19 PM

A Real-World Guide to Using Type in Graphic Design Timothy Samara ISBN: 9781592533015 Item # 153289 AQ 9 x 9 in, 229 x 229 mm 240 pages, PB 500 color photos Rights sold: Portuguese Ct. Qty. 10 $25.00 US/£16.99 UK/$33.00 CAN

3/11/13 7:02 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 29

2 BOOKS BY CATEGORY COLOR & PATTERN DESIGN

Color Design Workbook

Color Harmony Compendium

A Real World Guide to Using Color in Graphic Design AdamsMorioka ISBN: 9781592534333 Item # 153299 AQ 9 x 9 in, 229 x 229 mm 240 pages, PB 350 color photos All rights available Ct. Qty. 10 $25.00 US/£16.99 UK/$27.50 CAN

The Complete Color Harmony

A Complete Color Reference for Designers of All Types, 25th Anniversary Edition Terry Marks, MINE Design, Origin, and Tina Sutton ISBN: 9781592535903 Item # 158858 AQ 7 x 9.25 in, 178 x 235 mm 432 pages, HC w/ CD 500 color photos Rights sold: Chinese Ct. Qty. 10 $29.99 US/£18.99 UK/$37.50 CAN

Expert Color Information for Professional Color Results Tina Sutton and Bride M Whelan ISBN: 9781592530311 Item # 153268 AQ 6.75 x 9 in, 172 x 228 mm 216 pages, PB 250 color photos Rights sold: Italian, French, Japanese, Russian, Spanish, Korean, Chinese Ct. Qty. 10 $25.00 US/£16.99 UK/$36.00 CAN

54 // Design Elements // Color Fundamentals

Chapter 2 // Form and Space // 55

Elements of Design and Their Variables The fundamental elements of design such as line, point, and shape provide the backbone for many communications solutions. Since the eye is drawn to what it sees and perceives most easily, a viewer will often notice the hues and tones of a composition before anything else. When color is used in combination with these elements, it can provide a strong visual statement. These variables may be used on their own, together, or in combination with other components such as type and image.

t Color affects how we perceive shapes in a composition. When the color of these shapes is altered, some seem to recede into the background while others appear to advance forward on the page. Trying several different combinations of color for each project is more likely to produce successful color relationships. Design: Melchior Imboden, Buochs, Switzerland

Shape When used in conjunction with color, shape may reveal meaning and make a composition more appealing to an audience. Shape is also an important tool when laying out multipage documents. The combination of color and shape can be used to break up content and/or create a repeating structure that encourages a viewer to turn the page and keep reading the text. p Alternating blue and pink dots on the top half of the composition creates an eye-catching pattern, and the repetition of pink draws the eye down toward the text below. Design: LSDspace, Madrid, Spain

Design Elements, Color Fundamentals

024-059_30084.indd 30 024-059_30084.indd 30

p An identity package can be based on the repetition of shape and color. In this example for Stylecraft, the system allows for a tremendous amount of variation while retaining an overall visual consistency. Design: THERE, Surry Hill, Australia

p These shapes seem to jump off the page because the designer has skillfully combined compositional elements with intensely bright hues. Design: Gotz Gramlich, Heidelberg, Germany

t Small tonal variations in grays seem greater because they have been combined with sharpedged triangles. The two accents of red add a shock of emphasis that will keep viewers interested. Design: Uwe Loesch, Mettmann, Germany

001-160_C64902.indd 54 001-160_26673.indd 54

(Text) (RAY)

Job:08-26673 Title:RP-Design Elements Colour & Fundamentals 09-C64902 #175 Dtp:204 Page:54

Design Elements, Color Fundamentals

(RAY) (Text)

u Elements in this identity package are differentiated by shape but are unified by color. Design: Maris Maris, New York City

9/21/11 8:58 PM 8/24/11 3:33 PM

001-160_C64902.indd 55 001-160_26673.indd 55

(Text) (RAY)

Job:08-26673 Title:RP-Design Elements Colour & Fundamentals 09-C64902 #175 Dtp:204 Page:55

9/21/11 8:58 PM 8/24/11 3:33 PM

3/11/13 7:02 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 30

g 0

Pattern and Palette Sourcebook w/CD-Rom

Pattern and Palette Sourcebook 2

A Complete Guide to Choosing the Perfect Color and Pattern in Design Anvil ISBN: 9781592531615 Item # 154122 AQ 7 x 9.25 in, 178 x 235 mm 208 pages, PB 400 color photos Rights sold: Japanese, Chinese, Italian, French, Russian, Greek, Spanish, English language in Germany, Austria, Switzerland, EU Ct. Qty. 10 $29.99 US/£19.99 UK/$41.95 CAN

01_P&P2 MODERN_006-039.qxd

C M Y K

0 40 44 0

9/12/06

10:52 AM

0 52 100 0

0 62 100 0

Page 14

A Complete Guide to Choosing the Perfect Color and Pattern in Design Heidi Arrizabalaga ISBN: 9781592533176 Item # 153193 AQ 7 x 9.25 in, 178 x 235 mm 208 pages, PB 950 color photos Rights sold: Japanese, Russian, Dutch, French, English language in EU, Switzerland, India, China, Taiwan Ct. Qty. 10 $30.00 US/£19.99 UK/$37.50 CAN

01_P&P2 MODERN_006-039.qxd

8 91 95 30

Pattern and Palette Sourcebook 4

21 70 92 70

9/12/06

10:52 AM

C M Y K

A Comprehensive Guide to Choosing the Perfect Color and Pattern in Design Kathie Alexander and Harvey Rayner ISBN: 9781592536047 Item # 192511 AQ 7 x 9.25 in, 178 x 235 mm 208 pages, Flexi-bind 400 color photos Rights sold: English language in SE Asia, China, Taiwan, Korea, Japan Ct. Qty. 10 $29.99 US/£18.99 UK/$32.99 CAN

01_P&P2 MODERN_006-039.qxd

Page 15

0 11 70 0

47 0 94 0

41 0 12 0

17 52 87 63

C M Y K

0 11 70 0

9/12/06

10:52 AM

41 0 12 0

52 3 6 7

01_P&P2 MODERN_006-039.qxd

Page 16

9/12/06

10:52 AM

0 62 100 0

M Y K

Page 17

0 40 44 0

0 53 14 0

52 3 6 7

8 91 95 30

Pattern and Palette Sourcebook 2

Provision-PATTERN PALETTE CD906-36/4234

Modern Enthusiast

Provision-PATTERN PALETTE CD906-36/4234

Modern Enthusiast

Pattern and Palette Sourcebook 2

Provision-PATTERN PALETTE CD906-36/4234

Pattern and Palette Sourcebook 2

024-059_30084.indd 31 024-059_30084.indd 31

(RAY) (Text)

3/11/13 7:02 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 31

2 BOOKS BY CATEGORY COLOR & PATTERN DESIGN

Pattern Sourcebook: Around the World

250 Patterns for Projects and Designs Shigeki Nakamura ISBN: 9781592534968 Item # 153373 AQ 5.81 x 8.25 in, 148 x 210 mm 160 pages, PB 250 color photos Rights sold: French, English language in EU, Switzerland Ct. Qty. 20 $17.99 US/£10.99 UK/$19.95 CAN

Pattern Sourcebook: Chinese Style

250 Patterns for Projects and Designs Shigeki Nakamura ISBN: 9781592534975 Item # 153374 AQ 5.81 x 8.25 in, 148 x 210 mm 160 pages, PB 250 color photos Rights sold: French, English language in EU, Switzerland Ct. Qty. 20 $17.99 US/£10.99 UK/$19.95 CAN

Pattern Sourcebook: Japanese Style 2

250 Patterns for Projects and Designs Shigeki Nakamura ISBN: 9781592535606 Item # 153380 AQ 5.81 x 8.25 in, 148 x 210 mm 144 pages, PB w/ CD 250 color photos Rights sold: French, English language in EU, Switzerland Ct. Qty. 20 $17.99 US/£12.99 UK/$19.95 CAN

Pattern Sourcebook: Nature

024-059_30084.indd 32 024-059_30084.indd 32

250 Patterns for Projects and Designs Shigeki Nakamura ISBN: 9781592535583 Item # 153378 AQ 5.81 x 8.25 in, 148 x 210 mm 128 pages, PB w/ CD 250 color photos Rights sold: French, English language in EU, Switzerland Ct. Qty. 20 $17.99 US/£12.99 UK/$19.95 CAN

(RAY) (Text)

Playing with Color

50 Graphic Experiments for Exploring Color Design Principles Richard Mehl ISBN: 9781592538089 Item # 199835 AQ 9 x 9 in, 229 x 229 mm 192 pages, Flexi-bind 300 Color Photos Rights sold: Japanese, Chinese Ct. Qty. 10 $40.00 US/£25.00 UK/$44.00 CAN

3/11/13 7:02 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 32

g 2

Hae Jeon Lee Color wheel and grayscale composition gouache on watercolor paper

Cory John Stoffa Color wheel and grayscale composition Above: computer rendering Right: gouache on watercolor paper

playing with color

color wheels

001-187_28892.indd 26 001-187_28892.indd 26

Playing with Color

(Text) (Ray)

(Fogra 39)Job:09-28892 Title:RP-Playing with Color #175 Dtp:225 Page:26

9/25/12 4:24 PM 9/25/12 4:01 PM

001-187_C68120.indd 27 001-187_28892.indd 27

(Text) (Ray)

(Fogra 39)Job:09-28892 Title:RP-Playing with Color 10-C68120 #175 Dtp:225 Page:27

10/9/12 2:43 PM 9/25/12 4:01 PM

experiment 11: transparency Challenge: Explore color mixing with transparent materials Materials: transparent paper; tissue; gels Using transparent materials in compositions is an excellent way to study color mixing. It is more immediate and less challenging than mixing paint. The process is simple and objective. The visual effects are factual—layering specific transparent materials will always have the same results. This process frees us to observe and consider the mixtures achieved by layering certain colors. Begin by layering the transparent materials in various combinations. Make note of the parent colors and their mixtures. The colors you observe—parents and mixtures—will be your palette. Experiment with the layering order. Different kinds of transparent material react differently to layering. Unlike transparent ink, paint, and some gels, transparent papers are not completely transparent. The texture of paper adds itself to the mixture of colors. This makes layering a decisive factor in working with transparent paper—the bottom layer is partially obscured by the layers that cover it. Keep your compositions simple. Try to include the parent colors and all possible mixtures. The mixtures will be darker than the parent colors and will be closest in appearance to the top layer color. This factual effect adds contrast of light and dark to the composition. Play with various ways of making shapes. Scissors will produce one effect—similar but different from the effects of using a craft knife and a straightedge. Both tools can make geometric and organic shapes. Folding paper adds a sense of play to the process. Tearing instantly creates organic shapes and makes the material recognizable as paper.

Transparency collages, made with transparent materials Above right: Sebit Min; right: Lisa Case

color illusion

001-187_28892.indd 62 001-187_28892.indd 62

Playing with Color

024-059_30084.indd 33 024-059_30084.indd 33

(Ray)

(Fogra 39)Job:09-28892 Title:RP-Playing with Color #175 Dtp:225 Page:62

(RAY) (Text)

9/25/12 4:25 PM 9/25/12 4:01 PM

001-187_28892.indd 63 001-187_28892.indd 63

(Text) (Ray)

(Fogra 39)Job:09-28892 Title:RP-Playing with Color #175 Dtp:225 Page:63

9/25/12 4:25 PM 9/25/12 4:01 PM

3/11/13 7:02 PM 3/11/13 7:49 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 33

2 BOOKS BY CATEGORY LOGOS & IDENTITY

Letterhead & Logo Design 10

Sussner Design ISBN: 9781592535798 Item # 158910 AQ 9 x 11 in, 229 x 279 mm 240 pages, PB 800 color photos Rights sold: Spanish, English language in Russia, EU, Switzerland, Norway Ct. Qty. 10 $30.00 US/£0.00 UK/$37.50 CAN

024-059_30084.indd 34 024-059_30084.indd 34

The Best of Letterhead & Logo Design

Design Matters: Logos 01

Mine Design, Top Studio Design, Stoltz Design, and Sayles Graphic Design ISBN: 9781592537914 Item # 199799 AQ 9.25 x 11.25 in, 235 x 286 mm 352 pages, PB 800 color photos All rights available Ct. Qty. 20 $19.99 US/£14.99 UK/$21.99 CAN

An Essential Primer for Today’s Competitive Market Capsule ISBN: 9781592533411 Item # 153316 AQ 8.25 x 10.25 in, 210 x 260 mm 192 pages, PB 220 color photos Rights sold: Spanish, Russian, German, Korean Ct. Qty. 20 $24.99 US/£16.99 UK/$29.95 CAN

Letterhead & Logo Design 9

Letterhead & Logo Design 11

Letterhead & Logo Design 12

LogoLounge (mini)

Design Army ISBN: 9781592537617 Item # 195029 AQ 9 x 11 in, 229 x 279 mm 240 pages, PB 350 color photos Rights sold: English language in Japan, Germany, Austria, Switzerland Ct. Qty. 10 $30.00 US/£20.00 UK/$33.00 CAN HC ISBN: 9781592535347 $45.00 US/£27.50 UK/$56.00 CAN

(RAY) (Text)

Oxide Design Co. ISBN: 9781592537174 Item # 193942 AQ 9 x 11 in, 229 x 279 mm 240 pages, HC 350 color photos All rights available Ct. Qty. 6 $45.00 US/£30.00 UK/$49.99 CAN

MINE ISBN: 9781592533893 Item # 153196 AQ 9 x 11 in, 229 x 279 mm 240 pages, PB 500 color photos All rights available Ct. Qty. 10 $30.00 US/£19.99 UK/$41.95 CAN

2,000 International Identities by Leading Designers Catharine Fishel and Bill Gardner ISBN: 9781592532247 Item # 153349 AQ 5.62 x 6.38 in, 143 x 162 mm 356 pages, PB 2000 color photos Rights sold: Chinese, English language in Japan, EU, Switzerland, Indian Subcontinent, Sri Lanka, Pakistan, Russia, Hungary Ct. Qty. 20 $19.99 US/£12.99 UK/$27.95 CAN

3/11/13 7:03 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 34

g 4

LogoLounge 3 (mini)

2000 International Identities by Leading Designers Catharine Fishel and Bill Gardner ISBN: 9781592535101 Item # 153358 AQ 5.62 x 6.38 in, 143 x 162 mm 376 pages, PB 2050 color photos Rights sold: English language in Japan, EU Ct. Qty. 20 $19.99 US/£12.99 UK/$21.95 CAN

LogoLounge 4 (mini)

LogoLounge 5

2000 International Identities by Leading Designers Catharine Fishel and Bill Gardner ISBN: 9781592536689 Item # 192561 AQ 5.62 x 6.38 in, 143 x 162 mm 376 pages, PB 2000 color photos All rights available Ct. Qty. 20 $19.99 US/£0.00 UK/$21.99 CAN

LogoLounge 6

2,000 International Identities by Leading Designers Catharine Fishel and Bill Gardner ISBN: 9781592537358 Item # 194983 AQ 9 x 11 in, 229 x 279 mm 192 pages, PB 2200 color photos All rights available Ct. Qty. 10 $30.00 US/£20.00 UK/$33.00 CAN HC ISBN: 9781592535279 $50.00 US/£34.99 UK/$55.00 CAN

2,000 International Identities by Leading Designers Catharine Fishel and Bill Gardner ISBN: 9781592538249 Item # 200344 AQ 9 x 11 in, 229 x 279 mm 192 pages, PB 2000 color photos Rights sold: English language in Taiwan, EU Ct. Qty. 10 $35.00 US/£22.50 UK/$39.00 CAN HC ISBN: 9781592536184 $50.00 US/£35.00 UK/$55.00 CAN

SO, JUST HOW BIG CAN ONE LITTLE IDEA BECOME?

LogoLounge 7

2,000 International Identities by Leading Designers Bill Gardner and Anne Hellman ISBN: 9781592537273 Item # 199819 AQ 9 x 11 in, 229 x 279 mm 192 pages, HC 2000 color photos Rights sold: English language in Taiwan, Czech, Chinese Ct. Qty. 6 $50.00 US/£35.00 UK/$55.00 CAN

024-059_30084.indd 35 024-059_30084.indd 35

INTRODUCTION

LETTERHEAD & LOGO DESIGN 11

001-011 01301_C2.indd 01301.indd 8 8

Text

Letterhead & Logo Design 11

(RAY) (Text)

Job:01301 Title: Letterhead Logo Design II (Rockport) Page:8

7/3/09 6/4/09 10:02:26 4:59:41 PM AM

001-011 01301.indd 9

Text

Job:01301 Title: Letterhead Logo Design II (Rockport) Page:9

6/4/09 5:00:01 PM

3/11/13 7:03 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 35

2 BOOKS BY CATEGORY Logos & IdentIty

LogoLounge Master Library, Volume 1 3,000 Initials & Crest Logos Catharine Fishel and Bill Gardner ISBN: 9781592535675 Item # 158937 AQ 7.25 x 9 in, 000 x 000 mm 296 pages, HC 3000 color photos Rights sold: Japanese Ct. Qty. 6 $40.00 US/£24.99 UK/$49.99 CAN

LogoLounge Master Library, Volume 3 3,000 Shapes and Symbols Logos Catharine Fishel and Bill Gardner ISBN: 9781592536900 Item # 193880 AQ 7.25 x 9 in, 184 x 229 mm 296 pages, POB 3000 color photos Rights sold: Japanese Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

LogoLounge Master Library, Volume 4 3000 Type and Calligraphy Logos Catharine Fishel and Bill Gardner ISBN: 9781592537648 Item # 195053 AQ 7.25 x 9 in, 184 x 229 mm 296 pages, POB 3000 color photos All rights available Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

Logo Creed

The Magic Behind Making a Great Logo Bill Gardner ISBN: 9781592538287 Item # 210275 AQ 8 x 10 in, 203 x 254 mm 240 pages, Flexi-bind 500 color photos All rights available Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

024-059_30084.indd 36 024-059_30084.indd 36

(RAY) (Text)

Logo Design Workbook

A Hands-On Guide to Creating Logos Sean Adams and Noreen Morioka ISBN: 9781592532346 Item # 153283 AQ 9 x 9 in, 229 x 229 mm 240 pages, PB 500 color photos All rights available Ct. Qty. 10 $25.00 US/£16.99 UK/$35.00 CAN

Logo Savvy

Top Brand Design Firms Share their Naming and Identity Strategies WOW Branding ISBN: 9781592533046 Item # 153055 AQ 9.5 x 9.5 in, 241 x 241 mm 192 pages, HC 300 color photos Rights sold: Russian Ct. Qty. 6 $40.00 US/£27.50 UK/$50.00 CAN

3/11/13 7:03 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 36

g 6

Logo Creed

024-059_30084.indd 37 024-059_30084.indd 37

(RAY) (Text)

3/11/13 7:04 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 37

2 BOOKS BY CATEGORY PACKAgIng & BRAndIng

1,000 Package Designs (mini)

Brand Bible

The Complete Guide to Building, Designing, and Sustaining Brands Debbie Millman ISBN: 9781592537266 Item # 193938 AQ 9 x 9 in, 229 x 229 mm 320 pages, Flexi-bind 300 color photos All rights available Ct. Qty. 6 $45.00 US/£30.00 UK/$49.99 CAN

A Comprehensive Guide to Packing It In Grip ISBN: 9781592537051 Item # 193872 AQ 6 x 6 in, 152 x 152 mm 440 pages, PB 1000 color photos Rights sold: English language in Japan Ct. Qty. 20 $19.99 US/£12.99 UK/$21.99 CAN

DESIGN CONSIDERATIONS: FORM AND SHAPE

DESIGN CONSIDERATIONS: PRINTING

19 Special Folds

20 Window Reveals

28 Laser Etching

Like origami, folds can be used to create shape. In certain instances, this design approach will deliver punch and economy in the ﬁnishing process. Always test the strength of the folded concept with the actual package material before committing to a ﬁnal die to avoid any retail mishaps.

A window reveal in the top or side of a package involves the consumer by allowing an enticing view of the product. The shape of the opening is an opportunity to say something about the product or provide a dramatic picture frame through which the product can be seen.

Laser etching is a precision printing method used to mark or brand a substrate. Often, a computer is used to drive the

Project Product package design Firm

movement of a laser over surfaces such as glass, metal, wood, and plastic. Laser etching has the additional beneﬁt of processing a high volume of material at a rapid speed.

Turner Duckworth, London and San Francisco Design Team David Turner, Bruce Duckworth,

Window reveals are created at the same time as the die line and won’t cost more. However, if you are adding plastic to protect the product this will increase the package cost.

Sarah Moffat Client

Project

Liz Earle Beauty Co.

