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A Visual History of Graphic Design. A comprehensive look at hundreds of landmark projects, industry leader profiles, and illustrated timelines for each decade

In this mighty first volume, Jens Müller traces 70 years of graphic design, designers, and developments from the late 19th century through the economic boom after World War II, spanning designs that would form the basis for further revolutions. Year-by-year spreads are combined with in-depth features on hundreds of landmark projects, industry-leader profiles, as well as visual timelines of each decade.

History is a complex business. Fortunes boom and bust, empires wax and wane, and change — whether social, political, or technological — has its winners, its losers, its advocates, and its enemies. Through all the turbulent passage of time, graphic design — with its vivid, neat synthesis of image and idea — has distilled the spirit of each age.

This book is an in-depth history of graphic design from the end of the 19th century to the ’50s. It traces the evolution of this creative field from its beginning as poster design to its further development into advertising, corporate identity, packaging, and editorial design. Organized chronologically, the volume features over 2,500 seminal designs from all over the world, 71 of which are profiled in detail besides 61 leaders in the field, including Alphonse Mucha (chocolate advertisements), Edward Johnston (London Underground logo and typeface), El Lissitzky (constructivist graphics), Herbert Matter (photomontage travel posters from Switzerland), Saul Bass (animated opening titles), and A. M. Cassandre (art deco posters).

With his sweeping knowledge of the field, author Jens Müller curates the standout designs for each year alongside a running sequence of design milestones. Meanwhile, in his introductory essay, David Jury situates graphic design from its point of origin in early printing, engraving, and lithography to striking creative developments in the 19th century. Each consecutive decade is then prefaced by a succinct overview as well as a stunning visual timeline, offering a vivid display of the variety of graphic production in each decade as well as the global landscape which it at once described and defined.

As we move on from and reflect upon the 20th century, this first volume examines the foundations of what would influence some of the fastest-changing creative fields. Combined with Volume Two — which spans from the 1960s until today — the tomes offer the most comprehensive exploration of graphic design to date and a long-overdue recognition of its enormous contribution to economics, politics, social causes, the arts, media, and the way we see the world.

The author:

Jens Müller was born in Koblenz, Germany, in 1982 and studied graphic design. Recipient of numerous national and international design awards, Müller is Creative Director of vista design studio in Düsseldorf, editor of the A5 book series on graphic design history, and author of Logo Modernism. He is a visiting lecturer at the Peter Behrens School of Arts in Düsseldorf and at the design department of the Dortmund University of Applied Sciences and Arts.

The editor:

Julius Wiedemann studied graphic design and marketing and was an art editor for newspapers and design magazines in Tokyo before joining TASCHEN in 2001. His titles include the Illustration Now! and Record Covers series, as well as the infographics collection and books about advertising and visual culture.

Visual Revolutionaries. Design game changers, from the 1960s until today

In this second volume, Jens Müller rounds off the most comprehensive exploration of graphic design to date. With around 3,500 seminal pieces and 78 landmark projects, year-by-year spreads, and profiles of industry leaders, discover how graphic design shaped contemporary society from the 1960s until today, from the hippie movement to new forms of visual language.

Through the turbulent passage of time, graphic design — with its vivid, neat synthesis of image and idea — has distilled the spirit of each age. Surrounding us every minute of every day, from minimalist packaging to colorful adverts, smart environmental graphics to sleek interfaces: graphic design is as much about transmitting information as it is about reflecting society’s cultural aspirations and values.

This second volume rounds off our in-depth exploration of graphic design, spanning from the 1960s until today. About 3,500 seminal designs from across the globe guide us in this visual map through contemporary history, from the establishment of the International Style to the rise of the groundbreaking digital age. Around 80 key pieces go under the microscope in detailed analyses besides 118 biographies of the era’s most important designers, including Massimo Vignelli (New York subway wayfinding system), Otl Aicher (Lufthansa identity), Paula Scher (Citibank brand identity), Neville Brody (The Face magazine), Kashiwa Sato (Uniqlo brand identity), and Stefan Sagmeister (handwriting posters).

With his sweeping knowledge of the field, author Jens Müller curates the standout designs for each year alongside a running sequence of design milestones. Organized chronologically, each decade is prefaced by a succinct overview as well as a stunning visual timeline, offering a vivid display of the variety of graphic production in each decade as well as the global landscape which it at once described and defined.

This collection of important graphic works represents a long-overdue reflection on the development of a creative field constantly changing and challenging itself. These key pieces act as coordinates through contemporary history, helping us trace the sheer influence of graphic design on our daily lives.

Combined with Volume One — which spans from the field’s very beginnings until 1959 — the tomes offer the most comprehensive exploration of graphic design to date.

About the Author:

Jens Müller was born in Koblenz, Germany, in 1982 and studied graphic design. Recipient of numerous national and international design awards, Müller is Creative Director of vista design studio in Düsseldorf, editor of the A5 book series on graphic design history, and author of Logo Modernism. He is a visiting lecturer at the Peter Behrens School of Arts in Düsseldorf and at the design department of the Dortmund University of Applied Sciences and Arts.

