Book6 bookcovers

[ NARRATIVE ]

RJTHOMPSON 25 BOOK COVER REDESIGNS

Project Title:Twenty-Five Book Cover Redesigns

Media Used: Adobe Photoshop CS4 Adobe Illustrator CS4 Adobe InDesign CS4

Research Criteria:Book selection limited to the antiquated graphic design section inside the Wright Librar y in La Roche College.

Target Audience:La Roche College students ages 18-22.

Concept:Create 25 individually unique book cover concepts within the span of one week: this includes concept, design, printing , and construction of all 25 covers.

Solutions:Chosen antiquated book’s covers and subject matter acted as inspiration in developing new, revitalized concepts that should inspire young design students into choosing the book and reading it. The readability of a book– it’s appeal to even be picked up– was intended to be measured with this project as it applies to the current selection of books at the La Roche College library.

Concepts were originally devised on paper mock-ups that were trimmed to match the size of each individual book and scored so that a sketched concept could act as the book cover until a finalized, digital version was complete.

(Left) The f irst redesigned cover of this project.

(Right) The original selection of design books, ranging in publications dates from 1962 to 2001.

LOW BUDGETPREMIUM DESIGN COMES

AT A PREMIUM PRICE

LOW

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ALITY D

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HE

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/FINK

HIGH QUALITY

DESIGN

HELLER/FINK

• Schools

& Colleges

• Advocacy & Protest

• Society

& Community

• Art

& Culture

• Books

& Magazines

• Business

& Commerce

• Letterheads

& Trademarks

Steven Heller is a senior art director at The New York Times and editor of the AIGA Journal of Graphic Design. He is also a contributing editor for Print and ID magazines. Heller teaches design history at the School of Visual Arts in New york. He is the author of numerous books, including Graphic Style: From Victorian to Postmod-ern; Designing for Children; The Business of Illustration; and The Digital Designer.

Anne Fink is a graphic designer with a studio in New York City.

Graphic designers are constantly challenged by the demand for good-looking design. Many graphic design showpieces are glossy, well produced, and expensive, but in fact, in the everyday world, design projects seldom have lavish budgets. Low Budget/High Quality Design ddresses the issue of how to design effectively but inexpensively, recounting every trick and tool used to produce works on a tight budget.

custom cover 3 of 50 by RJ Thompson, 2009.

160 pages. 8 1/4 x 11” (21 x 27 cm). 250 full-color illustrations. 50 black-and-white illustrations. Index.

WATSON-GUPTILL PUBLICATIONS1515 Broadway, New York 10036

Printed in Malaysia



Airb

rush

ing for Fin

e & Com

mercial A

rtists PASC

HAL

Twentieth-C

entury Design | Jonathan M

. Woodham


BY HARLAN TARBELL

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Chalk talking, in its primary sense, consists of the quick execution of crayon drawings or sketches which illustrate grpahically in a novel manner the points which the speaker is conveying. It is used either for serious expression or as a form of entertainment. The field of chalk talk is unlimited. It can be employed to advantage wherever there is need for public expression. The chalk talk can be made of far-reaching service in business and professional life–for salesmanship, educational, and religious work as well as for entertaining. It is is an accomplishment of tremendous value not only for the entertainer but likewise for the teacher, the clergyman, the salesman, the lecturer, the public speaker, on any subject– in short, for anyone who has a message to convey.

THE CHALK TALK

MANUALA Complete Presentation

of the Theory and Practice of this

Fascinating Form of Entertainment

byHARLAN TARBELL

Professional Magician

and Entertainer

Publishers

T.S. DENISON& COMPANY, INC.