Product package design Firm

Liz Earle Beauty Co. makes a

Pati Núñez Associats

range of moisturizing skin care

Design Team

products for mature skin that

Pati Núñez, Kike Segurola

contains precious argon and

Client

organic rosehip oils. The design

Cavas Recaredo

approach uses illustrations of rosehip tendrils that creep around

This Catalan wine is produced

the pack. The perfect see-through

with a minimum of human inter-

rosebuds reveal the product’s

vention. The design concept was

natural orange tone and create

based on the same premise. The

a visual metaphor. The silver

typography was laser-cut into

outer package layer suggests

off-white cotton paper. Laser

science, while the yellow peaking

etching was used to create the

through the diecuts suggests the

typography on the wooden box.

products’ natural ingredients.

Project Product package design Firm

Project

Aloof Design

Product package design

Design Team

Firm

Sam Aloof, Jon Hodkinson,

2creativo

Andrew Scrase

Design Team

Client

Mariona López, Abel de Benito

Heal’s

Client Art-Fruit

This package illustrates how cardboard, when folded, can

Framing the gourmet sweets inside,

provide an involving, high-end

this window reveal allows the

feel for a luxury product. In

consumer to glimpse the colorful

addition, this creative solution

natural fruit products. The black

achieved luxury-gift status within

exterior and red interior of the

a standard packaging budget.

cardboard box further dramatize the effect and present the candy as an exclusive gourmet treat.

46 Packaging Essentials

024-059_30084.indd 38 024-059_30084.indd 38

036-049 01690.indd 46

62 Packaging Essentials

Text

Job:01690 Title:Packaging Essentials (Rockport) Page: 46

1/14/10 2:03:16 PM

036-049 01690.indd 47

Packaging Essentials

Text

Job:01690 Title:Packaging Essentials (Rockport) Page: 47

1/14/10 2:03:20 PM

056-069 01690.indd 62

Text

Job:01690 Title:Packaging Essentials (Rockport) Page: 62

1/15/10 9:22:41 AM

Packaging Essentials

(RAY) (Text)

3/11/13 7:04 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 38

056-069 01690.indd 63

Essential Elements for Brand Identity

Package Design Workbook

100 Principles for Designing Logos and Building Brands Kevin Budelmann, Yang Kim, and Curt Wozniak ISBN: 9781592537938 Item # 199801 AQ 8.5 x 10 in, 216 x 254 mm 208 pages, PB 300 color photos Rights sold: Japanese, Korean, Chinese, English language in Asia, French, Italian Ct. Qty. 10 $25.00 US/£16.99 UK/$28.00 CAN

The Art and Science of Successful Packaging Steven DuPuis and John Silva ISBN: 9781592537082 Item # 193882 AQ 9 x 9 in, 229 x 229 mm 240 pages, PB 450 color photos Rights sold: Russian Ct. Qty. 10 $25.00 US/£16.99 UK/$28.00 CAN

Packaging Essentials

Really Good Packaging Explained

100 Design Principles for Creating Packages Sarah Roncarelli and Candace Ellicott ISBN: 9781592536030 Item # 191716 AQ 8.5 x 10 in, 216 x 254 mm 208 pages, HC 250 color photos Rights sold: Portuguese, Korean, Chinese Ct. Qty. 6 $40.00 US/£25.00 UK/$50.00 CAN

Top Design Professionals Critique 300 Package Designs and Explain What Makes Them Work Rob Wallace, Bronwen Edwards, Marianne Klimchuk, and Sharon Werner ISBN: 9781592535453 Item # 158871 AQ 9 x 11 in, 229 x 279 mm 272 pages, PB 500 color photos Rights sold: German Ct. Qty. 6 $45.00 US/£27.99 UK/$56.00 CAN

SUSTAINABLE DESIGN

57 Biodegradable and Recyclable Packages

Project Product package design Firm

The traditional “three R’s” of reduce, reuse, and recycle are part of a waste hierarchy that can be applied to product and package development. Development of sustainable packaging is an area of considerable interest to standards organizations, government agencies, consumers, designers, packagers, and retailers. Project

Harpun

Many surveys have suggested that more than two-thirds of the population would prefer packages made from recycled material or would be willing to pay more for environmentally responsible packaging. This can be achieved by minimizing packaging, maximizing the use of postconsumer recycled materials, using materials that can be and are recycled, and designing packaging where the individual parts can be separated for recycling.

Design Team Camilla Jarem, Cathrine Lie Hansen, Finne Ståle Felberg Client Økologiske Norgården This package design is an example of a cooperative effort between

Product package design

the chicken product producer

Firm

and Green Dot Norway, which

Pati Núñez Associats

Project

is a privately owned, nonprofit

Design Team

Product package design

company responsible for ﬁnancing the recovery and recycling of

Pati Núñez, Kike Segurola

Firm

Client

Harpun

used packaging on behalf of the

Cavas Recaredo

Design Team

industrial sector. The resultant

Camilla Jarem,

bold package character, made

Cathrine Lie Hansen,

from recycled plastic, incorporates

This Catalan wine is produced with a minimum of human inter-

Finne Ståle Felberg

strong, fresh colors with white

vention. The design concept was

Client

backgrounds to help the product

based on the same premise. The

Økologiske Norgården

stand out on the shelf.

typography was laser-cut into off-white cotton paper. Laser

This molded pulp egg carton

etching was used to create the

doesn’t need to be recycled.

typography on the wooden box.

It goes directly into the

Essentials (Rockport) Page: 62

g 8

Project Product package design

compost heap.

Firm Sunhouse Creative

<Multiple intersecting links> Designer

Susie Hetherington Client

Just Drinking Water

Aquapax water is contained in an attractively designed paper carton. The paper container occupies less space and weighs less than other containers. As a result, it uses less energy to transport. Also, the carton is recyclable and biodegrades quickly.

120 Packaging Essentials

1/15/10 9:22:41 AM

056-069 01690.indd 63

Job:01690 Title:Packaging Essentials (Rockport) Page: 63

1/15/10 9:22:44 AM

110-121 01690.indd 120

121

Text

Packaging Essentials

024-059_30084.indd 39 024-059_30084.indd 39

(RAY) (Text)

Job:01690 Title:Packaging Essentials (Rockport) Page: 120

1/15/10 11:29:52 AM

110-121 01690.indd 121

Text

Job:01690 Title:Packaging Essentials (Rockport) Page: 121

1/15/10 11:29:54 AM

3/11/13 7:04 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 39

2 BOOKS BY CATEGORY

Best Practices for Graphic Designers, Grids and Page Layouts

An Essential Guide for Understanding and Applying Page Design Principles Amy Graver and Ben Jura ISBN: 9781592537853 Item # 199795 AQ 6.75 x 9 in, 172 x 228 mm 192 pages, Flexi-bind 250 color photos Rights sold: English language in Asia, German, Chinese, Portuguese, Italian, French Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

gRIds & LAyoUt

Layout Essentials

Layout Workbook

100 Design Principles for Using Grids Beth Tondreau ISBN: 9781592537075 Item # 193879 AQ 8.5 x 10 in, 216 x 254 mm 208 pages, PB 250 color photos Rights sold: Spanish, Portuguese, Japanese, Korean, German, Dutch, French, Chinese Ct. Qty. 10 $25.00 US/£16.99 UK/$28.00 CAN

A Real-World Guide to Building Pages in Graphic Design Kristin Cullen ISBN: 9781592533527 Item # 153293 AQ 9 x 9 in, 229 x 229 mm 240 pages, PB 500 color photos All rights available Ct. Qty. 10 $25.00 US/£16.99 UK/$29.95 CAN

“ I T I S I M P O RTA N T T O R E M E M B E R

T h AT M A N Y D E V I C E S A R E AVA I L A B L E T O M A k E L AYO U T S

Making and Breaking the Grid

E xC I T I N G . T h E P U R P O S E O F T h E G R I D I S T O P ROV I D E

A Graphic Design Layout Workshop Timothy Samara ISBN: 9781592531257 Item # 153276 AQ 9 x 11 in, 228 x 280 mm 208 pages, PB 508 color photos Rights sold: Portuguese, Chinese, English language in Russia Ct. Qty. 10 $25.00 US/£16.99 UK/$34.95 CAN

C O N S I S T E N C Y T O T h E L AYO U T S , B U T N O T N E C E S S A R I LY E xC I T E M E N T—W h I C h W I L L B E P ROV I D E D BY T h E S U M O F A L L

When thinking thinking about about aa book book design, design, the the team team at at When Vignelli Associates Associates first first determines determines the the size size of of the the book book Vignelli based on on the the content, content, to to ensure ensure that that the the grid grid system system based used to to organize organize the the content content will will provide provide structure structure and and used continuity from from cover cover to to cover cover without without obscuring obscuring continuity the content. content. For For example, example, square square pictures pictures tend tend to to work work the better in a square book format to best exhibit the better in a square book format to best exhibit the content without without cropping cropping images. images. content

T h E E L E M E N T S I N T h E D E S I G N .” —Massimo Vignelli, Vignelli, Vignelli Vignelli Associates Associates —Massimo

16 Best Best Practices Practices for for Graphic Graphic Designers: Designers: Grids Grids and and Page Page Layouts Layouts 16

001-192_28019.indd 16 16 001-192_28019.indd 001-192_28019.indd 16 16 001-192_28019.indd

(Fogra 39) 39) Job:02-28019 Job:02-28019 Title:RP-Best Title:RP-Best Practices Practices for for Graphic Graphic Designers Designers (Fogra #175 DTP:204 DTP:204 Page:16 Page:16 #175

001-192_28019.indd 17 17 001-192_28019.indd 001-192_28019.indd 17 17 001-192_28019.indd

Best Practices for Graphic Designers, Grids and Page Layouts

024-059_30084.indd 40 024-059_30084.indd 40

m Vignelli Vignelli Associates Associates ffiirrm ntt Rizzoli Rizzoli International International cclliieen

Vignelli Associates: Associates: Approach Approach to to Grid-based Grid-based Design Design 17 17 Vignelli

2/9/12 7:46 7:46 PM PM 2/9/12 2/9/12 9:12 9:12 PM PM 2/9/12

(Text)(RAY) (RAY) (Text)

After finessing finessing the the storyboard storyboard and and After getting the the layout layout just just right, right, the the getting designers build build each each spread spread using using the the designers storyboard as as aa guide. guide. Following Following the the storyboard sketches as as closely closely as as possible possible so so as as sketches not to to negate negate the the work work already already done done not establishes the the cinematic cinematic flow flow of of the the establishes piece as as aa whole. whole. piece

(RAY) (Text)

2/9/12 7:46 7:46 PM PM 2/9/12 2/9/12 9:12 9:12 PM PM 2/9/12

(Text)(RAY) (RAY) (Text)

(Fogra 39) 39) Job:02-28019 Job:02-28019 Title:RP-Best Title:RP-Best Practices Practices for for Graphic Graphic Designers Designers (Fogra #175 DTP:204 DTP:204 Page:17 Page:17 #175

3/11/13 7:04 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 40

g 0

2 45th Publication Design Annual

Society of Publication Designers ISBN: 9781592536696 Item # 192546 AQ 9 x 12 in, 229 x 305 mm 336 pages, POB 1000 color photos All rights available Ct. Qty. 6 $60.00 US/£40.00 UK/$65.00 CAN

The Best of Cover Design

Books, Magazines, Catalogs, and More Altitude Associates ISBN: 9781592536894 Item # 193886 AQ 9 x 11 in, 229 x 279 mm 224 pages, HC 300 color photos All rights available Ct. Qty. 6 $45.00 US/£30.00 UK/$49.99 CAN

46th Publication Design Annual

Society of Publication Designers ISBN: 9781592537501 Item # 195027 AQ 9 x 12 in, 229 x 305 mm 336 pages, POB 1000 color photos All rights available Ct. Qty. 6 $60.00 US/£40.00 UK/$65.00 CAN

The Best of News Design 31

Society for News Design ISBN: 9781592536672 Item # 192555 AQ 9 x 12 in, 229 x 305 mm 272 pages, HC 800 color photos All rights available Ct. Qty. 6 $60.00 US/£40.00 UK/$65.00 CAN

47th Publication Design Annual

Society of Publication Designers ISBN: 9781592538225 Item # 200342 AQ 9 x 12 in, 229 x 305 mm 336 pages, POB 1000 color photos All rights available Ct. Qty. 6 $65.00 US/£40.00 UK/$72.00 CAN

BOOKS BY CATEGORY PUBLICAtIon desIgn RefeRenCe

The Best of News Design 33

Society for News Design ISBN: 9781592538232 Item # 200343 AQ 9.25 x 12.25 in, 235 x 311 mm 272 pages, HC 800 color photos All rights available Ct. Qty. 6 $65.00 US/£40.00 UK/$72.00 CAN

024-059_30084.indd 41 024-059_30084.indd 41

(RAY) (Text)

3/11/13 7:04 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 41

2 BOOKS BY CATEGORY CoRPoRAte CommUnICAtIons

The Best of Brochure Design 11

The Best of Brochure Design 12

Kiki Eldridge ISBN: 9781592538263 Item # 200346 AQ 9.25 x 11.25 in, 235 x 286 mm 224 pages, PB 450 color photos Rights sold: English language in Japan Ct. Qty. 10 $35.00 US/£22.50 UK/$39.00 CAN

BEst of BusinEss card dEsign 9

The Best of the Best of Brochure Design: Volume II

Public ISBN: 9781592538331 Item # 210576 AQ 9 x 11 in, 229 x 279 mm 224 pages, HC 300 color photos All rights available Ct. Qty. 6 $45.00 US/£30.00 UK/$49.99 CAN

Jason Godfrey, Willoughby Design Group, Wilson Harvey, and Cheryl Cullen ISBN: 9781592537921 Item # 199800 AQ 9.25 x 11.25 in, 235 x 286 mm 352 pages, PB 800 color photos Rights sold: English language in EU Ct. Qty. 20 $19.99 US/£14.99 UK/$21.99 CAN

162

163

intEractivous cardious

St. Bernadine Mission Communications, Inc. dEsign firm

001 spEcimEn

Jennifer Hicks dEsignEr(s)

Andrew Samuel art dirEctor

The Dog & Hydrant cliEnt notEs

Illustrator CS3; Metal dog tag, stickers

designlab, inc dEsign firm

002 spEcimEn

Scott Gericke dEsignEr(s)

Laura Burns Gericke art dirEctor

designlab, inc cliEnt

001

notEs

InDesign CS3, Illustrator CS3; Mohawk Superfine Ultrawhite, 130 lb. Cover, eggshell finish

The Best of Business Card Design 9 Rule29 ISBN: 9781592537907 Item # 199798 AQ 9 x 11 in, 229 x 279 mm 240 pages, PB 800 color photos Rights sold: Hungarian Ct. Qty. 10

A3 Design dEsign firm

003 spEcimEn

Alan Altman dEsignEr(s)

Amanda Altman art dirEctor

carbonhouse cliEnt notEs

Illustrator CS3; 2x thick Classic Crest 130 lb.

Voicebox Creative dEsign firm

004 spEcimEn

Voicebox Creative dEsignEr(s)

Jacques Rossouw art dirEctor

Sbragia Family Vineyards cliEnt notEs

Illustrator CS3

002 004

003

134-175_15281.indd 162 134-175_15281.indd 162

10/26/09 10:53:18 AM 10/26/09 12:48:47 PM

(RAY) Text

(10-15281) Job:09-14712 Title:RP-Best of Business Card 9 #175 Dtp:48(P) Page:162

134-175_15281.indd 163 134-175_15281.indd 163

10/26/09 10:53:31 AM 10/26/09 12:48:47 PM

(RAY) Text

(10-15281) Job:09-14712 Title:RP-Best of Business Card 9 #175 Dtp:48(P) Page:163

The Best of Business Card Design 9

024-059_30084.indd 42 024-059_30084.indd 42

(RAY) (Text)

3/11/13 7:05 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 42

g 2

Title: Estoril Fashion Art Festival Catalogue Firm: MusaWorkLab Art Director: MusaWorkLab Designer: MusaWorkLab Client: Associação ModaLisboa Client Industry: Fashion Printer: M2 Artes Gráficas Method: Offset Paper: Fedrigoni paper

The variation in the cards reflects the array of participants of the event.

Fonts: Didot, League Gothic, Linux Libertine. Photographers: Jornal O Século, C.M.Cascais, Luciana Cristhovan, Eugenio Recuenco, Jose Manuel Ferrater, David Urbano, Daniel RierA, Antoine Passerat, Luis Venegas, Carlos Ramos, Paulo Segadães, Luís de Barros, Pedro Ferreira, Rui Aguiar Illustrators: Maria Archer, MusaWorklab Writers: Text by the authors Designer’s Statement: Catalog for cultural festival that put together Portuguese and Spanish creative talents such as Luis Venegas, Paco Rabane. The festival incorporated exhibitions, fashion shows and debates with names carefully summoned from the ranks of fashion, photography, publishing, cinema, video art, public art, and food design.

The enclosing case is simple and sophisticated with type debossed giving it a high-end feel.

118

119

120

121

Title: Estoril Fashion Art Festival Catalogue Firm: MusaWorkLab

8331_127_06.tif Although every card is quite different, the primary typeface and black/red/white color palette holds the pieces together visually.

The Best of Brochure Design 12

024-059_30084.indd 43 024-059_30084.indd 43

(RAY) (Text)

3/11/13 7:05 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 43

2 BOOKS BY CATEGORY Portfolios & Promotions

1,000 Bags, Tags, & Labels

Distinctive Designs for Every Industry Kiki Eldridge ISBN: 9781592531837 Item # 153042 AQ 9 x 9 in, 229 x 229 mm 320 pages, PB 1000 color photos Rights sold: Chinese, English language in Japan, Russia, Asia excluding Japan and India, Germany, Austria, Switzerland, EU Ct. Qty. 6 $40.00 US/£27.50 UK/$56.00 CAN

1,000 Bags, Tags, & Labels (mini)

1,000 More Greetings

Distinctive Design for Every Industry Kiki Eldridge ISBN: 9781592535330 Item # 153360 AQ 6 x 6 in, 152 x 152 mm 440 pages, PB 1000 color photos Rights sold: English language in Japan Ct. Qty. 20 $19.99 US/£12.99 UK/$21.95 CAN

Creative Correspondence for All Occasions Aesthetic Movement ISBN: 9781592536405 Item # 192548 AQ 9 x 9 in, 229 x 229 mm 320 pages, Flexi-bind 1000 color photos Rights sold: English language in Japan, EU, Taiwan, Asia Ct. Qty. 6 $40.00 US/£25.00 UK/$44.00 CAN

1,000 Indie Posters John Foster ISBN: 9781592536566 Item # 192530 AQ 9 x 9 in, 229 x 229 mm 320 pages, Flexi-bind 1000 color photos Rights sold: Japanese Ct. Qty. 6 $40.00 US/£25.00 UK/$44.00 CAN

024-059_30084.indd 44 024-059_30084.indd 44

1,000 Music Graphics (mini) A compilation of packaging, posters, and other sound solutions Stoltz Design ISBN: 9781592536634 Item # 192549 AQ 6 x 6 in, 152 x 152 mm 440 pages, PB 1000 color photos Rights sold: English language in Japan Ct. Qty. 20 $19.99 US/£12.99 UK/$21.99 CAN

(RAY) (Text)

Building Design Portfolios

Innovative Concepts for Presenting Your Work Sara Eisenman ISBN: 9781592534388 Item # 153300 AQ 6.75 x 10 in, 171 x 254 mm 192 pages, PB 300 color photos All rights available Ct. Qty. 10 $25.00 US/£16.99 UK/$27.50 CAN

Design for Special Events

500 of the Best Logos, Invitations, and Graphics Peleg Top ISBN: 9781592534166 Item # 152920 AQ 9.25 x 9.25 in, 235 x 235 mm 320 pages, HC 600 color photos All rights available Ct. Qty. 6 $50.00 US/£30.00 UK/$55.00 CAN

3/12/13 9:48 AM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 44

g 4

Design Matters: Portfolios 01

An Essential Primer for Today’s Competitive Market Maura Keller ISBN: 9781592536023 Item # 191712 AQ 8.25 x 10.25 in, 210 x 260 mm 192 pages, Flexi-bind 250 color photos Rights sold: Korean Ct. Qty. 20 $24.99 US/£16.99 UK/$31.99 CAN

Design: Portfolio

Self Promotion at Its Best Craig Welsh ISBN: 9781592538409 Item # 210770 AQ 8 x 11 in, 203 x 280 320 pages, Flexi-bind 500 color photos All rights available Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

New Masters of Poster Design

Poster Design for the Next Century John Foster ISBN: 9781592534340 Item # 153199 AQ 9 x 12 in, 229 x 305 mm 256 pages, PB 400 color photos All rights available Ct. Qty. 10 $30.00 US/£19.99 UK/$32.95 CAN

New Masters of Poster Design, Volume 2

Poster Design for This Century and Beyond John Foster ISBN: 9781592537365 Item # 195002 AQ 9 x 12 in, 229 x 305 mm 256 pages, PB w/jacket 400 color photos All rights available Ct. Qty. 6 $40.00 US/£25.00 UK/$44.00 CAN

Design Port1.pdf

Design: Portfolio

024-059_30084.indd 45 024-059_30084.indd 45

(RAY) (Text)

3/12/13 9:48 AM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 45

2 BOOKS BY CATEGORY ReseARCh & InfoRmAtIon gRAPhICs

A Designer’s Research Manual

Succeed in Design by Knowing Your Clients and What They Really Need Jenn and Ken Visocky O’Grady ISBN: 9781592535576 Item # 153304 AQ 6.75 x 10 in, 171 x 254 mm 192 pages, PB 300 color photos Rights sold: Chinese, Korean Ct. Qty. 10 $25.00 US/£16.99 UK/$27.50 CAN

Information Design Workbook

Graphic Approaches, Solutions, and Inspiration + 30 Case Studies Kim Baer ISBN: 9781592536276 Item # 191707 AQ 9 x 9 in, 229 x 229 mm 240 pages, PB 500 color photos All rights available Ct. Qty. 20 $20.00 US/£14.99 UK/$25.00 CAN

Universal Methods of Design

100 Ways to Research Complex Problems, Develop Innovative Ideas, and Design Effective Solutions Bruce Hanington and Bella Martin ISBN: 9781592537563 Item # 195001 AQ 8.5 x 10 in, 216 x 254 mm 208 pages, HC 250 color photos Rights sold: Chinese, Dutch, Japanese, Korean, French, German, Russian Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

Visual Language for Designers Principles for Creating Graphics that People Understand Connie Malamed ISBN: 9781592537419 Item # 195004 AQ 9 x 11 in, 229 x 280 mm 240 pages, PB 300 color photos All rights available Ct. Qty. 10 $25.00 US/£16.99 UK/$28.00 CAN

Writing and Research for Graphic Designers A Designer’s Manual to Strategic Communication and Presentation Steven Heller ISBN: 9781592538041 Item # 199826 AQ 8 x 10 in, 203 x 254 mm 176 pages, HC 250 color photos All rights available Ct. Qty. 6 $40.00 US/£25.00 UK/$44.00 CAN

024-059_30084.indd 46 024-059_30084.indd 46

(RAY) (Text)

3/11/13 7:05 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 46

33 ergonomic Analysis

Design Phase:

Ergonomic analysis provides an assessment of tools, equipment, devices, workstations, workplaces, or environments, to optimize the fit, safety, and comfort of use by people. ergonomic analysis is performed as an evaluation of products or environments currently in use to suggest improvements through corrective measures such as adaptations, adjustment, or equip-

1. Tannen, rob. “Crimping Tools: An

Head

ment replacement, or to inspire redesign. It may be conducted as a predesign analysis, through the evaluation of comparable products or systems, or utilizing human studies, literature, and standards, to establish ergonomic criteria for new design.