The editor:

Julius Wiedemann studied graphic design and marketing and was an art editor for newspapers and design magazines in Tokyo before joining TASCHEN in 2001. His titles include the Illustration Now! and Record Covers series, as well as the infographics collection and books about advertising and visual culture.

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.

The New Big Book of Color is the second volume of its kind. The Big Book of Color in Design became a top seller in the graphics world. As we approached the new book, our goal was to make an even better volume. One change you will notice is that color formulae shown for each piece now includes not only CMYK for printed pieces, but also RGB for Internet use. So, for the designer who sees a great color combination, and wants something "just like that," the process is simple: the color mix is right there for you to use. Another addition to this book is a brief commentary on each piece. The more experienced designer may well find the notes interesting, but they are aimed at younger designers and are a learning tool a couple of steps beyond the classroom.

The Phaidon Archive of Graphic Design features 500 graphic designs including newspapers, magazines, posters, advertisements, typefaces, logos, corporate design, record covers and moving graphics from around the world, which have set a benchmark for excellence and innovation.

The dividers that come with this 'book in a box' allow you to define how you want to organise, whether it is chronologically, alphabetically, by designer or by subject.

Compiled and researched by experts, and illustrated with up to six images per entry, including rarely seen historical and contextual material, The Phaidon Archive of Graphic Design is the ultimate reference guide for the design professional and enthusiast alike. Designed with exceptional production details and rich with information, this book also becomes an object that appeals to the creativity and imagination of the reader.

Born of the traditions of fine art and printing, graphic design is a form of visual communication that seeks to inform, identify or promote through the combination of word and image. But unlike the written word or a work of art, a graphic design operates exclusively in the context in which it will be seen, and mediates between the wishes of the client and the expectations of the public. Moreover, a graphic work is created for mass reproduction.

The field of graphic design, as we know it today, has its roots in two developments: the invention of the printing press in the fifteenth century and the Industrial Revolution of the eighteenth and nineteenth centuries, both of which contributed to the process of graphic reproduction. Today, trade, commerce, communications and culture continue to feed the need for graphic design, and technological developments – most notably the computer – are constantly broadening its possibilities. Of all the arts, graphic design comes closest to our contemporary daily life, as we interact with graphic design on an almost continuous basis.

Five hundred graphic designs created since the advent of mechanical reproduction, are showcased in this archive – from the Gutenberg Bible and Nuremberg Chronicles of the fifteenth century, to the cutting edge magazines, posters and ephemera of today. It is the authoritative selection of newspapers, magazines, advertisements, typefaces, logos, corporate design, record and CD covers and moving graphics from around the world, which have created a benchmark for excellence and innovation

The Sourcebook of Contemporary Graphic Design is a cutting-edge design anthology featuring material from established and emerging designers around the world, as well as hundreds of full-color examples of work forging new graphic ground across a complete range of visual media.

For ease of reference, graphic design illustrations and explanations are categorized according to design type: websites, brochures, posters, company reports, stationary, and promotional materials. Also included is a visual index for quick reference and designers' contact information.

Пролистать книгу The Sourcebook of Contemporary Graphic Design можно на сайте издательства.

An in-depth exploration of delightful details in graphic design across a range of media, this compilation of design elements exemplify how it is sometimes the little things that make a whole. Examining different elements that make a design truly successful, this book features creative ideas that work, serving as an inspirational launch pad for designers to create their own graphic embellishment and put their own projects in the spotlight. Detailed photography and credits accompany each element, focusing on unique characteristics of these winners.

In today’s high-tech, virtual world, where things exist—but then again they don’t—people are drawn irresistibly to “touch-friendly” designs. It’s little wonder that graphic design using unusual materials that call out to be touched get noticed and build image like no others.

Design on nontraditional materials attracts both designers and consumers. The subject fascinates consumers because they recognize that unique materials can be difficult to engineer and incorporate, and thus tactile design nearly always becomes coveted and collectible. Moreover, the designer who can get a consumer to interact with a product, whether it’s a brochure or a package, increases the chance of making a memorable connection and, even better yet, a sale.

The art of faience tile making had found its way from Arabic North Africa from where it had slowly progressed northward via Spain, Italy (mainly the city of Faenza, hence the French “faïence”) and Antwerp to arrive about 1570 in the northern Dutch province of Friesland. The Royal Tichelaar Makkum from which the designs in this book originate is the oldest enterprise in the Netherlands and indeed ranks it among the oldest companies in the world. Many of the designs this factory has been using over the years have been compiled in an ancient volume kept in the historical collection of their archives, along with many examples of actual antique tiles. For the first time a selection of these has now been made available for publication in this book.