MINNEAPOLIS

CULTURE, POLITICS, AND GRAPHIC DESIGN

//

MAUD LAVIN

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This book is about who gets to say what to whom. It’s about who has the means to communicate, the power and money to get a message across, the passion and humor to speak, the openness and confidence to participate in dialogue rather than monologue. In aiming tehse quesetions at graphic design and the related areas of advertising, corporate identity programs, Web sites, and political photomontages and posters, I am looking in particular at cottage-industry images printed, broadcast, projected, or digitally transmitted in mass markets. I want to know what happens to private visions in public forums. For me and for others, graphic design is an umbrella field, defined broadly as mass visual ommunication and more fully as an art form that depends for its efficacy on the degree to which words and images communicate a coherent message. For the most part, it’s ha har-working service field, a field that sees itself more occupied with translating speech into visual language than speaking. It is client- and product-oriented. Many of its corpo-rate client practicionters are instructed to provide order and clarity, to give their clients; companies the look, sheen, and promise of a clean new world. It’s a fairly neurotic expectation, since designers can’t really clean–they just cover, wrap, accent, or put into a clean envelope some messy realities. Typically, no in-depth communication exists in corporate design graphics. For me, graphic design fascinates, then, because it is a bizarre example of hamstrung power. In corporate service, design’s most common function, it is implicated in both cultural statis and change, but only with partial control.

ABOUT THE AUTHOR:

MAUD LAVINI'm a writer and publish in a variety of venues and styles. I recently published a book of creative nonfiction, The Oldest We've Ever Been: Seven True Stories of Midlife Transitions. I'm the editor and one of the co-authors. Other contributors include Calvin Forbes, chair of SAIC's Writing Program and writers in Chicago, New York, Santa Barbara, and Tucson.

My book Clean New World, on design, culture, and politics, originally published with MIT Press, recently came out in Korean. Currently I'm working on a book for MIT Press called Women, Aggression, Images. I began it last year on a Guggenheim Fellowship and am deep into it at this point.

I encourage students to develop their prac-tices, visual or written or both, in ways that involve public display, whether through publishing or exhibiting. I edited a book a few years ago, The Business of Holidays, that was co-written with graduate students at SAIC; we published it with Monacelli Press in New York.

For The Business of Holidays book, designer (and then, graduate student) Alyson Beaton started by writing one essay on the made-up holiday Festivus (from the Seinfeld TV show). She did most of the photography for the book, was its photo editor and one of the co-designers, and a great deal of the visual wit in the book is hers.

Working in an arts environment has impacted my research -- It's encouraged me to see writing and its forms as creative explorations.

CHAPTER SELECTIONS:[one]

Introduction

[two]Heartfield in Context

[three]For Love, Modernism, or Money: Kurt Schwitters

and the Circle of New Advertising Designers

[four]ringl + pit: The Representation of Women in

German Advertising 1929-33

[five]U.S. Design in the Service of Commerce–and

Alternative

[six]New Traditionalism and Corporate Identity

[seven]Collectivism in the Decade of Greed

[eight]Portfolio: Women and Design

[nine]A Baby and a Coat Hanger: Visual Propoaganda in

the U.S. Abortion Debate

[ten]Dirty work and Clean Faces: The Look of intelligent

Agents on the Internet

[eleven]Confessions from The Couch: Issues of Persona on

the Web


A HALSTED PRESS BOOK

FAS

HIO

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ES

IGN

FOR

AD

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RTIS

ING

by Patrick Jo

hn

Ireland

FASHION DESIGN FOR ADVERTISINGby Patrick John Ireland

The Fashion Artist must have a complete understanding of fashion and its many facets. An awareness of current trends and the influences which shape them is vital, and is assisted by attending fashion collections, exhibitions of textiles, and shows of women’s , men’s, and children’s wear. By studying the latest magazines, window displays and recent techniques in advertising the artist will be able to keep in tune with his subject.

The student should practice drawing from life, sketching from a model and constructing figures from the imagination. The careful study of the many different materials and the way in which they drape, etc., is imiportant. It is helpful to have a certain understanding of the history of clothes and the way in which they are made-up; this knowledge will assist in producing convincing drawings of the designs which are illustrated. The development of techniques with the use of various media and study. Equally impoortant is the preparation of the work and an understanding of the techniques of reproduction used in magazines, books, newspapers, etc.