Whitepaper for Thomas & Betts, June 2009.

Shoulder

See also:

Elbow

http: www.designingforhumans.com/

Hand

idsa/2010/06/ergonomic-analysis-for-tool-

Foot

ergonomic review of the State-of-the-Art.”

Five interrelated criteria commonly used in ergonomic analysis are size, strength, reach, clearance,

redesign.html

and posture,1 ranging in scale from micro (finger, hand, tool) to macro (limb, body, environment).

2. extensive data sets of human dimensions

Size Anthropometry is the systematic measurement of people, used in the evaluation of existing tools for size appropriateness, and for designing new tools and systems according to human scale.2 Strength The amount of manual force needed for effective use of products and systems encompasses the range of human criteria from finger strength in trigger-based actions, to hand strength for gripping and force requirements, and limb, torso, and body strength for tasks such as lifting.

Same Position

are available in print and online. In design,

landmark text the measure of man published

Above: ergonomic analyses of human postures and movements used to inform the design of library media stations for the deichmannske main library in oslo, norway. www.systemsorienteddesign.net

in 1959, and updated as the measure of man

courtesy of birger Sevaldson, ahO

dreyfuss and Associates is credited as the authoritative resource for human anthropometric data, stemming from the

and woman, first published in 1993. See:

Clearance Clearance describes the effective space required within and around tools and machinery for safe, comfortable hand use, and minimum thresholds for avoiding obstacles in the environment. Clearance is commonly based on accommodating the 95th percentile male, on the assumption that this will account for use by all users equal or smaller in size.

Tilley, Alvin r., and Henry dreyfuss

Wide jaw opening provides clearance for inserting/ removing terminals

Associates. the measure of man and woman. new York: Wiley, 2001. 3. See note 1 above.

Cagan, Jonathan, and Craig vogel. creating breakthrough products. Upper Saddle river, nJ: Prentice-Hall, 2002.

Posture In assessing hand postures, tools and systems should avoid excessive deviation (lateral movements left and right) or flexion (movements downward and upward) from a neutral position. For example, ergonomic keyboards attempt to maintain a natural, neutral posture for the wrist. At body scale, a healthy posture and the reduction of bending and stooping are critical to avoid discomfort, fatigue, and long-term injury.

dul, Jan, and Bernard Weerdmeester. ergonomics for beginners: a Quick reference Guide. Boca raton, Fl: CrC Press, 2008.

Ideal Crimpmaster 30 – 500

Panduit CT 1570

T&B T&B erG 4001 requires 18% less force than its closest competitor.

erG 4001

Release mechanism is accessed external to handles for ease of access

Tyco Procrimper III

Contoured handle with upper and lower touch points to support grip span

Grip Span (in inches)

Pheasant, Stephen, and Christine Haslegrave. bodyspace: anthropometry, ergonomics and the design of work. Boca raton, Fl: CrC

Above and right: ergonomic analysis of a crimping device hand tool for Thomas & Betts. 3

Press, 2005.

Although ergonomic analyses are usually performed as objective, behavioral evaluations, it is important to also include qualitative assessments. For example, preference measures such as comfort questionnaires can be used to compare and correlate physical measures with subjective perceptions.

High visibility color coding for size

Critical Zone

Further Reading Applied Hand Force (in pounds)

Reach At a micro level, reach refers to the span of the hand, measured as the distance between touch points in tool and equipment design, establishing grip requirements. At a macro level, reach is used to establish and evaluate effective body positions, for the user to safely, effectively access operator controls, or components of a workstation, appliance, or architectural feature in the environment. reach thresholds are typically established for the fifth percentile of females, assuming that if the smallest user can grip or access, most users will be accommodated.

courtesy of rob tannen, bresslergroup

Grooved handle overmolding provides comfort, grip stability, and durability

Behavioral Attitudinal

Quantitative Qualitative

Innovative Adapted Traditional

Exploratory Generative Evaluative

Handle cleat (foot) grips surface for optimal leverage when crimping

Participatory Observational Self reporting Expert review Design process

Universal Methods of Design

See also 34. Evaluative Research • 84. Task Analysis • 94. Usability Testing

001-208_26863.indd 72 001-208_C66602.indd 72

9/23/11 10:52 AM 4/2/12 11:17 AM

001-208_26863.indd 73 001-208_C66602.indd 73

(Fogra 39) Job:09-26863 Title:RP-Universal Methods of Design 03-C66602 (225) #175 Dtp:204 Page:72

(Text) (RAY)

9/23/11 10:52 AM 4/2/12 11:17 AM

(Fogra 39) Job:09-26863 Title:RP-Universal Methods of Design 03-C66602 (225) #175 Dtp:204 Page:73

(Text) (RAY)

ReseaRch MethoD • synthesis / analysis techniqUe • ReseaRch DeliveRable

34 evaluative research

Design Phase:

g 6

ReseaRch MethoD • synthesis / analysis techniqUe

Evaluative research involves the testing of prototypes, products, or interfaces by real potential users of a system in design development. evaluative or evaluation research attempts to gauge human expectations against the designed artifact in question, determining whether something is useful, usable, and desirable. This is the most established form of research in design, stemming from a long history of product and interface testing in human factors, commonly known as “user testing.” To avoid connotations that the participants themselves are being tested, the term “product testing” is preferred. Furthermore, whereas testing in the past focused primarily on performance measures to gauge variables such as speed and accuracy in task completion, the emphasis in design evaluation is now more comprehensive, collecting feedback on preference measures as well, including the aesthetic and emotional response from users. evaluation research therefore encompasses methods that gauge human factors and ergonomics, usability, aesthetic response, and emotional resonance.

1. See for example: Kittur, Aniket, ed H. Chi, and Bongwon Suh. “Crowdsourcing for Usability: Using Micro-Task Markets for rapid, remote, and low-Cost User Measurements.” proceedings of chi, 2008. See also: Amazon Mechanical Turk: www.mturk.com fivesecondtest: www.fivesecondtest.com navflow: www.navflow.com clicktest: www.theclicktest.com

evaluation research is ideally iterative, based on feedback from potential users in cyclical rounds of concept and prototype development to refine product and interface details. evaluation should never be reserved only for final product release, when design changes are potentially complicated and expensive. However, evaluation research of existing products may be useful in early stage design research, to inform new product development, for competing products or variations, or for complementary products within a system.

Further Reading Barnum, Carol. usability testing essentials: ready, Set . . . test! San Francisco, CA: Morgan Kaufmann, 2010. Hackos, JoAnn, and Janice redish. user and

The methodology of evaluation research may be tightly controlled, employing a scientific, experimental model typical in lab testing. The advantage of this model is the control over extraneous variables, but this may come at the expense of realism. depending on the fidelity of prototypes, testing can also be conducted using flexible evaluations by people using products or prototypes in context or approximate conditions of real-world use. The value of this approach is realism, but it may come at the expense of control over other influencing variables.

task analysis for interface design. new York: Wiley, 1998. Tullis, Thomas, and William Albert. measuring the user experience: collecting, analyzing, and presenting usability metrics. San Francisco, CA: Morgan Kaufmann, 2008.

new crowdsourcing opportunities afford online testing by volunteers to assess pages, navigation, and how users are engaging with prototype interface designs and wireframes, complete with summarized data analysis and visualizations presented in graphs and heat maps.1 While evaluation research should always encompass testing with potential users, other methods use expert evaluators to assess products and interfaces, such as cognitive walkthrough and heuristic evaluation. When evaluation research is conducted following thorough exploratory and generative research, it often needs only to serve a verification purpose, to assess how well designers have responded to input from users as they iterate and refine their designs.

evaluation research can be conducted through a range of formal and informal means. Here stakeholder evaluations were informally invited through a public display of prototypes for a proposed new signage program in the School of design at Carnegie Mellon University.

Behavioral Attitudinal

Quantitative Qualitative

Innovative Adapted Traditional

Exploratory Generative Evaluative

Universal Methods of Design

Participatory Observational Self reporting Expert review Design process

See also 01. A/B Testing • 46. Heuristic Evaluation • 87. Think-aloud Protocol

001-208_26863.indd 74 001-208_C66602.indd 74

(Text) (RAY) Universal Methods of Design

024-059_30084.indd 47 024-059_30084.indd 47

9/23/11 10:52 AM 4/2/12 11:17 AM

(Fogra 39) Job:09-26863 Title:RP-Universal Methods of Design 03-C66602 (225) #175 Dtp:204 Page:74

(RAY) (Text)

001-208_26863.indd 75 001-208_C66602.indd 75

9/23/11 10:52 AM 4/2/12 11:17 AM

(Text) (RAY)

(Fogra 39) Job:09-26863 Title:RP-Universal Methods of Design 03-C66602 (225) #175 Dtp:204 Page:75

3/11/13 7:05 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 47

2 BOOKS BY CATEGORY Working Designers

100 Habits of Successful Freelance Designers

Insider Secrets for Working Smart & Staying Creative Steve Gordon Jr. ISBN: 9781592535125 Item # 153073 AQ 8.25 x 10.25 in, 210 x 260 mm 192 pages, HC 300 color photos All rights available Ct. Qty. 6 $40.00 US/£24.99 UK/$43.95 CAN

365 Habits of Successful Graphic Designers

The Design Entrepreneur

Insider Secrets from Top Designers on Working Smart and Staying Creative Laurel Saville, Steve Gordon Jr., Joshua Berger, and Sarah Dougher ISBN: 9781592537372 Item # 195015 AQ 8 x 10 in, 203 x 254 mm 496 pages, PB 900 color photos Rights sold: English language in Asia Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

Turning Graphic Design Into Goods That Sell Steven Heller and Lita Talarico ISBN: 9781592537068 Item # 193876 AQ 6.75 x 10 in, 171 x 254 mm 240 pages, PB 500 color photos All rights available Ct. Qty. 10 $25.00 US/£16.99 UK/$28.00 CAN

L a p o

Graphic Design That Works

024-059_30084.indd 48 024-059_30084.indd 48

Secrets for Successful Logo, Magazine, Brochure, Promotion, and Identity Design Rockport Publishers ISBN: 9781592532797 Item # 153287 AQ 6.75 x 8.25 in, 171 x 210 mm 352 pages, PB 600 color photos All rights available Ct. Qty. 10 $25.00 US/£16.99 UK/$35.00 CAN

(RAY) (Text)

Managing the Design Process-Concept Development An Essential Manual for the Working Designer Terry Lee Stone ISBN: 9781592536177 Item # 191720 AQ 8 x 10 in, 203 x 254 mm 208 pages, Flexi-bind 200 color photos Rights sold: Chinese, Korean Ct. Qty. 6 $40.00 US/£25.00 UK/$44.00 CAN

Managing the Design ProcessImplementing Design

An Essential Manual for the Working Designer Terry Lee Stone ISBN: 9781592536191 Item # 192564 AQ 8 x 10 in, 203 x 254 mm 208 pages, Flexi-bind 200 color photos Rights sold: Chinese, German Ct. Qty. 6 $40.00 US/£25.00 UK/$44.00 CAN

001-27 001-27

3/11/13 7:06 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 48

g 8

2 The Anatomy of Design

Atlas of Graphic Designers

D ES IG N : PA P ER

Design: Paper

A Seductive Collection of Alluring Paper Design Public School ISBN: 9781592537716 Item # 195056 AQ 8 x 10 in, 203 x 254 mm 272 pages, Flexi-bind 1000 color photos Rights sold: English language in Asia Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

Elena Stanic and Corina Lipavsky ISBN: 9781592536641 Item # 192552 AQ 9 x 11 in, 229 x 279 mm 600 pages, PB 1000 color photos Rights sold: English language in Asia Ct. Qty. 6 $30.00 US/£19.99 UK/$33.00 CAN

Uncovering the Influences and Inspiration in Modern Graphic Design Steven Heller and Mirko Ilic ISBN: 9781592535545 Item # 153207 AQ 10 x 10 in, 254 x 254 mm 208 pages, PB 1400 color photos All rights available Ct. Qty. 10 $30.00 US/£18.99 UK/$32.95 CAN

C LOSE R LOOK

BOOKS BY CATEGORY

D E S I G N : PA P E R

138

Hatch Design

USA

general Design & Creativity

PAC KAG I N G

139

Jamie Nash

USA

CLOSER LOOK Watson and Company USA

Launched in 2009 by Daniella Luxembourg and Amaila Dayan, Luxembourg & Dayan is a private gallery located in the Upper East Side of Manhattan.

Simple, thoughtful paper choices are combined with beautifully set type to create an elegant identity.

The chipboard is a nice contrast to the refined materials.

A single color helps the identity stand out from an otherwise traditional black-and-white gallery color palette.

001-272_28033.indd 62 001-272_28033.indd 62

3/1/12 2:16 PM 3/1/12 1:52 PM

(Text) (RAY)

(Fogra 39) Job:02-28033 Title:RP-Design Paper #175 DTP:225 Page:62

001-272_28033.indd 63 001-272_28033.indd 63

3/1/12 2:16 PM 3/1/12 1:52 PM

(Text) (RAY)

(Fogra 39) Job:02-28033 Title:RP-Design Paper #175 DTP:225 Page:63

001-272_28033.indd 138 001-272_28033.indd 138

3/2/12 1:26 PM 3/1/12 1:53 PM

(Text) (RAY)

(Fogra 39) Job:02-28033 Title:RP-Design Paper #175 DTP:225 Page:138

001-272_28033.indd 139 001-272_28033.indd 139

3/1/12 2:19 PM 3/1/12 1:53 PM

(Text) (RAY)

(Fogra 39) Job:02-28033 Title:RP-Design Paper #175 DTP:225 Page:139

Design: Paper

024-059_30084.indd 49 024-059_30084.indd 49

(RAY) (Text)

3/11/13 7:06 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 49

2 BOOKS BY CATEGORY

Design School

general Design & Creativity

178

Sketchbook

Extraordinary Class Projects From International Design Schools Steven Heller and Lita Talarico ISBN: 9781592537594 Item # 195005 AQ 6.75 x 10 in, 171 x 254 mm 224 pages, PB 300 color photos Rights sold: Chinese Ct. Qty. 10 $25.00 US/£16.99 UK/$28.00 CAN

design school

the projects

179

Conceptual Drawings from the World’s Most Influential Designers Timothy O’Donnell ISBN: 9781592537341 Item # 195030 AQ 9 x 11 in, 229 x 279 mm 192 pages, PB 300 color photos Rights sold: Japanese, Chinese, English language in Asia Ct. Qty. 10 $25.00 US/£16.99 UK/$28.00 CAN

180

design school

the projects

Color y Carnaval

The Transparent Cover

University of Bogotá Jorge Tadeo Lozano

Autonomous Metropolitan University, Azcapotzako Campus

Bogotá D.C., Colombia

181

design as a fundamental bian popular culture.

element of the Colom-

Mexico City, Mexico Class: Basic Design Level: First year Faculty: Diego Giovanni Bermúdez Aguirre Duration of Project: Six Weeks

project goal Develop color, form, structure, and space by studying the figures, masks, and dances of the Carnival of Barranquilla.

project brief

 El

Torito

 La

Marimonda

 El

Monocuco

This project is based on an analytical reading of the Carnival of the city of Barranquilla (a Cultural Patrimony of Humanity, according to UNESCO) from the point of view of its overall design and its fundamental components. Each student analyzes the text for its form, color, texture, movement, and structure, relating to

project outcome

Student: Alex Rodriguez

Student: Laura Nieto

Student: Diana Mosquera

The exercise resulted in the design of a series of posters that picked up the essential elements of each aspect examined and that, moreover, were within the framework set out by the International Congress of Graphic Design, established in Merida, Venezuela, in November 2004.

The Torito represents the tradition and strength of the carnival, shown in the bull-faced mask and the handling of the colors of the national flag.

The Marimonda is known for gratitude and overflowing joy, elements that are expressed with complementary and warm colors.

The carnival is an example of joy and diversion through movement and spontaneity, which the poster reveals in its warm trowel of color and defined curvilinear forms.

 El

Rey Momo

Student: Luisa Luna

The structure demonstrates the results of the analysis of the carnival text. It is the fundamental element from which comes the diverse possibilities, in terms of form and color, for the poster of King Momo.

This poster objectively expresses by means of dynamic forms and primary colors (present in the Colombian flag) the magnificence and authenticity of the Great Congo—one of the most important dances of the carnival.

 La

Negrita Puloy

Student: Estefania Mayolo

(RAY) PB-Edn (RAY)

 Student: Carlos Rivera

 Student: Dulce Hernandez

The image of a half-full sack in which the harvest is deposited is evidence of the insufficiency of the production of an arid land. The glare is associated to a certain extent with a blaze and the text has a suitable contrast for readability.

This flame is awesome and devastating, and the text is placed in the space allowed by the photo. I have not reduced the size of the typography of the author’s name because I consider it to be as important as the book’s title.

project brief

Congo Grande

Student: Alejandro Guerrero

026-224_26152.indd 178 026-224_12412.indd 178

Redesign the cover of the popular book El Llano en llamas (The Burning Plain) by Juan Rulfo, one of the most internationally renowned of

Mexican writers. It is a book of short stories that deals with conditions of rural life at the time of the Mexican Revolution, highlighting social contrasts, the struggle for land, religion, and politics. The students have to read the book thoroughly and make assessments of the covers of previous editions. The cover trim is 4.5 × 6.5 inches (11.5 × 16.5 cm) and the printing is four color. The method for carrying out the project comprises three stages: defining the need for the design, determining the design direction, then creating the book cover.

Class: Design of Messages III Level: Second Year Faculty: Felix Beltran Duration of Project: One Month

7/8/11 2:51:57 PM 5/28/09 4:14:33 PM (07-26152-174) Job:05-11998/12412 Job:05-11998/12412 Title:RP-Design Title:RP-Design School School Confidential Con n dential dential #175 Dtp:160(P) Dtp:160(P) Page:178 #175 Page:178

 El

Descabezado

Student: Carlos Mendoza

The essential elements of the figure of the Negrita Puloy are manifested in curved forms juxtaposed with luminous colors.

026-224_26152.indd 179 026-224_12412.indd 179

The headless Descabezado (left-without-a-leader) represents the violence lived in Colombia for decades. Asymmetry, resistance, and sharpness serve to represent this carnival personage.