Text in Chinese, English, French, German, Italian, Japanese, Portuguese, Spanish

Turkish design is heavily dependent on the use of ornate calligraphy, geometric patterns and especially floral elements, such as foliage and creeping vines. These forms of decoration reached great heights in the former Ottoman Empire. Turkish Designs contains a collection of carefully reproduced, stunning images, with an emphasis on decorations taken from ceramics, mosaics and tile design.

Among the graphic design competitions on a global scale, there is a sparkling and well-targeted competition which never seeks to make money by charging extra expense and always adheres to its own principles and quality requirements. It is: Type Directors Club of New York (NY TDC). The entry fee for this competition is very low, enabling students and rookie designers to participate. The jury consists of young and top creatives from around the world who treat every piece of work with caution and criticism and make judgments based on their professional competence. The winning entries will be exhibited in major cities around the world. Collecting all the winning entries of the year, “Type Directors Club of New York: Typography 39”will also be released globally. In this wonderful book, you will experience works of world-class quality and be inspired to move forward at the same time.

NY TDC was founded in 1946, and its Best Typeface Design Award is one of the most influential typeface design awards. The exhibition of the wining entries is an annual event with high reputation and professionalism in the industry, and 64 exhibitions have been held so far. The NY TDC typeface design competition is the world’s first typeface-based competition and one of the most important graphic design competitions in the world, attracting graphic designers, art directors, editors, multimedia professionals, students and entrepreneurs to it every year. This year, the competition attracted 1,835 pieces of work from more than 55 countries across 5 continents. The Collection of the winning entries of the year is released worldwide and regarded as a bible by designers all around the globe.

300 photos/illustrations

Working with type and image and the integration of these two elements to create persuasive and effective design pieces are the foundations of good graphic design. Yet, very little practical information exists for these tasks.

This book changes all it. It gives designers the practical know-how to combine type and image for dynamic effect as well as to use them in contrast to create tension and meaning in design. Creating strong layouts is the most important as well as the most challenging of any project. This book inspires through excellence by exhibiting great design work then deconstructing the processes in simple visual terms.

Type, Image, Message: Merging Pictures and Ideas looks at this respected art form while providing practical information that can be used by any designer wishing to hone the skills needed to merge type with images in an inspired manner.

Nancy Skolos and Thomas Wedell are the principals of Skolos-Wedell, an interdisciplinary graphic design and photography studio.

Husband and wife, photographer and designer, the two work to diminish the boundaries between graphic design and photography - creating collaged three-dimensional images influenced by modern painting, technology, and architecture. With a home and studio halfway between Boston and Providence, they balance their commitments to professional practice and teaching at the Rhode Island School of Design, where Skolos is Head of the Department of Graphic Design.

The studio's work has received numerous awards and has been widely published and exhibited. Skolos-Wedell's posters are included in the graphic design collections of the Museum of Modern Art, the Library of Congress, the Metropolitan Museum of Art, the Israel Museum, and the Museum fur Gestaltung, Zurich, Switzerland. Skolos is an elected member of the Alliance Graphique Internationale.

CD: 271 изображение высокого качества в формате TIFF

Хорошее типографское оформление книги зависит от правильного выбора и размещения многих элементов декора: разделителей, буквиц, рамок, концевых украшений. Каждое украшение имеет четко определенное место в структуре книги и усиливает, выделяет, подчеркивает или уравновешивает текст на ее страницах. Типографские украшения часто объединены между собой, орнаменты могут быть многофункциональными, это приводит к целому ряду взаимосвязанных повторяющихся и изменяющихся элементов декора, включающих концевые элементы, разделители и рамки.

16-е столетие - золотой век типографского декорирования. Такие художники как Жан Казин и Джефри Тори разработали прекрасные флероны, концевые украшения, рамки и арабески.

В 17-м веке книги были главным образом украшены с титульной стороны, а также полностраничными иллюстрациями, в то время как в 18-м столетии - веке Рококо - декоративные украшения и иллюстрации становятся тесно связанными между собой, образуя художественное смешение декоративного и иллюстрационного оформления.

В 19-м столетии типографские мастера одновременно являлись прекрасными художниками, которые сами оформляли и декорировали издаваемые книги. Гравюры размещались сверху или на нижней части страниц текста, с бесчисленными разновидностями орнаментов, заимствованных из прошлых веков, также как и в сегодняшней архитектуре и индустриальных искусствах. Все эти прекрасные декоративные элементы со временем постепенно теряли свою роль в визуальной структуре книг и использовались в рекламном деле.

Предлагаемая книга, с сотнями уникальных примеров, позволит Вам использовать декоративные элементы из прошлого и находить вдохновение для создания ваших собственных композиций.

Все иллюстрации, представленные в этой книге сохранены на прилагающемся компакт-диске.
Могут использоваться как на PC, так и на Mac компьютерах.
Изображения сохранены в файлах формата TIFF высокого разрешения и могут свободно применяться в некоммерческих целях.