Some artists specialize in certain aspects of fashion; others work in a wider field. An appreciation of the many different areas in which one could be working is essential: newspapers, magazines, catalogues, and display, etc. Each of these media require appropriate consideration of style and interpretation.

custom cover 19 of 50 by RJ Thompson, 2009. custom cover 20 of 50 by RJ Thompson, 2009.

THINKING CREATIVELYNEW WAYS TO UNLOCK YOUR VISUAL IMAGINATION

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There are only two approaches to design: the pretty and the smart. The designer who takes the pretty approach says, “I’ll make this look good.” period.

The designer who likes to probe, investigate and experiment takes the smart approach ans says “Let me think about this problem, figure out a concept, consider the aesthetics, and express it visually.”

The smart approach is the more difficult of the two. You have to struggle, ideate, rumi-nate, brood, interpret, and explore. You must try different creative approaches and maybe fail. But when you succeed, you’ll end up with an intelligent design solution. And when you take the smart approach, you’re thinking creatively.

According to multimedia designer Alan Robbins, thinking creatively means two things: thinking about what you see and visualizing what you think. It means that you analyze what you see, whether it’s the work of other designers and artists or anything else. It means that you’re a keen observer.

It’s also the ability to think in visual terms– to understand the design language so well that you can manipulate the elements and principles to communicate an idea in visual form. You can take a subject, develop a concept for it and communicate its meaning through the visual language we call graphic design. You know which images, forms, shapes, type and colors are appropriate for the subject, and you can make the design creative and memorable.

Thinking creatively requires three abilities:• Problem solving– the formulation of concepts and solutions• Creativity– to see possibilities in any given problem• Visualization–the representation of concepts in visual form.


ABOUTTHEAUTHOR

Robin Landa is a designer, writer, and creative consultant to corporations, and Professor of Visual communications, Department of Design, at Kean University, New Jersey. She is included among the group the Carnegie Foundation for the Advancement of Teaching calls the “great teachers of our time.” She has lectured across the country and has been interviewed on radio, televeision, and the World wide Web on teh subjects of graphic design, creativity, and adver-tising. Most recently, her article “Invisible Adver-tising” appeared in Digital Steam magazine on teh World wide Web, and “Do the Wtwist,” about creative visual thinking, was included in Critique magazine.

Robin Landa has written four books about art and design, including the recently published Graphic Design Solutions (Delmar). She has won awards from many organizations, including the New jersey Authors, the National League of Pen Women, the National Society of Arts and Letteres, the Art Directors Club of new jersey, and Creativity 26.

The aim of all graphics is visual communication. In order to communicate its message effectively, a piece of graphic design must attract; it must therefore stand out in some way. The designer’s task then is to find a solution and to make that soluation an original one. The meaning and purpose of grpahics is still not fully understood, either by graphics students or by those in design teaching or practice. From the work of a large number of European and American graphic designers, Jerzy Karo takes 84 illustrated examples which he considers a successful solution to the original design problem. Dividing these up into his own categories, he identifies the design problem posed for each example, and then analyses in depth the reasons why the particular solution was chosen by the designer.

The structure of this book makes it ideal for teaching purposes. Although aimed primarily at the first year graphics student, it will be of use at all levels from secondary school students planning to study graphics at art school, to those taking advanced courses in graphics. Above all, this personal viewpoint of a leading graphic designer will enable anyone connected with the field of graphics to look att the subject afresh.