(RAY) PB-Edn

7/8/11 2:51:57 PM 5/28/09 4:14:38 PM (07-26152-174) Job:05-11998/12412 Title:RP-Design School Confidential Con dential #175 Dtp:160(P) Page:179

026-224_26152.indd 180 026-224_12412.indd 180

(RAY) PB-Edn

7/8/11 2:51:58 PM 5/28/09 4:14:42 PM (07-26152-174) Job:05-11998/12412 Title:RP-Design School Confidential Con n dential #175 Dtp:160(P) Page:180

 Student: Christian Alvarez

 Student: Luis Baltazar

 Student: Liliana Linares

I wanted to reflect the metaphor of the principal story and accentuate a dramatic scene. The heavy letters are compatible with the rest of the scene.

I opted for an enflamed scene of rural workers to describe a situation that continues to exist in Mexico.

I decided to use a photograph of a peasant for my work, since I consider them to be the main subject of these stories. The reddish tones evoke the fire of the Mexican Revolution.

 Student: Elizabeth Mandujano

 Student: Miryam Cervantes

 Student: Gabriela Maciel

I decided to make the blaze more evident than that of other proposals. The peasants appearing in one corner are defenseless before the immense flames.

I tried to make the background black to accentuate the dramatic quality of the flames. The typography is condensed; I now believe it could have been a little bolder.

I wanted to reflect the conditions of the countryside described in the stories using a photograph of the peasants emerging from the blaze.

026-224_26152.indd 181 026-224_12412.indd 181

(RAY) PB-Edn

7/8/11 2:51:58 PM 5/28/09 4:23:26 PM (07-26152-174) Job:05-11998/12412 Title:RP-Design School Confidential Con dential #175 Dtp:160(P) Page:181

Design School

024-059_30084.indd 50 024-059_30084.indd 50

(RAY) (Text)

3/11/13 7:06 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 50

58 PM 6tial PM

181

g 0

2 1,000 Ideas by 100 Manga Artists Cristian Campos ISBN: 9781592537143 Item # 193871 AQ 9 x 9 in, 229 x 229 mm 320 pages, Flexi-bind 1000 color photos Rights sold: Chinese Ct. Qty. 10 $24.99 US/£16.99 UK/$27.99 CAN

1,000 Ideas for Graffiti and Street Art Murals, Tags, and More from Artists Around the World Cristian Campos ISBN: 9781592536580 Item # 192529 AQ 9 x 9 in, 229 x 229 mm 320 pages, Flexi-bind 1000 color photos Rights sold: English language in EU Ct. Qty. 6 $40.00 US/£25.00 UK/$44.00 CAN

BOOKS BY CATEGORY

Creating Comics!

47 Master Artists Reveal the Techniques and Inspiration Behind Their Comic Genius Judith Salavetz and Spencer Drate ISBN: 9781592536412 Item # 192556 AQ 8 x 10 in, 203 x 254 mm 176 pages, PB 200 color photos All rights available Ct. Qty. 10 $30.00 US/£20.00 UK/$33.00 CAN

Morning Breath

art & illustration

{INTERVIE W }

b r o o K Ly n , n E W yo r K , u . s . A . oPPosItE PAGE : Inside the Morning Breath studio: Jason Noto (left) and Doug Cunningham (right), 2010. LEF t: Morning Breath “Early Bird Icon,” 2002. rIGHt: Deck for Atlas, “Artist series board design,” 2010.

Morning breath is the name of a two-man design studio based in brooklyn, new york. Jason noto and doug cunningham first met in san Francisco while working for think skateboards, deciding in 2002 to strike out on their own to “do the work we love for people we like.” their collaborations include working with companies such as Atlas, Zoo york, Adrenalin skateboards, and circuit Wheels. Take us through a typical day at Morning Breath. What does your space look like, when does your workday start, and what kind of projects do you work on?

Inside the World of Board Graphics Skate, Surf, Snow Robynne Raye and Michael Strassburger ISBN: 9781592537181 Item # 193941 AQ 9 x 11 in, 229 x 279 mm 224 pages, Flexi-bind 300 color photos All rights available Ct. Qty. 10 $35.00 US/£25.00 UK/$39.00 CAN

024-059_30084.indd 51 024-059_30084.indd 51

Our days at Morning Breath are anything but typical. We usually arrive between ten and eleven o’clock in the morning. A lot of our projects are bicoastal, so it makes sense to start late and end a bit late. Most of our days begin with a quick powwow to discuss what needs to happen that day—which project is on fire.. Some days, our projects are straightforward design; other days, they are looser, a blend of illustration and our brand of design. When we’re waiting on feedback from a client, we’ll use that time to take care of the business side of things—invoicing, catching up on emails, sending out orders from our store, and so on. We also do a lot of painting and personal projects. Finding time for those projects can be challenging, but we’ve become pretty good at juggling.

Masters of Science Fiction and Fantasy Art

A Collection of the Most Inspiring Science Fiction, Fantasy, and Gaming Illustrators in the World Karen Haber ISBN: 9781592536757 Item # 193881 AQ 9 x 12 in, 229 x 305 mm 224 pages, PB 400 color photos All rights available Ct. Qty. 10 $30.00 US/£20.00 UK/$33.00 CAN

(RAY) (Text)

Our studio is on the tenth floor of a building on the Brooklyn waterfront. We have a really cool view of Manhattan outside our window. The inside of the studio is divided into a painting/make-a-mess space near the windows in the rear and a more organized computer/workstations space in the front. In the center, we have a pool table for those moments of procrastination. I read that you tag team when you create work. Noto does the design and Cunningham the illustration.

Can you describe your process for creating a board design?

A lot of our style and method for creating board graphics is similar to how we did it at Think Skateboards in the mid-nineties. If we have a solid concept or are creating a very loose abstract design, we usually start with an illustration of some sort and typographic elements. For a lot of our work, we want to achieve a slightly vintage feel, and to do this we use an archive of old typefaces along with specific techniques. Once the design and illustration are put in place we both give it a critique, and share suggestions and opinions on making it better. Have you noticed any difference in the design culture between the West Coast and East Coast?

We met while working at Think in 1996 in San Francisco. At the time, most skateboard companies were on the West Coast. The East Coast skateboard scene had been growing, but wasn’t yet as big as the California scene. Over the next decade, the scenes began to merge, with many people in that industry going bicoastal, including the pro skaters. This brought the urban street culture of New York City to the skate scene of California, which was still a bit more “punk rock” and vice versa. This merging of influences is now apparent in the graphics on boards—they are no longer regional. It’s rare to find such a strong partnership as professionals and friends. Why do you think you work so well together?

We have a tremendous amount of respect for each other, and when we walk into the studio, we leave our egos at the door. We have our moments, as I assume most business partners do, but any differences are settled quickly, and neither of us will hold a grudge. We both take pride in our work; but work is not everything. Both of us have families, and over the years, I suppose we have become family as well.

SKATE 15

001-061_24941.indd 14 001-061_24941.indd 14

(Text) (Ray)

5/4/11 8:15 AM 5/4/11 6:36 PM

JOB:04-24941 Title:RP-Inside the World of Board Graphics #175 Dtp:204 Page:14

001-061_C62808.indd 15 001-061_24941.indd 15

(Text) (Ray)

5/25/11 4:30 PM 5/4/11 6:36 PM

JOB:04-24941 Title:RP-Inside the World of Board Graphics 05-C62808 #175 Dtp:204 Page:15

Inside the World of Board Graphics

3/11/13 7:07 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 51

2 BOOKS BY CATEGORY arChiteCture, interior Design & ProDuCt Design

1,000 Ideas by 100 Architects

Sergi Costa Duran and Mariana R. Eguaras ISBN: 9781592535736 Item # 158907 AQ 9 x 9 in, 229 x 229 mm 320 pages, PB 1000 color photos Rights sold: Chinese Ct. Qty. 6 $40.00 US/£24.99 UK/$49.99 CAN

1,000 Product Designs

Form, Function, and Technology from Around the World Eric Chan ISBN: 9781592536382 Item # 192550 AQ 9 x 9 in, 229 x 229 mm 320 pages, Flexi-bind 1000 color photos Rights sold: English language in EU Ct. Qty. 6 $40.00 US/£25.00 UK/$44.00 CAN

The Architecture Reference & Specification Book

Everything Architects Need to Know Everyday Julia McMorrough and Dan Wheeler ISBN: 9781592538485 Item # 210659 AQ 5.46 x 7.83 in, 139 x 199 mm 272 pages, PB 750 color photos All rights available Ct. Qty. 10 $25.00 US/£16.99 UK/$28.00 CAN

036-06 036-06

The Architecture Reference & Specification Book

024-059_30084.indd 52 024-059_30084.indd 52

(RAY) (Text)

3/11/13 7:07 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 52

g 2

Color, Space, and Style

Deconstructing Product Design

All the Details Interior Designers Need to Know but Can Never Find Chris Grimley and Mimi Love ISBN: 9781592532278 Item # 153184 AQ 5.75 x 8.25 in, 145 x 210 mm 288 pages, PB 350 color photos Rights sold: Korean, Spanish, Chinese, English language in SE Asia Ct. Qty. 10 $30.00 US/£19.99 UK/$37.50 CAN

Graphic Design and Architecture, A 20th-Century History

Exploring the Form, Function, Usability, Sustainability, and Commercial Success of 100 Amazing Products William Lidwell and Gerry Manacsa ISBN: 9781592537396 Item # 195028 AQ 8.5 x 10 in, 216 x 254 mm 240 pages, PB 100 color photos Rights sold: Chinese Ct. Qty. 10 $25.00 US/£16.99 UK/$28.00 CAN HC ISBN: 9781592533459 $40.00 US/£24.99 UK/$49.99 CAN

Hotel Spaces

Montse Borras ISBN: 9781592534326 Item # 153067 AQ 9.75 x 10.5 in, 248 x 267 mm 216 pages, HC 300 color photos All rights available Ct. Qty. 6 $40.00 US/£27.50 UK/$43.95 CAN

A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World Richard Poulin ISBN: 9781592537792 Item # 199783 AQ 8.5 x 10 in, 216 x 254 272 pages, HC 300 color photos All rights available Ct. Qty. 6 $55.00 US/£35.00 UK/$60.00 CAN

THE iMPACT OF iNVENTiON 1879–1933

ModernisM and The inTernaTional sTyle 1950–1979

BarBara sTauffacher soloMon and sea ranch 1966

Lyon, France

At the beginning of the twentieth century, change appeared everywhere. In civilized cultures throughout the world, traditional beliefs were starting to be overshadowed by emerging new ideas. A flood of groundbreaking innovations and inventions redefined the architecture and built environment and forever transformed the nowindustrialized modern world. In the 1870s, the invention of electricity and the incandescent lightbulb by Thomas Alva Edison (1847–1931) ultimately enhanced the way in which people interacted with one another and with the built environments they lived in. Communication was also dramatically altered in the late nineteenth century by the introduction of the telephone by Alexander Graham Bell (1847–1922) and his assistant, Thomas Watson (1854–1934). The development of the first commercially successful internal combustion engine in 1858 by Belgian engineer Étienne Lenoir (1822–1900) and improvements to the assembly line technique of mass production by American industrialist Henry Ford (1863–1947) in the early 1900s, revolutionized the manner in which people traveled from destination to destination, ultimately allowing them to

sea ranch suPergraPhics sonoma county, california, usa Barbara Stauffacher Solomon (b. 1928), Designer San Francisco, California, USA

explore every corner of the world. At the beginning of the century, there were approximately 8,000 automobiles in the United States. In 1906, President Theodore “Teddy” Roosevelt (1858–1919) initiated American domestic tourism by encouraging Americans public to take to the road and “See America First.” Americans’ love affair with the new automo-

156

7/17/12 4:12 PM 3:48 PM

7/17/12 (Fogra 39)Job:07-28810 Title:RP-Graphic Design and Architecture #175 Dtp:225 Page:38

036-063_28810.indd 39 036-063_28810.indd 39

(Text) (Ray)

op art, abstract expressionism, and the International Style. A critical characteristic to the success and brilliance of these supergraphics was that they moved up building surfaces, around corners, changing directions, making interior

things contemporary architecture needs more than a sensitive symbiosis with color, texture,

Moore (1925–1993) of Moore, Lyndon, Turnbull & Whitaker and landscape architect Lawrence Halprin (1916–2009) in the vernacular style of

spaces appear larger and more engaging. The art and architectural historian Sibyl Moholy-Nagy (1903–1971) summarized Solo-

*The term supergraphics is attributed to C. Ray Smith (1929–1988), architectural writer and critic, who described this new movement in

the rugged coastline of northern California. Born in San Francisco in 1928, Solomon initially studied fine art at the San Francisco

mon’s influence on architecture and the built environment of this era best—“there are few

architecture as “not a decorative device . . . but, a spatial experimentation.”

and shape. There is a joyous element in Miss Stauffacher’s art which lifts the spirit, and creates an environmental identity which is usually lacking in our Miesian heritage.”

uniMarK and The new yorK ciTy suBway sysTeM

178) at the Kunstgewerbeschule in Basel. Supergraphics was the moniker given initially to an architectural movement in the 1960s and 1970s that gave architects (and, ultimately, graphic designers) the creative freedom to remove solidity, gravity, and even history by the application and manipulation of building surfaces. For most design historians, Sea Ranch represented the pivotal starting point of this movement; however, a precursor to this groundbreaking project occurred in 1962 with Robert Venturi’s (b. 1925) Grand’s Restaurant (1960; see page 183), where he integrated large-scale, mirror-image, stencil letterforms to the restaurant’s interior. The wall graphics at Sea Ranch were an obvious and direct extension of the architectural forms and profiles of the building architecture, as well as reflective of Solomon’s rigorous, modernist education at Basel. They transformed the interior spaces with fundamental graphic design elements—bold stripes, geometric forms, vibrant primary colors, and truncated

New and revolutionary explorations in art and architecture around the world also inevitably influenced graphic design in the

(Ray)

letterforms with obvious visual references to influential art movements of the time—pop art,

for Sea Ranch, a residential community in Sonoma County, California. Sea Ranch, noted for its distinctive contemporary architecture of simple timber-frame structures clad in wood siding and shingles, was designed by Charles

Art Institute before traveling to Switzerland to study with renowned modernist graphic design and teacher Armin Hofmann (b. 1920; see page

bile and their desire to be mobile and explore the open road grew, and with it came the development of the country’s city, state, and federal road systems; service stations, motor courts, and motels.

036-063_28810.indd 38 036-063_28810.indd 38

Barbara Stauffacher Solomon pioneered the use of Supergraphics* in 1966 with her work

7/17/12 4:12 PM 3:48 PM

7/17/12 (Fogra 39)Job:07-28810 Title:RP-Graphic Design and Architecture #175 Dtp:225 Page:39

The PosTwar world 1950–2000

Paris, France Hector Guimard (1867–1942), Architect

1966 new york city transit authority graPhics standards new york, new york, usa Unimark International (est. 1965), Designers New York, New York, USA

After completing his architectural studies in Milan and Venice in 1960, Massimo Vignelli (b. 1931) moved to the United States. In 1965, Vignelli became cofounder and design director of Unimark International, at the time, one of the largest graphic design consulting firms in the world, with more than 400 employees in fortyeight offices worldwide. Unimark was created by Vignelli and Ralph Eckerstrom (1924–1996), former design director of Container Corporation of America

(CCA). The pair had first met in Chicago in 1958 while Vignelli was teaching at the Institute of Design at the Illinois Institute of Technology on a Moholy-Nagy Fellowship. Both men shared a similar design philosophy and were determined to bridge the gap between American marketing principles and European modernist graphic design. Unimark’s philosophy was based on a disciplined and systemized approach for creating effective and rational mass visual communications for their clients; solutions that provided

the means by which an individual could implement any aspect of a graphic program in an efficient and effective manner. During the 1960s and 1970s, Unimark and Vignelli designed many of the world’s most recognizable corporate identities and public information systems for clients such as American Airlines, Ford Motor Company, Knoll International, and the New York City Transit Authority. In 1966, Unimark was asked to design comprehensive graphic standards for the New York City subway system—the oldest and largest complex networks of mass transit in the world. The system was originally formed in 1940, when the city’s three independent railway lines merged—the Interborough Rapid Transit (IRT; see page 52), the Brooklyn–Manhattan Transit (BMT), and the Independent (IND). The current

III

Paris Metro Entrances, 1898

continued on page 158

157

132-179_28810.indd 156 132-179_28810.indd 156

(Text) (Ray)

7/17/12 4:54 PM 3:50 PM

7/17/12 (Fogra 39)Job:07-28810 Title:RP-Graphic Design and Architecture #175 Dtp:225 Page:156

132-179_28810.indd 157 132-179_28810.indd 157

(Text) (Ray)

7/17/12 4:54 PM 3:50 PM

7/17/12 (Fogra 39)Job:07-28810 Title:RP-Graphic Design and Architecture #175 Dtp:225 Page:157

Graphic Design and Architecture, A 20th-Century History

024-059_30084.indd 53 024-059_30084.indd 53

(RAY) (Text)

3/11/13 7:07 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 53

2 BOOKS BY CATEGORY arChiteCture, interior Design & ProDuCt Design

The Industrial Design Reference & Specification Book Everything Industrial Designers Need to Know Everyday Dan Cuffaro and Isaac Zaksenberg ISBN: 9781592538478 Item # 210664 AQ 5.46 x 7.83 in, 139 x 199 mm 264 pages, PB 300 color photos All rights available Ct. Qty. 10 $25.00 US/£16.99 UK/$28.00 CAN

Inside Out

A Visual Tour of Outdoor Kitchens, Garden Living Rooms, and More Daniela Santos Quartino ISBN: 9781592535064 Item # 153355 AQ 6.5 x 7 in, 165 x 178 mm 304 pages, HC 500 color photos All rights available Ct. Qty. 20 $19.99 US/£12.99 UK/$24.99 CAN

The Interior Design Reference & Specification Book

Everything Interior Designers Need to Know Everyday Chris Grimley, Mimi Love, and Linda O’Shea ISBN: 9781592538492 Item # 210660 AQ 5.46 x 7.83 in, 139 x 199 mm 288 pages, PB 600 color photos All rights available Ct. Qty. 10 $25.00 US/£16.99 UK/$28.00 CAN

Materials, Structures, and Standards

024-059_30084.indd 54 024-059_30084.indd 54

All the Details Architects Need to Know But Can Never Find Julia McMorrough ISBN: 9781592531936 Item # 153182 AQ 5.75 x 8.25 in, 145 x 210 mm 264 pages, PB 350 color photos Rights sold: Chinese, Korean Ct. Qty. 10 $30.00 US/£16.99 UK/$42.00 CAN

(RAY) (Text)

Sustainable Environments

Yenna Chan ISBN: 9781592535040 Item # 153303 AQ 9 x 11 in, 229 x 280 mm 192 pages, PB 400 color photos All rights available Ct. Qty. 10 $25.00 US/£17.99 UK/$27.50 CAN

3/11/13 7:07 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 54

g 4

2 CA

1,000 Ideas by 100 Fashion Designers Carolina Cerimedo ISBN: 9781592535729 Item # 158947 AQ 9 x 9 in, 229 x 229 mm 320 pages, PB 1000 color photos All rights available Ct. Qty. 6 $40.00 US/£24.99 UK/$49.99 CAN

Essential Fashion Illustration

Maite Lafuente ISBN: 9781592532537 Item # 153124 AQ 8.5 x 10 in, 216 x 254 mm 192 pages, PB 250 color photos All rights available Ct. Qty. 10 $35.00 US/£27.50 UK/$48.00 CAN

Atlas of Fashion Designers

Laura Eceiza ISBN: 9781592536610 Item # 192553 AQ 9 x 11 in, 229 x 279 mm 600 pages, PB 1000 color photos All rights available Ct. Qty. 6 $30.00 US/£19.99 UK/$33.00 CAN

Essential Fashion Illustration: Color and Medium

Estel Vilaseca ISBN: 9781592534302 Item # 153132 AQ 8.5 x 10 in, 216 x 254 mm 192 pages, PB 250 color photos All rights available Ct. Qty. 10 $35.00 US/£19.99 UK/$38.95 CAN

Contemporary Fashion Illustration Techniques

Naoki Watanabe ISBN: 9781592535569 Item # 153319 AQ 7.87 x 10 in, 200 x 254 mm 128 pages, PB 500 color photos Rights sold: German Ct. Qty. 40 $22.99 US/£14.99 UK/$23.95 CAN

BOOKS BY CATEGORY Fashion Design

Essential Fashion Illustration: Digital

Loreto Binvignat Streeter ISBN: 9781592536320 Item # 191718 AQ 8.5 x 10 in, 216 x 254 mm 192 pages, PB w/CD 300 color photos All rights available Ct. Qty. 10 $35.00 US/£25.00 UK/$39.00 CAN

024-059_30084.indd 55 024-059_30084.indd 55

(RAY) (Text)

