An important manual for young designers from Italian modernist Massimo Vignelli The famous Italian designer Massimo Vignelli allows us a glimpse of his understanding of good design in this book, its rules and criteria. He uses numerous examples to convey applications in practice - from product design via signaletics and graphic design to Corporate Design. By doing this he is making an important manual available to young designers that in its clarity both in terms of subject matter and visually is entirely committed to Vignelli's modern design.
This superbly presented volume is a treasure trove of the thoughts of internationally acclaimed designers Lella and Massimo Vignelli. For the past ten years, Massimo Vignelli has taught a summer course at the School of Design and Architecture at Harvard on subjects that were initially alphabatized for convienence, but now
Both a love letter to New York City and an introduction to graphic design, this is the story of how the designer Massimo Vignelli tackled the problem of creating a subway map that could be understood by all New Yorkers as well as out-of-towners. Filled with depictions of trains, subway stations, and the New York City skyline, the book follows Vignelli around the city as he tries to understand the system in order to translate it into a map. The book is produced in collaboration with the New York Transit Museum and features a section of historical and archival images and photographs. A groundbreaking work of information design, the subway map designed by Vignelli is an iconic work used by over a billion people every year. The Museum of Modern Art acquired the original 1972 diagram in 2004.
Take a peek inside the heads of some of the world’s greatest living graphic designers. How do they think, how do they connect to others, what special skills do they have? In honest and revealing interviews, nineteen designers, including Stefan Sagmeister, Michael Beirut, David Carson, and Milton Glaser, share their approaches, processes, opinions, and thoughts about their work with noted brand designer Debbie Millman. The internet radio talk host of Design Matters, Millman persuades the greatest graphic designers of our time to speak frankly and openly about their work. How to Think Like a Great GraphicDesigners offers a rare opportunity to observe and understand the giants of the industry. Designers interviewed include: —Milton Glaser —Stefan Sagmeister —David Carson —Paula Scher —Abbott Miler —Lucille Tenazas —Paul Sahre —Emily Oberman and Bonnie Siegler —Chip Kidd —James Victore —Carin Goldberg —Michael Bierut —Seymour Chwast —Jessica Helfand and William Drenttel —Steff Geissbuhler —John Maeda Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.
Lella and Massimo Vignelli: Two Lives, One Vision is a portrait of two important twentieth-century designers whose careers intertwined since the 1950s. The Vignellis promote a modernist philosophy of designing for a better society: resourceful use of space and materials, clear communication, lasting quality, and logical functionality. Through a mix of archival research and personal interviews with Lella, Massimo, and their many colleagues and clients, Jan Conradi documents the Vignellis nuanced approach to cleaning up an often chaotic and messy society by adhering to a minimalist and structured design method. The Vignellis lifetime commitment to a world of design is marked by vibrant client relationships and unwavering attention to detail. With wit, grace, focus, and finesse, the Vignellis sustained pattern of working and living has influenced, and continues to inspire, generations of designers worldwide.
If the aim of graphic design is to communicate meaning clearly, there's an irony that the field itself has struggled between two contradictory opposites: rote design resulting from a rigorous, fixed set of rules, and eccentric design that expresses the hand of the artist but fails to communicate with its audience. But what if designers focused on process and critical analysis over visual outcome? Through a carefully selected collection of more than seventy-five seminal texts spanning centuries and bridging the disciplines of art, architecture, design history, philosophy, and cultural theory, Graphic Design Discourse: Evolving Theories, Ideologies, and Processes of Visual Communication establishes a new paradigm for graphic design methodologies for the twenty-first century. This illuminating anthology is essential reading for practicing designers, educators, and students trying to understand how to design in a singular, expressive way without forgoing clear and concise visual communication.
Unimark International was a firm with global reach, with eleven offices in five different countries. Its use of the most modern design approaches and latest marketing methods quickly made it famous and unrivaled. Its clients were international corporations like Gillette, Jaguar, Ferrero, Knoll International, Olivetti, Pirelli, Ranx Xerox, Unilever, IBM, as well as American Airlines and Ford, for which it created visual corporate identities that are still in use today. Unimark was known for always using the latest technological innovations and for using computers long before anyone else. With their visual outlook, Unimark designers had a defining influence on our environment; they left an enduring legacy with their practice and their theory. Many Unimark designers have been honored with international awards for their achievements. A distinctive hallmark of Unimark design is the systematic use of the Helvetica typeface for the corporate identity of firms. The success of Unimark International, which is documented here for the first time, points the way for designers and the marketing sector today.
Presents an account of a key period in American graphic design as it manifested itself in various media, covering major historical influences and significant works.