GR

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IC D

ESIGN

PRO

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S • METH

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S JERZY K

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by

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Y for graphic designers M

eehan

128 pages. 7x9 (18x23 cm). 128 color photographs. 60 black-and-white photographs. Index. Cover photographs by Joseph Meehan. 1515 Broadway, New York, NY 10036

Printed in Singapore

PHOTOGRAPHY for graphic designers

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INCLUDED ARE THIRTY-FOUR BLACK-AND-WHITE ILLUSTRATIONS AND INTERVIEWS WITH:

Massimo Vignelli, Paul Rand, Stephen Doyle, Jonathan Barnbrook, Jonathan Hoefler, Michael Ian Kaye, Dana Arnett, Chris Pullman, Jose Conde, Nicholas Callaway, George Lois, Philip Meggs, Rick Prelinger, Dan Solo, Rick Poynor, Ellen Lupton, Katherine McCoy, Jo-hanna Drucker, Ivan Cher-mayeff, Milton Glaser, Mi-chael Bierut, Sue Coe, Stuart Ewen, Ralph Ginz-burg, Tibor Kalman, Rich-ard Saul Wurman, Michael Ray Charles, Morris Wyszogrod, Jules Feiffer, Rodney Alan Greenblat, David Vogler, Edwin Scho-lossberg, Robert Green-berg, and John Plunkett.

This wide-ranging compilation of interviews offers a compelling introduction to the personalities, passions, and work of thirty-four respected designers, artists, authors, and media producers. With design as the common thread, each exchange opens an individual perspective on the visual culture at large, ranging in focus from the manipulative power of images to the place of theory in design practice to the myriad interactions between design and life. The stories are woven from experiences in media, theory, history, politics, and the blurry realm of interactivity, and are told by such notables as Ellen Lupton discussing her life as a design curator, Tibor Kalman confronting the relationship between practice and social responsibility, John Plunhkett on his motivations for founding Wired magazine, and Ralph Ginzburg telling all about the controversial publication that ultimately sent him to prison. Both an oral history of graphic design and a living record of where we are today, these engaging and evocative dialogues provide anyone interested in design or popular culture with a means of understanding, as well as ideas for working in, the visual world around them.

WHAT’S NEWIN THISEDITION?

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Green Design sets out to define clearly the

issues designers face in making environmental

considerations an integral part of the design

process, and addresses the problems they may

encounter in architecture and interior design;

product design; packaging; print and graphics,

and textiles. An environmental approach in the

whole design-to-production cycle means that

decisions must be made about choice of

material, minimisation of resources, type of

energy source, industrial treatments, the length

of life of products, and how to dispose of them

when they are no longer of use.

Comprehensively revised to take account of

recent developments, Green Design reports on

the progress made in the area in the last five

years, and provides updated guidelines for the

design and manufacture of environmentally

responsible goods.

This edition has been revised to take account of recent developments which go some way to indicate that the contribution of design to environmental conservation has become increasingly recognized. Many companies have made progress in reducing the deleterious effects of their manufacturing operations. Problems are addressed in the fields of architecture and interior design, product design, packaging, print, graphics and textiles. An environmental approach in the whole design-to-production cycle means that decisions must be made about the choice of materials, minimization of resources, type of energy source, the length of life of products, and how to dispose of them when they are no longer of use.

A SENSIBLEAPPROACH

THE BUSINESS OFGRAPHIC DESIGN

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IBLE

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| by E

D G

OLD by | ED GOLDcustom cover 22 of 50 by RJ Thompson, 2009.

The Business of Graphic Design: A Sensible Approach to marketing and managing a graphic design firm, including statements by some of the most prominent design firm principals in the country: Primo Angeli, Aubrey Balkind, Jerry Berman, Bruce Blackburn, Keith Bright, Ken Carbone, Roger Cook, James Cross, Dick Danne, John Follis, Colin Forbes, Tom Geismar, Jerry Herring, Kit Hinrichs, Michael Manwaring, woody Pirtle, Stan Richards, Bennett Robinson, Ellen Shapiro, Don Shanosky, Leslie Smolan, Jack Summerford, Michael Vanderbyl, Ken White.