3/11/13 7:07 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 55

2 BOOKS BY CATEGORY Fashion Design

Fashion Design, Referenced

024-059_30084.indd 56 024-059_30084.indd 56

A Visual Guide to the History, Language, and Practice of Fashion Alicia Kennedy, Emily Banis Stoehrer, and Jay Calderin ISBN: 9781592536771 Item # 193940 AQ 8.5 x 10 in, 216 x 254 mm 416 pages, HC 750 color photos All rights available Ct. Qty. 6 $55.00 US/£35.00 UK/$60.00 CAN

Essential Fashion Illustration: Men

Chidy Wayne ISBN: 9781592535057 Item # 153133 AQ 8.5 x 10 in, 216 x 254 mm 192 pages, PB 750 color photos All rights available Ct. Qty. 10 $35.00 US/£19.99 UK/$39.00 CAN

Fashion Details

1,000 Ideas from Neckline to Waistline, Pockets to Pleats Macarena San Martin ISBN: 9781592537167 Item # 193869 AQ 9 x 11.5 in, 229 x 292 mm 384 pages, PB 1000 color photos Rights sold: Hungarian, Italian, Chinese, English language in Taiwan Ct. Qty. 10 $40.00 US/£27.50 UK/$44.00 CAN

(RAY) (Text)

Fashion Design Essentials

100 Principles of Fashion Design Jay Calderin ISBN: 9781592538270 Item # 200347 AQ 8.5 x 10 in, 216 x 254 mm 208 pages, PB 200 color photos Rights sold: Chinese, German Ct. Qty. 10 $29.99 US/£20.00 UK/$32.99 CAN HC ISBN: 9781592537013 $40.00 US/£27.50 UK/$44.00 CAN

The Fashion Design Reference & Specification Book

Everything Fashion Designers Need to Know Everyday Jay Calderin and Laura Volpintesta ISBN: 9781592538508 Item # 210661 AQ 5.46 x 7.83 in, 139 x 199 mm 288 pages, PB 400 color photos All rights available Ct. Qty. 10 $25.00 US/£16.99 UK/$28.00 CAN

Fashion Illustration Techniques

A Super Reference Book for Beginners Zeshu Takamura ISBN: 9781592537952 Item # 199803 AQ 8.5 x 11 in, 216 x 279 mm 224 pages, PB 500 color photos All rights available Ct. Qty. 20 $27.99 US/£18.99 UK/$29.99 CAN

Field Guide: How to be a Fashion Designer Marcarena San Martin ISBN: 9781592534913 Item # 153206 AQ 6.75 x 9 in, 171 x 229 mm 192 pages, PB 400 color photos Rights sold: German, Chinese, English language in Asia Ct. Qty. 10 $30.00 US/£18.99 UK/$37.50 CAN

3/11/13 7:07 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 56

g 6

Form, Fit, and Fashion

All the Details Fashion Designers Need to Know But Can Never Find Jay Calderin ISBN: 9781592535415 Item # 158909 AQ 5.75 x 8.25 in, 145 x 210 mm 288 pages, Vinyl 500 color photos Rights sold: German, Chinese Ct. Qty. 10 $30.00 US/£18.99 UK/$37.50 CAN

226

Dissemination

The Poetry of Fashion Design A Celebration of the World’s Most Interesting Fashion Designers Paz Diman ISBN: 9781592537150 Item # 193873 AQ 7 x 10 in, 178 x 254 mm 384 pages, PB 2000 color photos All rights available Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

Presentation

Beyond

Dissemination

What is Fashion Design?

Gurmit Matharu ISBN: 9782888930082 Item # 153443 AQ 7 x 9 in, 178 x 229 mm 256 pages, PB 200 color photos North American rights only Ct. Qty. 20 $30.00 US/£25.00 UK/$33.00 CAN

Presentation

Beyond

227

Theatre of Fashion: McQueen

Photo by Eric Ryan, Getty Images. Photo by Eric Ryan, Getty Images.

Alexander McQueen pushed the fashion show beyond extravagant fantasy into the realm of conceptual and performance art. In one groundbreaking show after another, he splattered his models with blood and dirt, surrounded them with fire, drenched them with rain, sent them through water, over a bed of nails, into wind tunnels, and soaring above the audience, had them escort wolves down the catwalk, iceskate in a snowy landscape, and wage battle around a giant chessboard. For one collection in 2001, beautiful madhouse figures inhabited a two-way mirrored box out of which suddenly emerged a tableau vivant of a Joel-Peter Witkins moth-covered nude; for another in 2009, twisted blow-up dolls circumnavigated a blackened scrapyard of props from past shows.

Photo by firstVIEW. Photo by firstVIEW.

The discomforting narratives of McQueen’s dramatic mise-en-scènes, balanced against the exquisiteness of his clothing, challenged as much as enthralled his audience. One particularly evocative show, in 2004, reenacted Sydney Pollack’s They Shoot Horses, Don't They?, a film set against a Depression-era dance marathon. Relentlessly circling the dance floor, couples shimmied, strutted, raced, staggered, and finally collapsed in exhaustion. Never one to water down the raw emotion of his productions, McQueen tantalized with what fashion might have to say about the human condition.

TopTop Alexander Alexander McQueen, McQueen, Fall/Winter Fall/Winter 2006/07 2006/07 • Middle • Middle Fall/Winter Fall/Winter 2009/10 2009/10 • Above • Above Spring/ Spring/ Summer Summer 1999 1999

001-416_29436.indd 226 001-401_C68265.indd 226

(Text) (Ray)

(Fogra 39)Job:10-29436 Title:RP-Fashion Design Referenced 11-C68265 #175 Dtp:225 Page:226

10/26/12 2:57 PM 11/8/12 7:29 PM

Photo by Victor Boyko, Getty Images. Photo by Victor Boyko, Getty Images.

Photo by Dominique Charriau, WireImage. Photo by Dominique Charriau, WireImage.

The technical wizardry that McQueen brought to his stagecraft created indelible images: Shalom Harlow spinning in a white strapless trapeze dress, slowly spray painted by robotic guns; Kate Moss’s holographic figure in floating organza materializing within a pyramidal structure; the other-worldly creatures of Plato’s Atlantis quietly parading past the camera tracks that streamed them live online.

Spring/Summer 2010

001-416_29436.indd 227 001-416_29436.indd 227

Fashion Design, Referenced

024-059_30084.indd 57 024-059_30084.indd 57

Left Alexander McQueen,

(RAY) (Text)

(Text) (Ray)

(Fogra 39)Job:10-29436 Title:RP-Fashion Design Referenced #175 Dtp:225 Page:227

10/26/12 2:57 PM 10/26/12 1:14 PM

3/11/13 7:08 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 57

024-059_30084.indd 58 024-059_30084.indd 58

(RAY) (Text)

3/11/13 7:08 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 58

g 8

024-059_30084.indd 59 024-059_30084.indd 59

(RAY) (Text)

3/11/13 7:09 PM 3/11/13 7:10 PM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 59

ROCKPORT

BOOKS BY SERIES

060-079_30084.indd 60 060-079_30084.indd 60

(RAY) (Text)

3/12/13 9:05 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 60

g 0

3 1,000 Bags, Tags & Labels

1,000 Ideas by 100 Architects Sergi Costa Duran and Mariana R. Eguaras ISBN: 9781592535736 Item # 158907 AQ 9 x 9 in, 229 x 229 mm 320 pages, PB 1000 color photos Rights sold: Chinese Ct. Qty. 6 $40.00 US/£24.99 UK/$49.99 CAN

1,000 Bags, Tags & Labels (mini)

1,000 Icons, Symbols, and Pictograms (mini) Visual Communication for Every Language Blackcoffee Design ISBN: 9781592535323 Item # 153359 AQ 6 x 6 in, 152 x 152 mm 432 pages, PB 1000 color photos All rights available Ct. Qty. 20 $19.99 US/£12.99 UK/$21.95 CAN

1,000 Ideas by 100 Graphic Designers Matteo Cossu ISBN: 9781592535743 Item # 158906 AQ 9 x 9 in, 229 x 229 mm 320 pages, PB 1000 color photos Rights sold: Chinese Ct. Qty. 6 $40.00 US/£24.99 UK/$49.99 CAN

BOOKS BY SERIES 1,000 SERIES

1,000 Ideas by 100 Manga Artists Cristian Campos ISBN: 9781592537143 Item # 193871 AQ 9 x 9 in, 229 x 229 mm 320 pages, Flexi-bind 1000 color photos Rights sold: Chinese Ct. Qty. 10 $24.99 US/£16.99 UK/$27.99 CAN

060-079_30084.indd 61 060-079_30084.indd 61

(RAY) (Text)

3/12/13 9:05 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 61

3 BOOKS BY SERIES

1,000 SERIES

0193 0193

1,000 Indie Posters

1,000 More Greetings

1,000 Music Graphics (mini)

1,000 Package Designs (mini)

John Foster ISBN: 9781592536566 Item # 192530 AQ 9 x 9 in, 229 x 229 mm 320 pages, Flexi-bind 1000 color photos Rights sold: Japanese Ct. Qty. 6 $40.00 US/£25.00 UK/$44.00 CAN

0194

0193 0193Pariz ParizOne. One.Lisbon, Lisbon,Portugal Portugal/ 0194 / 0194Pos. Pos.Muri, Muri,Switzerland Switzerland

70 1,000 ideas for graffiti and street art

Letters and Tags 71

066-125_21088.indd 70 066-125_21088.indd 70

9/14/10 10:05:04 AM 9/14/10 10:16:09 AM

(09-21088) (09-21088)Job:03-17895 Job:03-17895Title:RP-1000 Title:RP-1000Ideas IdeasFor ForGraffiti Graffiti&&Street Street Art Art

(Ray) Text

#175 #175DTP:216 DTP:216Page:70 Page:70

066-125_21088.indd 71 066-125_21088.indd 71

9/14/10 10:05:06 AM 9/14/10 10:16:09 AM

(09-21088) Job:03-17895 Title:RP-1000 Ideas For Graffiti & Street Art

(Ray) Text

1,000 Ideas for Graffiti and Street Art

060-079_30084.indd 62 060-079_30084.indd 62

(RAY) (Text)

#175 DTP:216 Page:71

A compilation of packaging, posters, and other sound solutions Stoltz Design ISBN: 9781592536634 Item # 192549 AQ 6 x 6 in, 152 x 152 mm 440 pages, PB 1000 color photos Rights sold: English language in Japan Ct. Qty. 20 $19.99 US/£12.99 UK/$21.99 CAN

3/12/13 9:06 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 62

g 2

1,000 Product Designs

1,000 Retail Graphics

1,000 Restaurant, Bar, and Cafe Graphics

From Signage to Logos and Everything in Between Luke Herriott ISBN: 9781592533329 Item # 153058 AQ 9 x 9 in, 229 x 229 mm 320 pages, PB 1000 color photos Rights sold: English language in Japan, Russia, EU, Taiwan, China, Switzerland Ct. Qty. 6 $40.00 US/£27.50 UK/$50.00 CAN

From Signage to Logos and Everything for In-Store JGA ISBN: 9781592533367 Item # 153059 AQ 9 x 9 in, 229 x 229 mm 320 pages, PB 1000 color photos Rights sold: English language in Japan, EU, Russia, China, Taiwan, Hong Kong Ct. Qty. 6 $40.00 US/£27.50 UK/$50.00 CAN

0431 Pollen Design USA

0437 aruliden / Johan Liden USA

0432 aruliden / Johan Liden, Emilie Baltz USA

0438 Hangar Design Group Italy

0433 Will Carey Studio for Design / Will Carey, Shun Ishikawa UK

0439 Smart Design USA

0434 Pollen Design USA

0435 CORQUE Portugal

0440 albooto / Sebastian Stoddart, Simon Scott-Harden UK

0436 Karim Rashid USA

0441 Sid Ramnarace USA

1000 PRODUCT DESIGNS

EAT

136

137

116-155_20006.indd 136 116-155_20006.indd 136

7/5/10 8:34:20 AM 7/3/10 4:47:03 PM

(Text) (RAY)

06-20006 Job:06-19654 Title:RP-1000 Product Designs #175 Dtp:216 Page:136

1,000 Product Designs

060-079_30084.indd 63 060-079_30084.indd 63

116-155_20006.indd 137 116-155_20006.indd 137

7/5/10 8:34:43 AM 7/3/10 4:47:03 PM

(Text) (RAY)

06-20006 Job:06-19654 Title:RP-1000 Product Designs #175 Dtp:216 Page:137

(RAY) (Text)

3/12/13 9:06 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 63

3 BOOKS BY SERIES ANNUALS

45th Publication Design Annual

46th Publication Design Annual

47th Publication Design Annual

One Show Design, Volume 5

One Show Design, Volume 6

One Show, Volume 32

Society of Publication Designers ISBN: 9781592536696 Item # 192546 AQ 9 x 12 in, 229 x 305 mm 336 pages, POB 1000 color photos All rights available Ct. Qty. 6 $60.00 US/£40.00 UK/$65.00 CAN

The One Club ISBN: 9780929837505 Item # 195021 AQ 9 x 12 in, 229 x 305 mm 304 pages, HC 1000 color photos All rights available Ct. Qty. 6 $49.95 US/£35.00 UK/$54.95 CAN

Society of Publication Designers ISBN: 9781592537501 Item # 195027 AQ 9 x 12 in, 229 x 305 mm 336 pages, POB 1000 color photos All rights available Ct. Qty. 6 $60.00 US/£40.00 UK/$65.00 CAN

The One Club ISBN: 9780929837543 Item # 200349 AQ 9 x 12 in, 229 x 305 mm 220 pages, HC 1000 color photos All rights available Ct. Qty. 6 $49.95 US/£35.00 UK/$54.95 CAN

Society of Publication Designers ISBN: 9781592538225 Item # 200342 AQ 9 x 12 in, 229 x 305 mm 336 pages, POB 1000 color photos All rights available Ct. Qty. 6 $65.00 US/£40.00 UK/$72.00 CAN

To Steal is Genius The One Club ISBN: 9780929837444 Item # 192568 AQ 9 x 12 in, 229 x 305 mm 448 pages, HC 1600 color photos Rights: All rights available Ct. Qty. 6 $69.95 US/£45.00 UK/$76.95 CAN

060-079_30084.indd 64 060-079_30084.indd 64

(RAY) (Text)

3/12/13 9:06 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 64

The One Club ISBN: 9780929837499 Item # 195023 AQ 9 x 12 in, 229 x 305 mm 416 pages, HC 1600 color photos All rights available Ct. Qty. 6 $74.99 US/£50.00 UK/$82.50 CAN

One Show, Volume 34

One Show Boxed Set, 2012 Awards

The One Club ISBN: 9780929837536 Item # 200348 AQ 9 x 12 in, 229 x 305 mm 528 pages, HC 1600 color photos All rights available Ct. Qty. 6 $74.99 US/£50.00 UK/$82.50 CAN

The One Club ISBN: 9780929837567 Item # 200351 AQ 9 x 12 in, 229 x 305 mm 928 pages, Slipcased 3800 color photos All rights available Ct. Qty. 2 $155.00 US/£105.00 UK/$170.00 CAN

Design travel/food/Still life/Story Merit ONe ShOw INteractIve | Volume 14

g 4

One Show, Volume 33

ONe ShOw INteractIve

248 244

245

246

248

(Ray)

One Show Interactive, Volume XIV

The One Club ISBN: 9780929837512 Item # 195022 AQ 9 x 12 in, 229 x 305 mm 304 pages, PB 1200 color photos All rights available Ct. Qty. 6 $49.95 US/£35.00 UK/$54.95 CAN

One Show Interactive, Volume XV

The One Club ISBN: 9780929837550 Item # 200350 AQ 9 x 12 in, 229 x 305 mm 304 pages, HC 1200 color photos All rights available Ct. Qty. 6 $49.95 US/£35.00 UK/$54.95 CAN

249

247

the New york times Magazine 247

DeSiGN DireCtor Arem Duplessis art DireCtor Gail Bichler DePuty art DireCtor Caleb Bennett DeSiGNerS Caleb Bennett, Sara Cwynar, Drea Zlanabitnig, Gail Bichler, Hilary Greenbaum, Arem Duplessis, Rami Moghadam illuStratorS Sarah King, Denis Carrier, Chelsea Cardinal, Wayne Thiebaud DireCtor of PhotoGraPhy Kathy Ryan PhotoGraPherS Gail Albert Halaban, Marcus Nilsson, Paul Hosefros, Gabrielle Plucknette, Niepcs House Museum, Buena Vista/Photofest, Jens Mortensen, Victor Schrager aSSoCiate Photo eDitor Luise Stauss eDitor-iN-Chief Hugo Lindgren PubliSher The New York Times Company iSSue October 2, 2011 CateGory Design: Feature: Travel/ Food/Still Life (story)

246 244

everyday With rachael ray Magazine Creative DireCtor Jill Armus art DireCtor Chalkley Calderwood DireCtor of PhotoGraPhy Kim Gouggnheim PhotoGraPher James Wojcik haND letteriNG Elliot Stokes eDitor-iN-Chief Liz Vaccariello PubliSher Meredith iSSue August 2011 CateGory Design: Feature: Travel/Food/Still Life (story)

lotuS Magazine 245

Greenpeace Magazin 5.11 art DireCtorS Jurgen Kaffer, Bettina Rosenow DireCtor of PhotoGraPhy Kerstin Leesch PhotoGraPher Cedric Widmer PubliSher Greenpeace Media GmbH iSSue September/October 2011 CateGory Design: Feature: Travel/Food/Still Life (story)

Creative DireCtor Anton Ioukhnovets DeSiGNer Anton Ioukhnovets Photo eDitorS Andreas Wellnitz, Lou Ulla Brunk PhotoGraPher Tom Schierlitz exeCutive eDitor Markus Ebner StuDio Ioukhnovets Design eDitor-iN-Chief Christian Kaemmerling PubliSher LOTUS Cars, INC ClieNt LOTUS Cars, INC. iSSue Spring 2011 CateGory Design: Feature: Travel/Food/Still Life (story)

248

249

real Simple

Creative DireCtor Janet Froelich DeSiGN DireCtor Cybele Grandjean art DireCtor Abbey Kuster-Prokell DeSiGNer Joele Cuyler DireCtor of PhotoGraPhy Casey Tierney Photo eDitor Lauren Epstein PhotoGraPher Sang An PubliSher Time Inc. iSSue July 2011 CateGory Design: Feature: Travel/Food/Still Life (story)

Creative DireCtor Janet Froelich DeSiGN DireCtor Cybele Grandjean art DireCtor Abbey Kuster-Prokell DeSiGNer Cybele Grandjean DireCtor of PhotoGraPhy Casey Tierney Photo eDitor Lauren Epstein PhotoGraPher Christopher Baker PubliSher Time Inc. iSSue May 2011 CateGory Design: Feature: Travel/Food/Still Life (story)

132

041-164_28874.indd 132

133

(Ray)

(Fogra 39)Job:08-28874 Title:RP-Society of Publication Design 47 #175 Dtp:225 Page:132

9/3/12 7:43 PM

041-164_28874.indd 133

(Ray)

(Fogra 39)Job:08-28874 Title:RP-Society of Publication Design 47 #175 Dtp:225 Page:133

9/3/12 7:43 PM

47th Publication Design Annual

060-079_30084.indd 65 060-079_30084.indd 65

(RAY) (Text)

3/12/13 9:06 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 65

3 BOOKS BY SERIES BEST OF SERIES

The Best of Business Card Design 9 Rule29 ISBN: 9781592537907 Item # 199798 AQ 9 x 11 in, 229 x 279 mm 240 pages, PB 800 color photos Rights sold: Hungarian Ct. Qty. 10 $30.00 US/£20.00 UK/$33.00 CAN

The Best of Brochure Design 11

Kiki Eldridge ISBN: 9781592538263 Item # 200346 AQ 9.25 x 11.25 in, 235 x 286 mm 224 pages, PB 450 color photos Rights sold: English language in Japan Ct. Qty. 10 $35.00 US/£22.50 UK/$39.00 CAN

The Best of Cover Design

060-079_30084.indd 66 060-079_30084.indd 66

(RAY) (Text)

The Best of Brochure Design 12 Public ISBN: 9781592538331 Item # 210576 AQ 9 x 11 in, 229 x 279 mm 224 pages, HC 300 color photos All rights available Ct. Qty. 6 $45.00 US/£30.00 UK/$49.99 CAN

The Best of Letterhead & Logo Design

The Best of the Best of Brochure Design: Volume II

The Best of News Design 31

Mine Design, Top Studio Design, Stoltz Design, and Sayles Graphic Design ISBN: 9781592537914 Item # 199799 AQ 9.25 x 11.25 in, 235 x 286 mm 352 pages, PB 800 color photos Rights sold: English language in EU Ct. Qty. 20 $19.99 US/£14.99 UK/$21.99 CAN

Society for News Design ISBN: 9781592536672 Item # 192555 AQ 9 x 12 in, 229 x 305 mm 272 pages, HC 800 color photos All rights available Ct. Qty. 6 $60.00 US/£40.00 UK/$65.00 CAN

