A treasure trove of 50 years of Iranian graphic design, predominantly in the form of logo-types and posters, are presented in this publication that illustrates the depth of talent and wealth of tradition in this country. The result of a co-operative exchange between institutes and schools in Iran and Switzerland, this book documents one work per page, and includes production details and biographic information of each featured designer.
The bestselling graphic design reference, updated for the digital age Meggs' History of Graphic Design is the industry's unparalleled, award-winning reference. With over 1,400 high-quality images throughout, this visually stunning text guides you through a saga of artistic innovators, breakthrough technologies, and groundbreaking developments that define the graphic design field. The initial publication of this book was heralded as a publishing landmark, and author Philip B. Meggs is credited with significantly shaping the academic field of graphic design. Meggs presents compelling, comprehensive information enclosed in an exquisite visual format. The text includes classic topics such as the invention of writing and alphabets, the origins of printing and typography, and the advent of postmodern design. This new sixth edition has also been updated to provide: The latest key developments in web, multimedia, and interactive design Expanded coverage of design in Asia and the Middle East Emerging design trends and technologies Timelines framed in a broader historical context to help you better understand the evolution of contemporary graphic design Extensive ancillary materials including an instructor's manual, expanded image identification banks, flashcards, and quizzes You can't master a field without knowing the history. Meggs' History of Graphic Design presents an all-inclusive, visually spectacular arrangement of graphic design knowledge for students and professionals. Learn the milestones, developments, and pioneers of the trade so that you can shape the future.
This comprehensive collection illustrates the world of graphic design country by country, featuring the best graphic designers from all over the world. An amazing reference, this book provides insight into how designers from varied backgrounds approach their work, how different cultures associate communication and creativity in different ways, and how we see this reality used, pushed to its limits, and even completely transformed by design. No matter where you are from, this book will leave you with a broadened awareness of your own visual taste and an in-depth, contextual understanding of graphic design worldwide.
Within every picture is a hidden language that conveys a message, whether it is intended or not. This language is based on the ways people perceive and process visual information. By understanding visual language as the interface between a graphic and a viewer, designers and illustrators can learn to inform with accuracy and power. In a time of unprecedented competition for audience attention and with an increasing demand for complex graphics, Visual Language for Designers explains how to achieve quick and effective communications. New in paperback, this book presents ways to design for the strengths of our innate mental capacities and to compensate for our cognitive limitations. Visual Language for Designers includes: —How to organize graphics for quick perception —How to direct the eyes to essential information —How to use visual shorthand for efficient communication —How to make abstract ideas concrete —How to best express visual complexity —How to charge a graphic with energy and emotion
From 2002 to 2008, the Bush administration argued that Iran was developing nuclear weapons, despite years of inconclusive International Atomic Energy Agency inspection reports. In the absence of substantive evidence, much of the debate was conducted via public forums with a heavy persuasive element to the discourse. This book offers an in-depth consideration of the rhetoric surrounding Irans controversial nuclear programme. It takes an interdisciplinary approach, examining speeches, interviews, news reports, online message boards and newspaper layouts during the Bush Presidency (2000-2008). Engaging with visual grammar and narrative, the book looks at layouts from the Associated Press, The New York Times and The Washington Post, amongst others. The book points out, using rhetorical theory and discourse analysis, the conditions that lent credibility to the Bush administrations position by examining the arguments Bush and his political surrogates put forward, and the discourse strategies that influenced which ideas gained salience and which were downplayed. Political communication and Foucaults theory of governmentality are brought in to articulate the implications regarding the influence, importance and expansion of executive power.
New in Paperback! In much the way that the CD replaced the album, the poster has waned as a messaging vehicle. The poster has now become a postcard and e-mail blast, leaving many to long for the lost age when posters were not only major promotional vehicles, but also artwork worthy of framing. Some of the world's best designers just could not stand idle while the poster fell by the wayside. They turned to the poster for personal expression and as an outlet from more restrictive mediums. This book showcases their breathtaking artwork, which has proven that the poster can still serve as a worthy communications tool. In doing so, they've brought the poster back to prominence. In this book, John Foster has compiled the world's finest new work at the height of this rebirth. There is currently no book on the market that can claim it features a "definitive" poster collection.
This study surveys a distinctive type of the “Islamic” book which has been largely neglected in previous scholarship: the genre of illustrated lithographed books produced in nineteenth- and early twentieth-century Iran. In addition to introducing the history of printing in Iran and surveying the investigated sources, the study supplies basic data on genres of illustrated books, artists active in lithographic illustration, and aspects germane to this particular field of art. The documentation includes bibliographical references for 116 illustrated books in a total of 351 particular editions and 150 plates with several hundred single illustrations. Lithographic illustration in Iran constitutes the legitimate successor to manuscript illustration, both in content and style. Contrasting with the latter’s refinement, lithographed illustrations were produced in large numbers and served as a powerful medium of popular iconography.
This book is an exploratory adventure to defamiliarize calligraphy, especially Persian Nastaliq calligraphic letterforms, and to look beyond the tradition that has always considered calligraphy as pursuant to and subordinate to linguistic practices. Calligraphy can be considered a visual communicative system with different means of meaning-making or as a medium through which meaning is made and expression is conveyed via a complex grammar. This study looks at calligraphy as a systematic means in the field of visual communication, rather than as a one-dimensional and ad hoc means of providing visual beauty and aesthetic enjoyment. Revolving around different insights of multimodal social semiotics, the volume relies on the findings of a corpus study of Persian Nastaliq calligraphy. The research emphasizes the way in which letterforms, regardless of conventions in language, are applied as graphically meaningful forms that convey individual distinct meanings. This volume on Persian Nastaliq calligraphy will be inspirational to visual artists, designers, calligraphers, writers, linguists, and visual communicators. With an introduction to social semiotics, this work will be of interest to students and scholars interested in visual arts, media and communication, and semiotics.
Basics Typography: Virtual Typography addresses a fundamentally new form of typographical communication. The book explores the visual arrangement of words and letters in the context of multimedia. Here, this arrangement is not simply a spatial positioning of text information it is also bound by time. The increasing use of moving, virtual type can help to harmonise this time-based presentation of words on screen. The book touches on work from a variety of designers, including Channel 4 and Pentagram Design. This will provide an excellent introduction to the latest methods in typographical and visual communication.