GREA

T DESIG

N U

SING

1, 2, & 3 C

OLO

RS

THIS IS


TH

E FIRST

SYM

POSIU

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OF G

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the education of an

illustratoredited by ST

EVEN HELLE

R and MA

RSHALL A

RISMA

N

The Education ofan Illustrator

The process of drawing can unlock the entire creative process for an artist. As children, we all used drawing to relate to the world around us. We were not trying to make art. We were trying to make sense out of the world we were experiencing. We told stories in pictures....The vocabulary of the illustrator has to be expanded into authorship.

- Marshall Arisman,

Editors Steven Heller and Marshall Arisman have assembled thiry leading practitioners and thinkers of the illustration and graphic design fields in this first-ever blueprint for teaching and practicing the dynamic art and craft of illustration. This compelling collection of essays, interviews, and course syllabi provides readers with first-hand acounts from various professionals and educators who discuss how they acquired their knowledge of illustration and have successfully translated it into their careers. Part manifesto, part instruction manual, this revolutionary blend of knowledge and practice provides students, teachers, and practitioners alike with an indespensable resource on the teaching and usage of illustration today. Included are tweny-five cutting edge essays; interviews with Milton Glaser and Thomas Woodruff addressing both the c oncept of holism and the interconnection between fine arts and illustration; and a diverse and stimulating selection of course syllabi and curricula designed for both undergraduate and graduate students.


Marc English studied design at Massachusetts College of Art, after a brief stint at the Berklee College of Music, where he studied composing, harmony, and arranging. His career has involved being a designer for design botiques, a museum exhibit design firm, and filling the role of assistant director of design for Boston's largest commercial television station. He began freelancing in 1993, and has worked for a number of corporate and institutional clients, as well as taking on public projects. Since 1991 he has taught corporate identity, advanced typography, publication design, and other design classes as Adjunct Professor at Massa-chusetts College of Art, The New England School of Art and Design, and Southwest Texas State University. He has served as the president of the Boston Chapter of the American Institute of Graphic Arts, and founded a chapter of the AIGA in Austin, Texas, where he now resides. He has received numerous awards, from organiza-tions such as the American Center for Design to the Broadcast Design Association, as well as having his work collected by the Museum fur Kunst und Gewerbe.

Profiled here are nine case studies, each providing insight into a specific business arena, and the unique role design plays in developing an identity as part of a strategy for success. Some of the best designers in the field today will explain their process in creating identities, from initial client meetings and planning, through logo development and a wide variety of identity applications. Additionally, a showcase of identity projects, from local ventures to national enterprises, further details the objectives of client and designer.

PAUL RAND

ADESIGNER’SART

PAU

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: A D

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’S A

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THE HARDEST THING TO SEEIS WHAT IS IN FRONT OFYOUR EYES. - GOETHE


DR

AWIN

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S: FREN

CH

IMPR

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ISTS

DRAWINGS OF THE MASTERS: FRENCH IMPRESSIONISTS

DRAWINGS OF THE MASTERS: FRENCH IMPRESSIONISTS

A selection of Drawings of the French 19th century, selected and edited by Ira Moskowitz, with a Text by Maurice Serullaz,

Conservateur du Cabinet Edmon de Rothschild, Louvre, Paris.

DRAWINGS OF THE MASTERS:

FRENCH IMPRESSIONISTS

French Impressionists is one of a series of books which form a treasury chosen from the vast store of the world’s great drawings of all schools and periods, from the cave drawings of 30,000 B.C. to the present. An informoative text by an eminent scholar in his specific field accompanies each volume.

These books are created for those already cognizant, and for lovers of art whose interest is increasing, with a rising appreciation of the values of drawing. Drawings are revelations of the freshest stage of artistic creation and spontaneous expressions of the artist’s call to create.

Paintings are easily accessible to anyone within reach of the galleries and museums where they hang. Drawings, because they are fragile and subject to fading, are normally protected in portfolios and solander cases in special study or storage rooms, available mostly to scholars, advanced students, and collectors. For those who cannot take the extra time to obtain entry to drawing-cabinets, the next best thing is excellent reproductions.