3/12/13 9:06 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 66

g 6

thE NEW york tiMES

Al bAyAN

New York, N.Y. Sam Manchester, Illustrator; Wayne Kamidoi, Art Director; Tom Bodkin, Design Director

Al bAyAN

AWArd of ExcEllENcE

Dubai, United Arab Emirates Luis Chumpitaz, Information Graphic Director; Liz Ramos Prado, Information Graphic Editor; German Fernandez, Information Graphic Editor; Karina Aricoche, Information Graphic Researcher; Asma Ali, Translator

gulf NEWS

News Design Page(s) Sports/Broadsheet 175,000 and Over

Dubai, United Arab Emirates Douglas Okasaki, Senior Designer; Ramachandra Babu, Senior Illustrator; Dwyn Ronald Trazo, Senior Infographist Luis Vasquez, Senior Infographist; Alaric Gomes, Reporter; Miguel Angel Gomez, Design Director; Mohammed Al Mezel, M.E.; Abdul Hamid Ahmad, Editor-in-Chief

AWArd of ExcEllENcE

News Design Page(s) Sports/Broadsheet 50,000-174,999

AWArd of ExcEllENcE

News Design Page(s) Sports/Broadsheet 50,000-174,999

AWArd of ExcEllENcE

News Design Page(s) Sports/Broadsheet 50,000-174,999

The Best of News Design 33

Society for News Design ISBN: 9781592538232 Item # 200343 AQ 9.25 x 12.25 in, 235 x 311 mm 272 pages, HC 800 color photos All rights available Ct. Qty. 6 $65.00 US/£40.00 UK/$72.00 CAN

Al bAyAN

AWArd of ExcEllENcE

News Design Page(s) Sports/Broadsheet 50,000-174,999

oMAhA World-hErAld

Omaha, Neb. Tim Parks, Deputy News & Presentation Editor; Thad Livingston, Sports Editor; Matt Haney, Artist; Dave Elsesser, News & Presentation Editor

Al bAyAN

AWArd of ExcEllENcE

News Design Page(s) Sports/Broadsheet 50,000-174,999

AWArd of ExcEllENcE

News Design Page(s) Sports/Broadsheet 50,000-174,999

Al ShAbibA

Muscat, Oman Essa Mohammed Al Zedjali, Chairman; Ahmed Essa Al Zedjali, Editor-in-Chief; Adonis Durado, Design Director; Antonio Farach, Graphic Editor; Marcelo Duhalde, Infographic Designer; Lucille Umali, Illustrator; Majid Al-Wahebi, Designer

AWArd of ExcEllENcE

News Design Page(s) Sports/Broadsheet 49,999 and Under

114 | The Best of News Design | 33

news 115

099-138_28375.indd 114 099-138_28375.indd 114

6/26/12 5:07 PM 6/26/12 4:57 PM

(Text) (Ray)

The Best of News Design 33

099-138_28375.indd 115 099-138_28375.indd 115

(Fogra 39)Job:06-28375 Title:RP-Society of New Design 33 #175 Dtp:225 Page:114

Politiken — Copenhagen, Denmark Politiken

6/26/12 5:08 PM 6/26/12 4:57 PM

(Text) (Ray)

(Fogra 39)Job:06-28375 Title:RP-Society of New Design 33 #175 Dtp:225 Page:115

Politiken — Copenhagen, Denmark

politikeN, el seguNDo perióDico matiNal eN circulacióN De DiNamarca, tiene una larga historia de excelencia y de una lectoría intensamente leal. su misión es generar compromiso entre la gente común y corriente y los asuntos de la sociedad.

Copenhagen, Denmark Circulation 100,000

politikeN, DeNmark’s secoNDlargest morNiNg NeWspaper, has a long history of excellence and an intensely loyal readership. its mission is to engage ordinary people in societal issues.

publicado hace 127 años, este diario lanzó un rediseño en diciembre de 2011 para atraer a lectores de forma fresca y moderna, con los objetivos de una mejorada navegación y una mayor usabilidad. sí que lo ha logrado.

published for 127 years, politiken launched a redesign in December 2011 to appeal to readers in a fresh and modern way, with the goals of improved navigation and usability. it has succeeded.

esta fresca aproximación es evidente en la página que envolvió el diario el primer día de su rediseño. Dibujada a mano por uno de los ilustradores del periódico para guiar a los lectores sobre los cambios, esa página juguetona inmediatamente fijó el tono del nuevo look; sofisticado, tentador, atrevido y arriesgado. cada portada o tapa tiene un enfoque o solución visual fuera de lo común, desde el fotoperiodismo documental hasta la caricatura. se presta atención a las decisiones tipográficas hasta el mínimo detalle. una búsqueda de lecturabilidad óptima –espacio blanco extra encima y debajo de los títulos, y el texto y las alternativas de artículo principal–, es evidencia de que se privilegia al lector. la simplicidad del estilo para nombrar los autores de los artículos y de las firmas de las columnas de opinión da un toque al elegante rostro del diario.

The fresh approach is evident in the wrap page that appeared the first day of the redesign. hand-drawn by one of the paper’s illustrators to guide readers through the paper’s changes, this whimsical page immediately set the tone for the new look: sophisticated, enticing, bold, risky. each front page has an atypical visual approach or solution — from documentary photojournalism to caricature. great attention has been given to type decisions, even down to the smallest detail. a quest for optimum readability — extra white space above and below headlines, and the body text and leading choices — is evidence that the reader comes first. The simplicity of the byline styles and columnist sigs adds to the paper’s elegant visage.

politken se enorgullece del espacio que da a las páginas de opinión como una de sus herramientas de compromiso social. las páginas tienen muchos puntos de entrada e ilustraciones provocativas. el color se usa para que los lectores puedan navegar por los artículos y las columnas.

politiken prides itself on the space given to opinion pages as one of the paper’s social engagement tools. The pages are full of multiple entry points and provocative illustrative work, and color is used to move readers through stories and columns.

el recorte y la edición de las fotografías están hechas con consideración, y los diseñadores usan todo el ancho de la página para dar impacto. a menudo, dimos vuelta la página y nos encontramos con agrupaciones de fotos o ilustraciones inesperadas y encantadoras, tal como se ve en un artículo sobre un joven emprendedor que debió recomenzar su carrera después de una enfermedad.

There is thoughtfulness to the cropping and editing of photographs, with designers using the full width of pages for impact. oftentimes, we turned pages to find an unexpected and delightful grouping of photographs or illustrations, as seen in a story about a young entrepreneur who had to restart a career after an illness.

politiken es un modelo del poder de la consistencia visual a lo largo de un periódico. ya había ganado en esta categoría de la competencia y nuevamente merece formar parte de lo mejor del mundo.

politiken is a model for the power of visual consistency throughout a newspaper. a previous winner in this category, politiken again deservedly joins the ranks of World’s Best.

World’s best-designed 27

26 | The Best of News Design | 33

009-030_28375.indd 26 009-030_28375.indd 26

6/26/12 1:08 PM 6/26/12 2:28 PM

(Text) (Ray)

(Fogra 39)Job:06-28375 Title:RP-Society of New Design 33 #175 Dtp:225 Page:26

009-030_28375.indd 27 009-030_28375.indd 27

6/26/12 1:08 PM 6/26/12 2:28 PM

(Text) (Ray)

(Fogra 39)Job:06-28375 Title:RP-Society of New Design 33 #175 Dtp:225 Page:27

The Best of News Design 33

060-079_30084.indd 67 060-079_30084.indd 67

(RAY) (Text)

3/12/13 9:06 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 67

3 BOOKS BY SERIES

Design: Paper

DESIGN: SERIES

060-079_30084.indd 68 060-079_30084.indd 68

Design: Portfolio

Self Promotion at its Best Craig Welsh ISBN: 9781592538409 Item # 210770 AQ 8 x 11 in, 203 x 280 320 pages, Flexi-bind 500 color photos All rights available Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

DESIGN: PAPER

I DENTI T Y

DUO

Canada

Judith Augustin

Germany

001-272_28033.indd 14 001-272_28033.indd 14

Design: Paper

3/2/12 1:24 PM 3/1/12 1:52 PM

(Text) (RAY)

001-272_28033.indd 15 001-272_28033.indd 15

(Fogra 39) Job:02-28033 Title:RP-Design Paper #175 DTP:225 Page:14

(RAY) (Text)

Design: Type

3/2/12 1:24 PM 3/1/12 1:52 PM

(Text) (RAY)

(Fogra 39) Job:02-28033 Title:RP-Design Paper #175 DTP:225 Page:15

3/12/13 9:06 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 68

g 8

3 CA

Design Elements

Design Elements, Color Fundamentals

Design Elements, Form & Space

Display

Subhead, Body, Caption

24 point and up

L to r

Subhead

Display, Body, Caption

14 to 24 point

L to r

24 pt Minion

Design Elements, Typography Fundamentals

060-079_30084.indd 69 060-079_30084.indd 69

Design Elements, Using Images to Create Graphic Impact

(RAY) (Text)

Body

Display, Subhead, Caption

9 to 14 point

L to r

DESIGN ELEmENTS SERIES

Examine the design of typefaces. Look for legible, well-proportioned, and acutely crafted characters. When typeset, words and lines read fluidly. Reliable typefaces have consistent styles (posture, weight, and width) to provide for typographic variation and emphasis. Depending on the quantity and variety of text, a range of styles—from light to bold weights and condensed to extended widths—add versatility. Likewise, ligatures, swash characters, and alternate glyphs offer diversity. Certain typefaces, including Minion by Robert Slimbach, have optical styles, commonly caption, body, subhead, and display. Optical styles feature subtle adjustments in letterform contrast, proportion, and weight that enhance appearance at specific point sizes. For example, if setting type above 24 point, use the display style, which appears too thin at small sizes. Conversely, 6- to 8-point type size requires caption styles, which look too heavy at large sizes. Optical styles represent fine attention to detail. No matter the type size needed, optimal forms exist. Ample typefaces offer typographic opportunities.

48 pt Minion

BOOKS BY SERIES

In this student project, changes in point size and weight create variation and emphasis. The contrast is simple and effective with just one typeface— Helvetica. Confident type settings convey the Knoll brand.

kristín agnarsdóttir

14 pt Minion

Caption 6 to 8 point

Display, Subhead, Body

L to r

8 pt Minion

Slight adjustments in contrast, proportion, and weight optimize typefaces used at specific point sizes. Caption and body styles designed for comfortable and extended reading perform well at small sizes. They are too dense and muddy enlarged. Subhead and display styles crafted to shine at large sizes fall short when they are reduced. Stroke quality is lost. Optical styles maintain typeface legibility and elegance at all sizes when used as planned.

d e s i g n e l e m e n t s Typography Fundamentals

001-160_27545.indd 74 001-160_27545.indd 74

1/16/12 9:39 AM 1/16/12 9:36 AM

(Text) (RAY)

Fogra39 Job:01-27545 Title:RP-Design Elements Typography Fundamentals #175 DTP:204 Page:74

001-160_27545.indd 75 001-160_27545.indd 75

1/16/12 9:39 AM 1/16/12 9:36 AM

(Text) (RAY)

Fogra39 Job:01-27545 Title:RP-Design Elements Typography Fundamentals #175 DTP:204 Page:75

Design Elements, Typography Fundamentals

3/12/13 9:06 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 69

3 BOOKS BY SERIES

Design Matters

DESIGN mATTERS SERIES

Design Matters: Logos 01

Design Matters: Portfolios 01

Showcase Showdown M AK E YO U R P O R T F O L I O R E AL LY S H I N E

architectural prowess of a building. And for many, using digital elements can inform, delight, and inspire their audience like never before.

grow, designers encounter tough decisions regarding how to best use the technology available for portfolio development and self-promotion.

With each new day, technology brings exciting opportunities for growth and success. As businesses PLANNING

IMPLEMENTING

Creative professionals have one thing in common—they strive to capture the attention of their potential audience through powerful visual messages. They want to make an impact on a viewer, to entice them to buy their product, attend their theatrical production, or simply marvel at the

PLANNING

IMPLEMENTING

C R E AT I N G

C R E AT I N G D E S I G N M AT T E R S / / P O R T F O L I O S 0 1

in a beautifully etched metallic case, this promotional portfolio is where technology and traditional portfolio strategies meet. The metallic case contains a personalized metallic covered notebook, promotional CD, and a Velcro-enhanced folder, which includes a series of portfolio postcards.

D E S I G N M AT T E R S / / P O R T F O L I O S 0 1

√π Housed

FA c T o r T r E S c o M u N I c A c I o N

® When sending email introductions, Monderer Design attaches a twelve-page promotional PDF. The PDF presents a mini portfolio of print, branding, and interactive design work. MoNDErEr DESIGN

001-093_15877.indd 56 001-093_15877.indd 56

060-079_30084.indd 70 060-079_30084.indd 70

12/16/09 2:53:38 PM 11/30/09 3:50:39 PM

Text (RAY)

Design Matters: Portfolios 01

001-093_15877.indd 57 001-093_15877.indd 57

Job:11-15877/15287 Title:RP-Design Matters Portfolios Job:11-15877/15287 Title:RP-Design Matters Portfolios #175 DTP:216Page:56 Page:56 12-C54244 (204) #175 P PDTP:216

(RAY) (Text)

11/30/09 3:22:24 PM 11/30/09 3:50:39 PM

Text (RAY)

Job:11-15877/15287 Title:RP-Design Matters Portfolios #175 P DTP:216 Page:57

3/12/13 9:06 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 70

g 0

3 CA

Digital Design Essentials

Layout Essentials

060-079_30084.indd 71 060-079_30084.indd 71

Essential Elements for Brand Identity

Packaging Essentials 100 Design Principles for Creating Packages Sarah Roncarelli and Candace Ellicott ISBN: 9781592536030 Item # 191716 AQ 8.5 x 10 in, 216 x 254 mm 208 pages, HC 250 color photos Rights sold: Portuguese, Korean, Chinese Ct. Qty. 6 $40.00 US/£25.00 UK/$50.00 CAN

(RAY) (Text)

Fashion Design Essentials

BOOKS BY SERIES ESSENTIALS SERIES

Typography Essentials

100 Design Principles for Working with Type Ina Saltz ISBN: 9781592537402 Item # 195003 AQ 8.5 x 10 in, 216 x 254 mm 208 pages, PB 300 color photos Rights sold: German, Portuguese, Korean, Czech, Chinese Ct. Qty. 10 $25.00 US/£16.99 UK/$28.00 CAN

3/12/13 9:06 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 71

3 BOOKS BY SERIES FAShION ILLUSTRATION SERIES

Contemporary Fashion Illustration Techniques

Naoki Watanabe ISBN: 9781592535569 Item # 153319 AQ 7.87 x 10 in, 200 x 254 mm 128 pages, PB 500 color photos Rights sold: German Ct. Qty. 40 $22.99 US/£14.99 UK/$23.95 CAN

Essential Fashion Illustration: Digital

Loreto Binvignat Streeter ISBN: 9781592536320 Item # 191718 AQ 8.5 x 10 in, 216 x 254 mm 192 pages, PB w/CD 300 color photos All rights available Ct. Qty. 10 $35.00 US/£25.00 UK/$39.00 CAN

060-079_30084.indd 72 060-079_30084.indd 72

(RAY) (Text)

Essential Fashion Illustration

Maite Lafuente ISBN: 9781592532537 Item # 153124 AQ 8.5 x 10 in, 216 x 254 mm 192 pages, PB 250 color photos All rights available Ct. Qty. 10 $35.00 US/£27.50 UK/$48.00 CAN

Essential Fashion Illustration: Men

Chidy Wayne ISBN: 9781592535057 Item # 153133 AQ 8.5 x 10 in, 216 x 254 mm 192 pages, PB 750 color photos All rights available Ct. Qty. 10 $35.00 US/£19.99 UK/$39.00 CAN

Essential Fashion Illustration: Color and Medium

Estel Vilaseca ISBN: 9781592534302 Item # 153132 AQ 8.5 x 10 in, 216 x 254 mm 192 pages, PB 250 color photos All rights available Ct. Qty. 10 $35.00 US/£19.99 UK/$38.95 CAN

Fashion Illustration Techniques

3/12/13 9:06 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 72

g 2

3 Letterhead & Logo Design 9 MINE ISBN: 9781592533893 Item # 153196 AQ 9 x 11 in, 229 x 279 mm 240 pages, PB 500 color photos All rights available Ct. Qty. 10 $30.00 US/£19.99 UK/$41.95 CAN

Letterhead & Logo Design 10

BOOKS BY SERIES

Letterhead & Logo Design 11

DESIGN FIRM

Letterhead & Logo design series

DESIGN FIRM

Korn Design

Chen Design Associates

ART DIRECTORS

Denise Korn Javier Cortes

ART DIRECTORS

Joshua C. Chen Laurie Carrigan

DESIGNERS

Melissa Wehrman Ben Whitla

DESIGNER

Max Spector

CLIENT

Sage Restaurant Group

Yoshi’s Jazz Club & Japanese Restaurant

Letterhead & Logo Design 12 Oxide Design Co. ISBN: 9781592537174 Item # 193942 AQ 9 x 11 in, 229 x 279 mm 240 pages, HC 350 color photos All rights available Ct. Qty. 6 $45.00 US/£30.00 UK/$49.99 CAN

148

HANDCRAFTED

LETTERHEAD & LOGO DESIGN 11

134-157 01301.indd 148

Text

Letterhead & Logo Design 11

060-079_30084.indd 73 060-079_30084.indd 73

(RAY) (Text)

Job:01301 Title: Letterhead Logo Design II (Rockport) Page:148

6/8/09 10:29:37 AM

134-157 01301.indd 149

Text

Job:01301 Title: Letterhead Logo Design II (Rockport) Page:149

149

6/8/09 10:30:00 AM

3/12/13 10:58 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 73

3 BOOKS BY SERIES LOGOLOUNGE SERIES

LogoLounge (mini)

LogoLounge 4 (mini)

LogoLounge 5

LogoLounge 6

2,000 International Identities by Leading Designers Catharine Fishel and Bill Gardner ISBN: 9781592537358 Item # 194983 AQ 9 x 11 in, 229 x 279 mm 192 pages, PB 2200 color photos Rights sold: English language in Japan, Russia Ct. Qty. 10 $30.00 US/£20.00 UK/$33.00 CAN HC ISBN: 9781592535279 $50.00 US/£34.99 UK/$55.00 CAN

060-079_30084.indd 74 060-079_30084.indd 74

LogoLounge 3 (mini)

(RAY) (Text)

3/12/13 9:06 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 74

g 4

LogoLounge 7

3,000 Shapes and Symbols Logos Catharine Fishel and Bill Gardner ISBN: 9781592536900 Item # 193880 AQ 7.25 x 9 in, 184 x 229 mm 296 pages, POB 3000 color photos Rights sold: Japanese Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

3,000 Initials & Crest Logos Catharine Fishel and Bill Gardner ISBN: 9781592535675 Item # 158937 AQ 7.25 x 9 in, 184 x 229 mm 296 pages, HC 3000 color photos Rights sold: Japanese Ct. Qty. 6 $40.00 US/£24.99 UK/$49.99 CAN

LogoLounge Master Library, Volume 4

3000 Type and Calligraphy Logos Catharine Fishel and Bill Gardner ISBN: 9781592537648 Item # 195053 AQ 7.25 x 9 in, 184 x 229 mm 296 pages, POB 3000 color photos All rights available Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

D = Design Firm

138

C = Client

D = Design Firm

1A D Odney C MBT’s 1B D Jerron Ames C Arteis 1C D R&R Partners C MGM/Mirage 1D D Odney 2A D Roy Smith Design C Grizedale Lodge 2B D Roy Smith Design C Grizedale Lodge 2C D bigoodis C Deerta 2D D Donation Design C Al’s Wine D Alphabet Arm Design C Josh McFadden 3B D Joseph Blalock C Trophy Hunting Systems 3C D Steve DeCusatis Design C JEG 3D D RawRender C wdo advertsing agency 4A D Wissam Shawkat Design 4B D GeniusLogo C Mustangs 4C D Emilio Correa C Arteis, Inc. 4D D Dwayne Design C Murray State College 5A D Elixir Design C Vaguely Noble Horse-Keeping 5B D Pixonal C Stallion 5C D Communication Agency C Kidko 5D D Hirschmann Design C Tim Trapp

130-141_28027.indd 138 130-141_28027.indd 138

LogoLounge 7

060-079_30084.indd 75 060-079_30084.indd 75

LogoLounge Master Library, Volume 3

LogoLounge Master Library, Volume 1

2/15/12 10:30 AM 2/15/12 10:29 AM

(Text) (RAY)

