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Visual Grammar by
Life in the image world has made us all voracious, if not always deliberate, consumers of visual messages. Easy access to computer graphic tools has turned many of us into either amateur or professional image producers. But without a basic understanding of visual language, a productive dialogue between producers and consumers of visual communication is impossible. Visual Grammar can help you speak and write about visual objects and their creative potential, and betterunderstand the graphics that bombard you 24/7. It is both a primer on visual language and a visual dictionary of the fundamental aspects of graphic design.Dealing with every imaginable visual conceptfrom abstractions such as dimension, format, and volume; to concrete objects such as form, size, color, and saturation; to activities such as repetition, mirroring, movement, and displacement; to relations such as symmetry, balance, diffusion, direction,and variationthis book is an indispensable reference for beginners and seasoned visual thinkers alike. Whether you simply want to familiarize yourself with visual concepts or whether you're an experienced designer looking for new ways to convey your ideas to a client, Visual Grammar is the clearand concise manual that you've been looking for.
The Language of Graphic Design by
For anyone trying to communicate in a new language, one has to first gain a complete understanding of its fundamentals; the ABC's of that language--definitions, functions, and usage. The Language of Graphic Design provides graphic design students and practitioners with an in-depth understanding of the fundamental elements and principles of their language--graphic design--what they are, why they are important, and how to use them effectively. Organized by the building blocks of the graphic design language, this reference includes work by some of the most successful and renowned practitioners from around the world and how they have applied these fundamental principles to their work. By examining both student and professional work, this comprehensive handbook is a more meaningful, memorable, and inspiring reference tool for novice design students, as well as young designers starting their careers. To understand visual communications one has to first understand by seeing. To develop this discipline or visual sense is similar to learning a new language with its own unique alphabet, lexicon (vocabulary), and syntax (sentence structure). This book provides clear, concise information that will enhance visual literacy, while using dynamic, memorable visual references to inspire and reinforce the skill of seeing.
Graphic Design, Referenced by
From Caslon and Carson, from Gutenberg to Greiman, from Lascaux to letterpress, and from Postmodernism to pixel (among other entries), this title will provide all the necessary information and visual cues that designers need to know in order to become empowered, work efficiently and knowingly, and survive in a design conversation with peers.
Basics Graphic Design 02: Design Research by
Design Research shows readers how to choose the best method of research in order to save time and get the right results.The book makes readers aware of all the different research methods, as well as how to carry out the most appropriate research for their graphic design projects. All stages of the research process are considered in a dynamic and entertaining style, covering audience, context, trends, sources, documentation, dissemination and more. Students and designers can benefit from this text by learning fresh ways to analyse information obtained by data gathering, and how best to test and prove decisions. The resulting, well-rounded solutions will be informed, innovative, and aesthetically fitting for the brief.
Art Direction Explained, at Last! by
This book is a highly informative, highly entertaining introduction to what art direction is and what art directors do. Written by two of the world's leading experts on the subject, it covers the role of art director in numerous environments, including magazines and newspapers, advertising, corporate identity, museums, and publishing. It also provides an insight into what makes a successful art director, what an art director actually does all day, what makes things go right, and what makesthings go wrong. Alongside perspectives on typography, illustration, and photography, there are case studies of successful art direction in different spheres, fromMcSweeney's to Vier5's web design. The authors have also invited pre-eminent international art directors to interpret their roles in special sections of the book that they have art directed themselves. The result is an impressive, enlightening, and often very funny diversity of perspectives and approaches. Clearly written, including a glossary of handy art director sayings, an "art director test," and more,Art Direction Explained, At Last! will provide students with insights into the world of art direction and professionals with a perceptive overview of their profession.
Meggs' History of Graphic Design by
Now in its Fourth Edition, this unrivaled, seminal work continues its long tradition of providing balanced insight and thorough historical background. Under the new authorial leadership of Alston Purvis, this authoritative book offers more than 450 new images, along with expansive coverage of such topics as Italian, Russian, and Dutch design. It reveals a saga of creative innovators, breakthrough technologies, and important design innovations.
Basic Visual Concepts and Principles for Artists, Architects and Designers by
To the Instructor: Developing a Structure and Terminology for Basic Visual Studies 1 Historical Influences on Visual Education 2 The Problem-Solving Process and Form Generation Model 3 Drawing as a Means of Communicating 4 Formal Drawing Systems 5 The Visual Elements of Form: Point, Line, Plane and Shape 6 Volume and Structure 7 The Visual and Physical Attributes of Form 8 Color 9 Space, Depth and Distance 10 Perception of Figure and Form 11 Perceptual Principles 12 Symmetry and Dynamic Symmetry Appendix Credits Inde
Visual Harmony by
Effective visual communication is not an accidental occurrence, but rather is the result of serious intention on the part of the designer to balance all aspects of the design. This is often achieved through careful application of proportion based on guiding principles that are here detailed; the golden ratio, 'divine proportion' and the Fibonacci sequence. By way of 1200 full-colour illustrations, the way in which modern design is utilising these ancient principles is explored.