These drawings were selected from hundreds of thousands of examples in drawing-cabinets of print rooms and major private collections all over the world. To serve historial as well as educational ends, our choice was guided by the intrinsic value and content of each individual drawing reproduced in this volume.


741.944M 853

c.2

less is more

Less Is More: The N

ew Sim

plicity in Graphic D

esign Steven Heller and Anne Fink

Less Is More: The New Simplicityin Graphic Design

Every era of graphic design has its own defining characteristics that signal the time and place of the work’s creation. Since the late eighties, visual clutter has reigned supreme. This is not the first time that empha-sis on decoration has dominated, but the clutter from this period is unique. The multiple layers of type and image found in comtemporary design are, at least partially, a response to popular culture’s visual density and, therefore, are a metaphor for the bombardment of words and images on television, radio, and the street. It is also a reaction tot he previous generation’s clean and rational “late modern” methods, deemed unresponsive to current aesthetics. Perhaps most important, t his clutter echoes technological advancements that have exerted an immense impact on both the production of and the concept behind graphic design. Yet should the responsibility for this visual clutter reside entirely with the computer and those influened (or seduced) by its applications? Or was the computer introduced just when designers were ready for a shift from “less is more,” the modernist maxim, to “more is more,” the postmodernist penchant?


any act of changing the world is an act of designBoth the role and nature of design are changing. Developments within design and from society generally are leading to new opportunities for those traditionally outside the 'design community' to influence, in a creative way, what is designed. This changing scene and the novelty of many major design problems are altering the nature, more especially the complexity, of designing. Awareness of potential major side effects of designs, both social and physical–such as pollution–, are adding a new dimension.

This book is a critical reflection of the changing nature and role of design, and of the problems and opportunities for designers. Though contributions come from several design fields, the emphasis is on the interdisciplinary, on what these areas have in common.

The first section of the book discusses the changing nature of design as it affects designers. The second section focuses on the role of design, showing ways design can be, and is being, made more open to those who are not design professionals. Section three draws together developments in design theory to promote reflection to hep build a language for discussing design more openly. The final part of the book, written in play form, suggests that designers should consider not only problem-solving design, but also context design.

Issues raised in this book are pertinent to design professionals-engineers, architects, planners, industrial designers–to those in design organizations, such as design managers, and to all concerned by the great influence design can have on our lives.

THE CHANGE AGENT

WE

SEEK

TO

INNO

VATE

BUT

IT IS

TRA

DITI

ONTH

AT B

INDS

US

TOGE

THER

WE

GIVE

A G

REAT

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ONTO

CHA

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IN T

HE S

TATE

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BEH

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D TO

NEG

LECT

THE

CHA

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IN T

HE W

AY H

E VI

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AND

THIN

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ABOU

T TH

INGS

.CHANGING DESIGN BY BARRIE EVANS, JAMES POW

ELL, REG TALBOT


reason can dreamwhat dreams cannot reason.– nicholas snowden willey, 1965.


borroweddesignBorrowed Design Use and Abuse of Historical Form

Steven Hellerand

Julie Lasky


prefaceSOMETHING BORROWED, SOMETHING NEW

chapter oneARE YOU A THIEF? THE LIMITS OF ORIGINALITY

chapter twoORIGINAL SIN: THE ROOTS OF TYPOGRAPHY

chapter three:TRESPASSING ON INTELLECTUAL PROPERTY:

DEFINING INFLUENCE AND PLAGIARISM

chapter four:FUN AND FOLLY:

THE ART OF PARODY

chapter five:DO-IT-YOURSELF HISTORY:

NOSTALGIA MAKES A COMEBACK

chapter six:MIX AND MATCH:

UNDERSTANDING STYLE

chapter seven:STYLE SNATCHING:

THE FIVE COMMANDMENTS OF BORROWING

chapter eight:REPRISE AND REVIVAL:

THE GOOD, THE BAD, AND THE SILLY

chapter nine:CATCHING THE NEXT WAVE:

ECLECTICISM AND POSTMODERNISM

Book6 bookcovers

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