C = Client

1A D Little Box Of Ideas C Zia Choudhary 1B D Impact Visual Communications C Mooberry Winery 1C D Rudy Hurtado Global Branding C Siga La Vaca Restaurant 1D D Sabingrafik, Inc. C ECOV 2A D Oronoz Brandesign C Toreto 2B D Diaconu Felix Ionut 2C D R&R Partners C Airwave 2D D Odney C Bull Run Honey 3A D 144design C Minot Minotauros 3B D SGNL Studio C Cycle Prophet 3C D Jerron Ames C Moovers 3D D Design Laurels C 4 Steer Ranch and Kennels 4A D Ruport C RAMO group of companies 4B D Haller Design 4C D HebelerGraphics C Buffalo Books and More.com 4D D Sabingrafik, Inc. C Andaz Hotel, Shanghai D El Paso, Galeria de Comunicacion C MASCOMPANY 5B D Joseph Blalock C Texas Early Hearing Detection and Intervention 5C D Rudy Hurtado Global Branding C WildSmart 5D D pandabanda C pandabanda design

130-141_28027.indd 139 130-141_28027.indd 139

(Fogra 39) Job:02-28027 Title:RP-Logo Lounge 7 #175 DTP:225 Page:138

(RAY) (Text)

139

2/15/12 10:30 AM 2/15/12 10:29 AM

(Text) (RAY)

(Fogra 39) Job:02-28027 Title:RP-Logo Lounge 7 #175 DTP:225 Page:139

3/12/13 9:06 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 75

3 BOOKS BY SERIES REFERENCE & SPECIFICATION BOOK SERIES

The Architecture Reference & Specification Book

The Industrial Design Reference & Specification Book

060-079_30084.indd 76 060-079_30084.indd 76

Everything Industrial Designers Need to Know Everyday Dan Cuffaro and Isaac Zaksenberg ISBN: 9781592538478 Item # 210664 AQ 5.46 x 7.83 in, 139 x 199 mm 264 pages, PB 300 color photos All rights available Ct. Qty. 10 $25.00 US/£16.99 UK/$28.00 CAN

(RAY) (Text)

The Fashion Design Reference & Specification Book

The Graphic Design Reference & Specification Book

The Interior Design Reference & Specification Book

3/12/13 9:06 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 76

g 6

3 CA

Color Design Workbook

Logo Design Workbook

060-079_30084.indd 77 060-079_30084.indd 77

Information Design Workbook

Package Design Workbook

(RAY) (Text)

Layout Workbook

BOOKS BY SERIES WORKBOOK SERIES

Typography Workbook

3/12/13 9:06 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 77

NEW SPRING 2013 TITLES

The Architecture Reference & Specification Book

Digital Design Essentials

060-079_30084.indd 78 060-079_30084.indd 78

Essential Elements for Brand Identity

(RAY) (Text)

The Best of Brochure Design 12 Public ISBN: 9781592538331 Item # 210576 AQ 9 x 11 in, 229 x 279 mm 224 pages, HC 300 color photos All rights available Ct. Qty. 6 $45.00 US/£30.00 UK/$49.99 CAN

The Fashion Design Reference & Specification Book

Design: Portfolio

Self Promotion at Its Best Craig Welsh ISBN: 9781592538409 Item # 210770 AQ 8 x 11 in, 203 x 280 320 pages, Flexi-bind 500 color photos All rights available Ct. Qty. 6 $40.00 US/£27.50 UK/$44.00 CAN

The Graphic Design Reference & Specification Book

3/12/13 9:07 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 78

g 8

NEW CA

SPRING 2013 TITLES

The Interior Design Reference & Specification Book

Logo Creed

Playing with Type

50 Graphic Experiments for Exploring Typographic Design Principles Lara McCormick ISBN: 9781592538171 Item # 211090 AQ 9 x 9 in, 229 x 229 mm 192 pages, Flexi-bind 300 Color Photos All rights available Ct. Qty. 10 $40.00 US/£25.00 UK/$44.00 CAN

060-079_30084.indd 79 060-079_30084.indd 79

Provoking the question, “What is art?”

Color: a study of how color in urban environments can affect type

Designer/Photographer: Gabriel Gonzalez

Designer/Photographer: Samantha Russo

132

playing with type

128-163_29438.indd 132 128-163_29438.indd 132

Playing with Type

playing with context and application

(Text) (Ray)

(Fogra 39)Job:10-29438 Title:RP-Playing with Type #175 Dtp:225 Page:132

10/24/12 4:36 PM 10/24/12 4:36 PM

128-163_C68262.indd 133 128-163_29438.indd 133

(Text) (Ray)

(Fogra 39)Job:10-29438 Title:RP-Playing with Type 11-C68262 #175 Dtp:225 Page:133

133

11/5/12 2:37 PM 10/24/12 4:36 PM

(RAY) (Text)

3/12/13 9:07 AM 3/12/13 9:08 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 79

Index: 30 Essential Typefaces for a Lifetime 28 45th Publication Design Annual 41, 64 46th Publication Design Annual 41, 64 47th Publication Design Annual 41, 64 100 Habits of Successful Freelance Designers 48 365 Habits of Successful Graphic Designers 48 1,000 Bags, Tags & Labels 44, 61 1,000 Bags, Tags & Labels (mini) 44, 61 1,000 Icons, Symbols, and Pictograms (mini) 61 1,000 Ideas by 100 Architects 52, 61 1,000 Ideas by 100 Fashion Designers 55, 61 1,000 Ideas by 100 Graphic Designers 61 1,000 Ideas by 100 Manga Artists 51, 61 1,000 Ideas for Graffiti and Street Art 51, 62 1,000 Indie Posters 44, 62 1,000 More Greetings 44, 62 1,000 Music Graphics (mini) 44, 62 1,000 Package Designs (mini) 38, 62 1,000 Product Designs 52, 63 1,000 Restaurant, Bar, and Cafe Graphics 63 1,000 Retail Graphics 63

A Adams, Sean 36, 77 AdamsMorioka 30, 77 Aesthetic Movement 44, 62 Alexander, Kathie 31 Altitude Associates 12-13, 41, 66 Anatomy of Design, The 49 Anvil 31 Architecture Reference & Specification Book, The 52, 76, 78 Arrizabalaga, Heidi 31 Atlas of Fashion Designers 55 Atlas of Graphic Designers 49

B Baer, Kim 46, 77 Berger, Joshua 28, 48 Best of Brochure Design 11, The 12-13, 42, 66 Best of Brochure Design 12, The 12-13, 42, 66, 78 Best of Business Card Design 9, The 12-13, 42, 66 Best of Cover Design, The 12-13, 41, 66 Best of Letterhead & Logo Design, The 12-13, 34, 66 Best of News Design 31, The 12-13, 41, 66 Best of News Design 33, The 12-13, 41, 67 Best of the Best of Brochure Design: Volume II 12-13, 42, 66 Best Practices for Graphic Designers, Grids and Page Layouts 40 Blackcoffee Design 61

Borras, Montse 53 Brand Bible 38 Budelmann, Kevin 39, 71, 78 Building Design Portfolios 44 Burgess, Pau 28, 68 Butler, Jill 6-7, 27

C Calderin, Jay 14-15, 56, 57, 71, 76, 78 Campos, Cristian 51, 61, 62 Capsule 25, 34, 70 Cerimedo, Carolina 55, 61 Chan, Eric 52, 63 Chan, Yenna 54 Color Design Workbook 30, 77 Color Harmony Compendium 16-17, 30 Color, Space, and Style 53 Complete Color Harmony, The 30 Contemporary Fashion Illustration Techniques 55, 72 Cossu, Matteo 61 Creating Comics! 51 Cuffaro, Dan 54, 76, 79 Cullen, Cheryl 12-13, 42, 66 Cullen, Kristin 25, 28, 40, 69, 77

D Deconstructing Product Design 53 Design Army 34, 73 Design Elements 10-11, 25, 69 Design Elements, Color Fundamentals 25, 30, 69

Design Elements, Form & Space 25, 69 Design Elements, Typography Fundamentals 25, 28, 69 Design Elements, Using Images to Create Graphic Impact 25, 69 Design Entrepreneur, The 48 Design for Special Events 44 Design Matters 25, 70 Design Matters: Logos 01 34, 70 Design Matters: Portfolios 01 45, 70 Design School 50 Design: Paper 49, 68 Design: Portfolio 45, 68, 78 Design: Type 28, 68 Designerâ&#x20AC;&#x2122;s Research Manual, A 46 Digital Design Essentials 25, 71, 78 Diman, Paz 57 Dougher, Sarah 48 Drawing for Graphic Design 26 DuPuis, Steven 39, 77 Duran, Sergi Costa 52, 61

(RAY) (Text)

Fa Fa

Fo Fo

E Eceiza, Laura 55 Edwards, Bronwen 39 Eguaras, Mariana R. 52, 61 Eisenman, Sara 44 Eldridge, Kiki 12-13, 42, 44, 61, 66 Ellicott, Candace 39, 71 Essential Elements for Brand Identity 39, 71, 78 Essential Fashion Illustration 55, 72 Essential Fashion Illustration: Color and Medium 55, 72

080-088_30084.indd 80 080-088_30084.indd 80

3/12/13 9:15 AM 3/12/13 9:17 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 80

Go Go Go Gr

Gr Gr

g 0

Essential Fashion Illustration: Digital 55, 72 Essential Fashion Illustration: Men 56, 72 Evans, Poppy 26, 27, 76, 78

Graphic Designer’s ElectronicMedia Manual, The 20-21, 27 Graphic Designer’s Essential Reference 27 Graver, Amy 40 Grimley, Chris 53, 54, 76, 79 Grip 38, 62

F Fashion Design Essentials 56, 71 Fashion Design Reference & Specification Book, The 56, 76, 78 Fashion Design, Referenced 14-15, 56 Fashion Details 56 Fashion Illustration Techniques 56, 72 Field Guide: How to be a Fashion Designer 56 Fishel, Catharine 8-9, 34, 35, 36, 74, 75 Form, Fit, and Fashion 57 Forms, Folds, and Sizes, Second Edition 26 Foster, John 44, 45, 62

G Gardner, Bill 8-9, 34, 35, 36, 74, 75, 79 Godfrey, Jason 12-13, 42, 66 Gomez-Palacio, Bryony 14-15, 27 Gordon, Steve Jr. 48, Graphic Design and Architecture, A 20th-Century History 26, 53 Graphic Design Reference & Specification Book, The 27, 76, 78 Graphic Design That Works 48 Graphic Design, Referenced 14-15, 27

H Haber, Karen 51 Haley, Allan 14-15, 29 Hanington, Bruce 6-7, 46 Heller, Steven 29, 46, 48, 49, 50 Hellman, Anne 8-9, 35, 75 Herriott, Luke 63 Holden, Kritina 6-7, 27 Hotel Spaces 53

I Ilic, Mirko 29, 49 Industrial Design Reference & Specification Book, The 54, 76, 79 Information Design Workbook 46, 77 Inside Out 54 Inside the World of Board Graphics 51 Interactive Design 20-21, 27 Interior Design Reference & Specification Book, The 54, 76, 79

J JGA 63 Jura, Ben 40

Keller, Maura 25, 45, 70 Kennedy, Alicia 14-15, 56 Kim, Yang 39, 71, 78 Klimchuk, Marianne 39

Making and Breaking the Grid 18-19, 27, 40 Malamed, Connie 46 Manacsa, Gerry 53 Managing the Design ProcessConcept Development 48 Managing the Design ProcessImplementing Design 48 Marks, Terry 16-17, 30 Martin, Bella 6-7, 46 Martin, Macarena San 56, Masters of Science Fiction and Fantasy Art 51 Materials, Structures, and Standards 54 Matharu, Gurmit 57 McCormick, Lara 28, 79 McMorrough, Julia 52, 54, 76, 78 Mehl, Richard 32 Millman, Debbie 38 MINE Design 12-13, 16-17, 30, 34, 66, 73 Morioka, Noreen 36, 77

L Lafuente, Maite 55, 72 Lal, Rajesh 25, 71, 78 Language of Graphic Design, The 27 Layout Essentials 40, 71 Layout Workbook 40, 77 Leonidas, Gerry 14-15, 29 Letterhead & Logo Design 9 34, 73 Letterhead & Logo Design 10 34, 73 Letterhead & Logo Design 11 34, 73 Letterhead & Logo Design 12 34, 73 Lidwell, William 6-7, 27, 53 Lipavsky, Corin 49 Logo Creed 36, 79 Logo Design Workbook 36, 77 Logo Savvy 36 LogoLounge (mini) 8-9, 34, 74 LogoLounge 3 (mini) 8-9, 35, 74 LogoLounge 4 (mini) 8-9, 35, 74 LogoLounge 5 8-9, 35, 74 LogoLounge 6 8-9, 35, 74 LogoLounge 7 8-9, 35, 75 LogoLounge Master Library, Volume 1 8-9, 36, 75 LogoLounge Master Library, Volume 3 8-9, 36, 75 LogoLounge Master Library, Volume 4 8-9, 36, 75 Love, Mimi 53, 54, 76, 79

N Nakamura, Shigeki 32 New Masters of Poster Design 45 New Masters of Poster Design, Volume 2 45 Nunes, Jason 20-21, 27

O O’Donnell, Timothy 50 O’Grady, Jenn Visocky 46 O’Grady, Ken Visocky 46

080-088_30084.indd 81 080-088_30084.indd 81

(RAY) (Text)

3/12/13 9:15 AM 3/12/13 9:17 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 81

C One Club, The 64, 65 One Show Boxed Set, 2012 Awards 65 One Show Design, Volume 5 64 One Show Design, Volume 6 64 One Show Interactive, Volume XIV 65 One Show Interactive, Volume XV 65 One Show, Volume 32 64 One Show, Volume 33 65 One Show, Volume 34 65 Origin 16-17, 30 Oâ&#x20AC;&#x2122;Shea, Linda 54, 77, 79 Oxide Design Co. 34, 73

P Package Design Workbook 39, 77 Packaging Essentials 39, 71 Pao, Imin 28 Pattern and Palette Sourcebook 31 Pattern and Palette Sourcebook 2 31 Pattern and Palette Sourcebook 4 31 Pattern Sourcebook: Around the World 32 Pattern Sourcebook: Chinese Style 32 Pattern Sourcebook: Japanese Style 2 32 Pattern Sourcebook: Nature 32 Playing with Color 32 Playing with Type 28, 79

080-088_30084.indd 82 080-088_30084.indd 82

Poetry of Fashion Design, The 57 Poulin, Richard 14-15, 26, 27, 29, 53 Pratt, Andy 20-21, 27 Public 12-13, 42, 66, 78 Public School 49, 68 Puhalla, Dennis 25, 69

Stone, Terry Lee 48 Stop, Think, Go, Do 29 Strassburger, Michael 51 Streeter, Loreto Binvignat 55, 72 Sussner Design 34, 73 Sustainable Environments 54 Sutton, Tina 16-17, 30

Takamura, Zeshu 56, 72 Talarico, Lita 48, 50 Taute, Michelle 25, 70 Tondreau, Beth 40, 71 Top Studio Design 12-13, 34, 66 Top, Peleg 44 Tselentis, Jason 14-15, 20-21, 27, 29 Type, Form & Function 29 Typography Essentials 29, 71 Typography Referenced 14-15, 29 Typography Workbook 29, 77

Quartino, Daniela Santos 54

R Raye, Robynne 51 Rayner, Harvey 31 Really Good Packaging Explained 39 Roncarelli, Sarah 39, 71 Rule29 12-13, 42, 66

W Wallace, Rob 39 Watanabe, Naoki 55, 72 Wayne, Chidy 56, 72 Welsh, Craig 45, 68, 78 Werner, Sharon 39 What is Fashion Design? 57 Wheeler, Dan 52, 76, 78 Whelan, Bride M 30 Willoughby Design Group 12-13, 42, 66 Wilson Harvey 12-13, 42, 66 WOW Branding 36 Wozniak, Curt 39, 71, 78 Writing and Research for Graphic Designers 46

Z Zaksenberg, Isaac 54, 76, 79

S Saltz, Ina 14-15, 29, 71 Samara, Timothy 10-11, 18-19, 25, 26, 27, 29, 40, 69, 77 Saville, Laurel 48 Sayles Graphic Design 12-13, 34, 66 Seddon, Tony 14-15, 29 Sherin, Aaris 25, 26, 30, 69 Silva, John 39, 77 Sketchbook 50 Society for News Design 12-13, 41, 66, 67 Society of Publication Designers 41, 64 Stanic, Elena 49, Stoehrer, Emily Banis 14-15, 56 Stoltz Design 12-13, 34, 44, 62, 66

(RAY) (Text)

Q G w

Q Gr (C Pu M Vo Qu 40 M Ph Fa sa

Q Gr (F Bo Ro 10 Su Be Ph Fa

Q Gr (B Ra 27 Ne Ph

U Universal Methods of Design 6-7, 46 Universal Principles of Design 6-7, 27

Q Gr (W 3 Irv Ph Fa

V Vilaseca, Estel 55, 72 Visual Language for Designers 46 Vit, Armin 14-15, 27 Volpintesta, Laura 56, 76, 78

Q Gr (R Sh 11 Ea Ph Fa ww

3/12/13 9:15 AM 3/12/13 9:17 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 82

g 2

Contact Information: QUAYSIDE PUBLISHING GROUP OFFICES www.quaysidepub.com Quayside Publishing Group-Minneapolis, MN (Cool Springs Press, Creative Publishing international, Motorbooks, MVP Books, Voyageur Press, Zenith Press, and Quayside Distribution Services) 400 First Avenue North, Suite 400 Minneapolis, MN 55401 Phone: 612-344-8100 Fax: 612-344-8691 sales@quaysidepub.com Quayside Publishing Group-Beverly, MA (Fair Winds Press, Quarry Books, Quiver,and Rockport Publishers) 100 Cummings Center, Suite 406-L Beverly, MA 01915 Phone: 978-282-9590 Fax: 978-283-2742 Quayside Publishing Group - New York, NY (Book Sales, Inc. and Race Point Publishing) 276 Fifth Avenue, Suite 206 New York, NY 10001 Phone: 212-779-4972 Quayside Publishing Group-Irvine, CA (Walter Foster Publishing) 3 Wrigley, Suite A Irvine, CA 92618 Phone: 949-380-7510 Fax: 949-380-7575 Quayside Publishing Group-UK (RotoVision SA) Sheridan House 112-116A Western Road Hove, East Sussex BN3 1DD England Phone: +44 (0) 1273 727268 Fax: +44 (0)1273 727269 www.rotovision.com

080-088_30084.indd 83 080-088_30084.indd 83

U.S. BOOK TRADE SALES REPRESENTATIVES

U.S. GIFT SALES REPRESENTATIVES

West Book Travelers West 2701 California Ave. SW PMB #233 Seattle, WA 98116 Phone: 206-932-7865 Fax: 800-440-0818 kurtis@booktravelerswest.com

Allan Vayle & Associates CT, MA, ME, RI, VT, NH Main Office and Showroom: 2 Cabot Road Hudson MA 01749 Phone: (978) 568-0040 Fax: (978) 568-0044 sales@allanvayle.com

Mid Atlantic Chesapeake & Hudson, Inc 115 W Potomac Street Brunswick, MD 21716 Phone: 800-231-4469 Fax: 800-307-5163 office@cheshud.com

Ron Leonard & Associates, Inc. VA, WV, NC, SC, KY, TN, GA, AL, FL, MS 4215 Troon Place Fort Pierce, FL 34947 Phone: (772) 466-6338 Fax: (772) 466-6339 ronsleonard@comcast.net

Philippa Painter Deputy Foreign Rights Director All lists: Central & Eastern Europe, Scandanavia & Asia English language RotoVision only: Page One Phone: +44 1273 716025 Philippap@rotovision.com

Ruth Stein & Associates New York City metropolitan area 135 East 83rd St. Apt 9B New York, NY 10028 Phone: (212) 988-1163 Fax: (212) 988-8886 ruthsteinassoc@earthlink.net

Marta Blanco All lists: Spain, Latin America, Brazil, Portugal, Netherlands, India & the Middle East, Greece, and Turkey Phone: +44 (0) 1273 716013 Martab@rotovision.com

McLemore / Hollern AR, LA, OK, TX 3538 Maple Park Drive Kingwood, TX 77339 Phone: (281) 360-5204 Fax: (281) 360-5215

Anja Endemann All lists: Germany, Austria & Switzerland Phone: +49 30 22 494 489 anja.endemann@web.de

South (TX, LA, AR, OK) Fujii Associates Tom Bowen 4151 Cobblers Lane Dallas, TX 75287 Phone: 972-381-1828 Fax: 972-381-1829 tom@fujiiassociates.com Southeast Southeastern Book Travelers 1920 Valleydale Road Suite 220 Birmingham, AL 35244 Phone: 205-682-8570 Fax: 770-804-2013 sbtorders@bellsouth.net Midwest Abraham Associates 5120-A Cedar Lake Rd Minneapolis, MN 55416 Phone: 800-701-2489 Fax: 952 â&#x20AC;&#x201C;927-8089 info@abrahamassociatesinc.com New England (CT, MA, ME, NH, RI, VT) Northeast Publishers Reps Bill Palizzolo 81 Indian Ridge Road Contoocook, NH 03229 Phone: 603-746-3547 Fax: 603-746-3547 billp@nepubreps.com

(RAY) (Text)

INTERNATIONAL CO-EDITION & RIGHTS TEAM Quayside Publishing Group ALL IMPRINTS

Nicole Kemble Foreign Rights Director All lists: France, French-speaking Canada, and Italy Phone: +44 1273 7160005 Nicolek@rotovision.com

OPEN TERRITORY: CO, NM, NJ, PA, IA, IL, IN, KS, OH, MI, MN, MO, ND, NE, SD, WI, AK, CA, HI, NV, OR, WA, Virgin Islands Contact Quayside Publishing Group

HOME IMPROVEMENT, GIFT,GARDEN & COOKING REPRESENTATIVES Toni Gattone & Associates CA, NV 317 Holcomb Ave Larkspur, CA 94939 Phone: (415) 924-8666 Fax: (415) 924-8038 Cell: (415) 505-6340 toni@gardenandgift.com

Okkyun Choi All lists: Korea Phone: +44 20 7700 6700 okkyun.choi@quarto.com Yukiko Ohata All lists: Japan Phone: 44 20 770 6700 yukiko. ohata@quarto.com Meixia Wang All lists: China & Taiwan Phone: +61 2 9634 6220 mwang@quarto.com.au Susan Mears All lists (except RV): South East Asia & Australia Phone: +001 978 282 3530 smears@quaysidepub.com

3/12/13 9:15 AM 3/12/13 9:17 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 83

B Leah Selwood Rights Assistant Phone: +44 1273 716020 leahs@rotovision.com

New Zealand Phone: +64 09 419 2635 Fax: +64 09 419 2635 sales@bookreps.co.nz

DISTRIBUTION SALES UK and Ireland Orders and enquiries to: Aurum Press Ltd 7 Greenland Street London NWI 0ND Phone: 020 72847160 Fax: 020 74854902 sales@aurumpress.co.uk

Singapore, Malaysia, Indonesia, Philippines, Vietnam, Cambodia, Brunei & Thailand ALL IMPRINTS APD Singapore Pte Ltd Ian Pringle 52 Genting Lane #06-05 Ruby Lane Complex 1 Singapore 349560 Phone: (65) 6749 3551 Fax: (65) 6749 3552 ian@apdsing.com or th@apdsing.com

United Kingdom and Ireland ORDERS TO: Grantham Book Services Isaac Newton Way Alma Park Industrial Estate Grantham, Lincolnshire NG31 9SD, UK Phone: +44 (0) 1476 541 080 Fax: +44 (0) 1476 541 061 orders@gbs.tbs-ltd.co.uk Australia ALL IMPRINTS including ROTOVISION Capricorn Link (Australia) Pty. Ltd. 2 Dowling Place South Windsor NSW 2756 Phone: +61 0245 601600 Fax: +61 0245 775288 books@capricornlink.com.au www.capricornlink.com.au New Zealand ROCKPORT, QUARRY, FAIR WINDS, QUIVER, WALTER FOSTER, CPi David Bateman Ltd. 30 Tarndale Grove PO Box 100-242 NSMC Auckland 1330 New Zealand Phone: (64 9) 415 7664 Fax: (64 9) 415 8892 bateman@bateman.co.nz New Zealand MOTORBOOKS, VOYAGEUR, ZENITH Bookreps New Zealand Ltd. P.O. Box 34 989 Birkenhead Auckland 1330

080-088_30084.indd 84 080-088_30084.indd 84

South Africa, Namibia, Botswana, Zimbabwe, Swaziland & Lesotho ALL IMPRINTS Real Books Helena Groeneveld 137 Smit Street Braamfontein, South Africa Phone: +011 403-3700 Fax: +011 339-3169 helena.realbook@global.co.za

INTERNATIONAL SALES REPRESENTATIVES: EXPORTS SALES ONLY Canada ALL IMPRINTS Canadian Manda Group 165 Dufferin Street Toronto, Ontario Canada, M6K 3H6 Phone: +1 888 563 8327 Fax: +1 416 516 0917 Orders and Inquiries: general@mandagroup.com www.mandagroup.com South America, Central America, Caribbean & Mexico ALL IMPRINTS Cranbury International Ethan Atkin 7 Clarendon Ave, Suite 2 Montpelier, VT 05602 USA Phone: +1 802 223 6565 Fax: +1 802 223 6824 eatkin@cranburyinternational. com

(RAY) (Text)

Denmark, Finland, Iceland, Norway & Sweden ALL IMPRINTS Angell Eurosales The Old Whaling House, The Walls Berwick-upon-Tweed TD15 1HP United Kingdom Phone: +44 1289 332934 Fax: +44 1289 332935 gill@angelleurosales.com Central & Eastern Europe, Belgium, France, Luxembourg, Monaco, Netherlands ALL IMPRINTS Austria, Germany & Switzerland ALL IMPRINTS EXCEPT ROCKPORT Bill Bailey Publishers Representatives 16 Devon Square Newton Abbot, TQ12 2HR Phone: +44 1626 331079 Fax: +44 1626 331080 info@billbaileypubreps.co.uk Italy, Greece ALL IMPRINTS Penny Padovani Padovani Books N.A La Chiesa no.0 52044 Pergo Cortona (AR) Italy Phone: +39 0575 614338 Fax: +39 0575 614338 penny@padovanibooks.com Spain, Portugal, Gibraltar ALL IMPRINTS Jenny Padovani Padovani Books Rambla Poblenou 11 Escalera A 4, 2a Barcelona 08005 Spain Phone: +34 93 2218561 Fax: +34 93 2218561 jenny@padovanibooks.com China, Taiwan, and Hong Kong ALL IMPRINTS Asia Publishers Services Units B&D, 17F Gee Chang Hong Centre, 65, Wong Chuk Hang Road, Aberdeen, Hong Kong Phone: +1 (852) 2553 9289 edward_summerson@asiapubs. com.hk

Sub-Saharan Africa ALL IMPRINTS Kelvin van Hasselt Willow House, The Street Birmingham, Norfolk NR24 2PY, U.K. Phone: 44 1263 862724 Fax: 44 1263 862803 kelvin@kvhbooks.co.uk Japan ALL IMPRINTS Tim Burland Sangenjaya 2-38-12 Setagaya Ward, Tokyo 154-0024 Japan Phone: +81 (0)3-3424-8977 Fax: +81 (0)3-3424-8977 Mobile: +81 (0)90-1633-6643 tkburland@gmail.com All other territories please contact: Aurum Publishing Group 47-77 White Lion Street Islington, London N1 9PF Phone: +44 0207 284 9339 Adrian Greenwood, International Sales Director Adrian.greenwood@ aurumpublishinggroup.com Anne Bowman, Export Sales Manager anneb@frances-lincoln.com

B W t s a o t i P

B P r s c p c o a c

F c r

Ella Camps-Linney, Export Sales Assistant ella.camps-linney@quarto.com Marketing and Educator Inquiries: US and Canada Susan Hershberg shershberg@quaysidepub.com UK Andrew Compton andrew.compton@quarto.com

50 Sa 41 ww

18 Be 51 ww

Th M 91 Lo 21 th

3/12/13 9:16 AM 3/12/13 9:17 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 84

g 4

Bookstores We Recommend: Green Apple Books

506 Clement Street San Francisco, CA 94118 415-387-2272 www.greenapplebooks.com

Booksellers, We admire your commitment to maintaining a strong selection of design titles as part of your core stock offering. Rockport would like to support your efforts and invite you to participate in our Premier Customer Program. Bookstores joining Rockport’s Premier Customer Program receive benefits such as special terms, customized collateral material, featured placement on RockPaperInk. com, promotion through our social media channels, and inclusion in our annual catalog. For more information, please contact your Rockport sales rep.

US Alexander Book Company 50 Second Street San Francisco, CA 94105 415-495-2992 www.alexanderbook.com

Builders Booksource

1817 Fourth Street Berkeley, CA 94710 510-845-6874 www.buildersbooksource.com

The FIDM Store

The Fashion Institute of Design & Merchandising 919 South Grand Avenue Los Angeles, CA 90015 213-624-1200 thefidmstore.com

080-088_30084.indd 85 080-088_30084.indd 85

Hennessey + Ingalls

(multiple locations) 214 Wilshire Blvd. Santa Monica, CA 90401 310-458-9074 www.hennesseyingalls.com

Kinokuniya Bookstore

Ex Libris Bookstore

MoMA Design and Book Store

228 Martin Luther King Blvd. Savannah, GA 31401 912-525-7550 www.bkstr.com

The Art Institute of Chicago Museum Shop 111 South Michigan Avenue Chicago, IL 60603 855-301-9612 www.artinstituteshop.org

Brookline Booksmith

279 Harvard Street Brookline, MA 02446 617-566-6660 www.brooklinebooksmith.com

Kinokuniya Bookstore

292 Main Street Cambridge, MA 02142 617-253-5249 web.mit.edu/bookstore

The Museum Store at SFMOMA

151 Third Street San Francisco, CA 94103 415-357-4035 museumstore.sfmoma.org

Vroman’s Bookstore

695 E. Colorado Blvd. Pasadena, CA 91101 626-449-5320 www.vromansbookstore.com

William Stout Books

804 Montgomery Street San Francisco, CA 94133 415-391-6757 www.stoutbooks.com

Tattered Cover Book Store (multiple locations) 2526 East Colfax Avenue Denver, CO 80206 303-322-7727 www.tatteredcover.com

(RAY) (Text)

MIT Press Bookstore

Powell’s Books

Fashion Design Books

250 West 27th Street New York, NY 10001 212-633-9646 www.fashiondesignbooks.com

(multiple locations) 1073 Avenue of the Americas New York, NY 10018 212-869-1700 www.kinokuniya.com 52 Prince Street New York, NY 10012 212-274-1160 mcnallyjackson.com

31 Third Avenue New York, NY 10003 212-260-7853 www.stmarksbookshop.com 828 Broadway New York, NY 10003 212-473-1452 www.strandbooks.com

82 Needham Street Newton Highlands, MA 02461 617-964-7440 www.nebookfair.com

McNally Jackson Books

St. Mark’s Bookshop

Strand Book Store

New England Mobile Book Fair

Kinokuniya Bookstore

Rizzoli Bookstore

31 West 57th Street New York, NY 10019 212-759-2424 www.rizzoliusa.com/bookstore

(multiple locations) 1581 Webster Street San Francisco, CA 94115 415-567-7625 www.kinokuniya.com (multiple locations) 123 Onizuka Street Los Angeles, CA 90012 213-687-4480 www.kinokuniya.com

11 West 53rd Street New York, NY 10019 212-708-9700 www.momastore.org

(multiple locations) 1005 W. Burnside Portland, OR 97209 503-228-4651 www.powells.com

AIA Bookstore and Design Center

1218 Arch Street Philadelphia, PA 19107 215-569-3188 www.aiabookstore.com

Carnegie Mellon University Bookstore 5032 Forbes Avenue Pittsburgh, PA 15213 412-268-2966 bookstore.web.cmu.edu

RISD Store

30 North Main Street Providence, RI 02903 401-454-6464 www.risdstore.com

3/12/13 9:16 AM 3/12/13 9:17 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 85

Bookstores Cont. A Book For All Seasons 703 Highway 2 Leavenworth, WA 98826 509-548-1451 www.abookforallseasons. indiebound.com

The Elliott Bay Book Company

1521 Tenth Avenue Seattle, WA 98122 206-624-6600 www.elliottbaybook.com

Peter Miller Books 1930 First Avenue Seattle, WA 98101 206-441-4114 www.petermiller.com

CANADA McNally Robinson Booksellers

1120 Grant Avenue Winnipeg, MB R3M 2A6 800-561-1833 www.mcnallyrobinson.com

The Montreal Museum of Fine Arts Bookstore

1390 Sherbrooke Street West Montreal, QC H3G 2T9 514-285-2000 www.mbam.qc.ca/en/boutique

Oscar’s Art Books

1533 Broadway W. Vancouver, BC V6J 1W6 604-731-0553 www.oscarsartbookstore.com

Swipe Design

401 Richmond Street West Toronto, ON M5V 3A8 416-363-1332 www.swipe.com

University of Alberta Bookstore

Student Union Building Edmonton, AB T6G 2J7 780-492-4215 www.bookstore.ualberta.ca

University of Manitoba Bookstore

FRANCE Librairie Artazart

Librairie Eyrolles

AUSTRALIA

170 Boulevard Saint-Germain Paris 75006 +33 (0)1 45 48 35 85

Metropolis Bookshop

252 Swanston Street Melbourne 3000 03 9663 2015 www.metropolisbookshop.com.au

BELGIUM Copyright Bookshop

Jakobijnenstr 8 B Ghent 9000 +32 (0)9 223 57 94 www.copyrightbookshop.be

FINLAND Keski-Töölön Paperikauppa Oy Ruusulankatu 18 Helsinki 00250 (09) 490 086 www.paperikauppa.fi

Sternstraße 4 Hamburg 20357 040 40185110 www.codobuch.de

Librairie La Hune

Librairie Leks

19 Rue Pierre Lescot Paris 75001 +33 (0)1 40 26 21 83

Vi M +3 ww

Kopp Fachbuch und Medienversand GmbH

Martin-Luther-King-Strasse 2b Hanau 63452 045 075 6181 www.koppmedien.de

(m Co B2 5Sh 03 ww

Admiralitätsstraße 71-72 Hamburg 20459 040 373196 www.sautter-lackmann.de

Bücherbogen

(multiple locations) Savignyplatz GmbH Stadtbahnbogen 593 Berlin 10623 030 31 86 95 11 www.buecherbogen.com

soda. Internationale Magazine und Bücher

Buchhandlung L. Werner GmbH

Residenzstrasse 18 München 80333 089 226 979 www.buchhandlung-werner.de

Kleiner Schloßplatz 11 Stuttgart 70173 0711 292 509 www.limacher.de

Sautter + Lackmann

GERMANY

Buchhandlung Rita Limacher GmbH

(m Ka Jl. Ja 62 pe

Cohen+Dobernigg Buchhandel

61 Boulevard Saint-Germain Paris 75005 +33 (0)1 44 41 11 74 www.eyrolles.com

80 Albert Street Brisbane 4000 07 3221 1368 www.foliobooks.com.au

Ehrenstraße 4 Köln 50672 0221 20 59 6-0 www.buchhandlung-waltherkoenig.de

83 Quai de Valmy Paris 75010 +33 (0)1 40 40 24 00 www.artazart.com/fr

140 University Centre, Fort Garry Campus Winnipeg, MB R3T 2N2 204-474-8321 www.umanitoba.ca/bookstore

Folio Books

Buchhandlung Walther König

Rumfordstrasse 3 München 80469 0049 89 20 24 53 53 www.sodabooks.com

To 5Sh 03 ww

HOLLAND

American Book Center Spui 12 Amsterdam 1012 XA +31 (0)20 625 55 37 www.abc.nl

(m 2To 03 ww

HUNGARY

6M 03 st

Alexandra Könyvesház

7th West Square Budapest 1055 (06-1) 428-7077 www.alexandrakonyveshaz.hu

080-088_30084.indd 86 080-088_30084.indd 86

(RAY) (Text)

3/12/13 9:16 AM 3/12/13 9:17 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 86

g 6

INDONESIA

PHILIPPINES

SPAIN

Periplus Bookshop

Fully Booked/Bibliarch/ Sketchbooks

Graphic Book

Artwords Bookshop

(multiple locations) Kawasan Industri Pulogadung Jl. Rawa Geiam Iv No. 9 Jakarta 13930 62-21646821088 periplus.co.id

ITALY Books Import S.R.L. Via Achille Maiocchi, 11 Milan 20129 +39 02 29400478 www.booksimport.it

JAPAN Aoyama Book Center

(multiple locations) Cosmos Aoyama Garden Floor B2F 5-53-67 Jingu-mae Shibuya-ku, Tokyo 03-5485-5511 www.aoyamabc.co.jp

Design Books Tokyo Design Center 5-25-19 Higashi-Gotanda Shinagawa-ku, Tokyo 03-3445-1341 www.design-center.co.jp

Junkudo Bookstore

(multiple locations) 2-15-5 Minami-ikebukuro Toshima-ku, Tokyo 03-5956-6111 www.junkudo.co.jp

Tsutaya Tokyo Roppongi

6-11-1 Roppongi Hills Keyakizaka Minato, Tokyo 03-5775-1515 store.tsutaya.co.jp

080-088_30084.indd 87 080-088_30084.indd 87

(multiple locations) Bldg 6, Bonifacio High Street Bonifacio Global City, Taguig City 1634 632-858-7000 www.fullybookedonline.com

PHILIPPINES National Book Store

(multiple locations) Quad Alpha Centrum Building 125 Pioneer St. Mandaluyong City 1550 632-631-8061 www.nationalbookstore.com

POLAND Top Mark Centre Ul. Emilii Plater 4 Warsaw +48 22 428 3014 www.tmc.com.pl

SINGAPORE AND AUSTRALIA, INDONESIA, JAPAN, MALAYSIA, TAIWAN, THAILAND, UAE Kinokuniya Bookstore (multiple locations) www.kinokuniya.com.sg

SINGAPORE AND CHINA, HONG KONG, TAIWAN Page One

(multiple locations) www.pageonegroup.com

(RAY) (Text)

(multiple locations) Shoreditch 69 Rivington Street London EC2A 3AY +44 (0) 20 7729 2000 www.artwords.co.uk

C/ Booksellers, 3 Madrid 28004 34 91 521 0019 www.graphicbook.com

La Central del Raval C/ Elisabets, 6 Barcelona 08001 00 34 902 884 990 www.lacentral.com

Blackwell’s Art and Poster Shop

27 Broad Street Oxford OX1 3BS +44 (0) 1865 333641 www.bookshop.blackwell.co.uk

Laie CCCB C/ Montalegre, 5 Barcelona 08001 93 481 38 86 www.laie.es/cccb

Castor + Pollux

165 King’s Road Arches, Lower Promenade Brighton BN1 1NB +44 (0) 1273 773776 www.castorandpollux.co.uk

Llibreria Medios C/ Valldonzella, 7 Barcelona 08001 934 12 33 88

Design Museum Shop

28 Shad Thames London SE1 2YD +44 (0) 207 940 8775 www.designmuseumshop.com

a Rhei C/ Hernán Cortés, 7 Madrid 28004 34 91 319 89 02 www.panta-rhei.es

Foyles (multiple locations) 113-119 Charing Cross Road London WC2H 0EB +44 (0) 20 7437 5660 www.foyles.co.uk

SWEDEN

Magma Books

Akademibokhandeln, Vasagatan

(multiple locations) 117-119 Clerkenwell Road London EC1R 5BY +44 (0) 20 7242 9503 www.magmabooks.com

26-30 Centrum Stockholm +46 31 60 96 80 www.akademibokhandeln.se

Tate Modern

THAILAND Asia Books Co., Ltd

(multiple locations) 65/66, 65/70 Chamnan Phenjati Business Center Rama 9 Road, 7th Floor Huaykwang, Bangkok 10320 (662) 715-9000 www.asiabooks.com

Bankside London SE1 9TG +44 (0) 20 7401 5167 www.tate.org.uk/shop

3/12/13 9:16 AM 3/12/13 9:17 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 87

Design Associations: American Institute of Architects (AIA) www.aia.org American Institute of Graphic Arts (AIGA) www.aiga.org Art Directors Club (ADC) www.adcglobal.org Association of Registered Graphic Designers of Ontario (RGD Ontario) www.rgdontario.com Association Typographique Internationale (ATypI) www.atypi.org D&AD www.dandad.org Design Council www.designcouncil.org.uk Fashion Group International www.fgi.org Industrial Designers Society of America (IDSA) www.idsa.org

International Council of Societies of Industrial Design (Icsid) www.icsid.org International Society of Typographic Designers (ISTD) www.istd.org.uk The One Club www.oneclub.org Society for Environmental Graphic Design (SEGD) www.segd.org Society for News Design (SND) www.snd.org Society of Graphic Designers of Canada (GDC) www.gdc.net Society of Publication Designers (SPD) www.spd.org Type Directors Club (TDC) www.tdc.org

International Council of Graphic Design Associations (Icograda) www.icograda.org

080-088_30084.indd 88 080-088_30084.indd 88

(RAY) (Text)

3/12/13 9:16 AM 3/12/13 9:17 AM

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog #175 DTP: 216 Page: 88

ROCKPORT publishers

Rockport Publishers 100 Cummings Center, Suite 406-L Beverly, MA 01915 www.rockpub.com

2013

THE COMPLETE DESIGN LIST

ISBN-13: 978-1-59253-900-0 Item # 213531

Cover_30084.indd 1-2

(RAY)

Job: 03-30084 Title: RP-Backlist Graphic Design 3/11/13 Catalog 2:01 PM #175 DTP: 216 Page: Cover