Steven Heller et Gail Anderson livrent ici une réjouissante sélection de compositions ludiques dans lesquelles le typographe se fait narrateur. S'inspirant des typo-collages Dada et de l'audace des futuristes, ils montrent comment les lettrages peuvent être utilisés comme forme graphique et pantomime pour exprimer un contenu, comme dans le rugissant « ROARRRRR » du célèbre Paul Rand. Dans les mains de créateurs contemporains, les caractères se changent en visages, animaux, en voitures ou avions.
Cet ouvrage exceptionnel est une intrusion inédite dans les carnets de croquis de 76 illustrateurs de bandes dessinées du monde entier.
Classés par auteurs, de Sotos Anagnos à Danijel Zezelj en passant par Charles Burns, Peter de Sève, David Mazuchelli ou Robert Crumb, ces facsimilés présentent un large éventail de styles et registres différents, du croquis rapide à la composition aboutie, du dessin d'humour à la planche underground. Élaboration des personnages et des décors, expérimentations stylistiques, divagations ludiques, notes furtives, ébauches de story-boards, ainsi se révèlent sous nos yeux tous les tâtonnements secrets qui mèneront l'artiste à la planche définitive... Pour notre plus grand plaisir !
Steven Heller co-dirige le Département Arts Graphiques et Design de la New York School of Visual Arts. Il est l'auteur de nombreux ouvrages sur le graphisme, notamment Graphic, Carnets de croquis(Editions de La Martinière, 2010). Il est considéré comme l'un des meilleurs spécialistes au monde de la création graphique contemporaine.
Virtuellement, tout élément peut être utilisé pour créer de la typographie : la faune, la flore, les aliments, les objets... Une fois commencé, il est impossible de ne pas voir des lettres tout autour de nous. Célébrant un monde de typographie, The Typographic Universe présente plus de 300 exemples de formes de lettrages inhabituels. D'inventions volontaires à partir d'éléments existants, jusqu'à la découverte de formes purement naturelles, cette anthologie ravira tous les férus de capitales et de minuscules.
This visual survey of graphic design styles through the ages is an essential resource for designers, art and design students, and art lovers. With more than 700 illustrations, it is the only wide-ranging history of graphic design to be completely visual, and many readers treasure it for its amazing trove of images. This new edition has been brought up to date with a new section that encompasses trends from the last decade. Graphic Style, said Studio magazine of the first edition, «should be on the shelf of every serious designer/illustrator.» This fourth edition is still indispensable.
Dans cet ouvrage, Steven Heller présente une sélection de plus de 60 carnets de croquis et de travail de typographes et illustrateurs renommés. Parmi eux, Philippe Apeloig, Ed Benguiat, Hoefler Type Foundry, Henrik Kubel, Toshi Omagari et Francesco Zorzi. Pour une vue imprenable sur les coulisses des processus de création de typos, lettrages illustrés et logos.
Cette monographie de petit format rend hommage à un dessinateur américain culte, cofondateur du Push Pin studio avec Milton Glaser, typographe, auteur de caricatures, d'une trentaine de livres pour enfants et de quatre romans graphiques. Il doit sa célébrité à un humour décapant et à sa capacité de produire des jeux de mots visuels d'une éfficacité redoutable en quelques traits.
Award-winning designer and writer Steven Heller comes of age at the center of New York's youth culture in the mid-1960s to the mid-1970s.
Steven Heller has written a memoir. This is no chronological trek through the hills and valleys of his comparatively "normal" life, but instead, a coming of age tale whereby with luck and circumstance, he found himself in certain curious places at critical times during the early to late 1960s and later throughout the 80s in New York City.
This story is both entertaining and enlightening and follows Heller between the ages of 16 and 23 as he solidified his work as art director, graphic designer, cartoonist and writer, through stints at the New York Review of Books, Sex, Screw, and The New York Free Press, until becoming the youngest art director (and occasional illustrator) for The New York Times OpEd page at age 23.
I Heart Design is a collection of «favorite» designs as selected by 80 prominent graphic designers, typographers, teachers, scholars, writers and design impresarios. Designers have preferences, like modern over postmodern, serif over sans serif, decorative over minimal, but designers could not be engaged in design practice if they did not love design. The reasons for such a charged emotion varies from individual to individual, but there are certain commonalities regarding form, function, outcome, and more. Design triggers something in all of us that may be solely aesthetic or decidedly content-driven, but in the final analysis, we are drawn to it through the heart.
This is a treasure trove of design inspiration for professionals, students, or anyone engaged in the visual industries.
Almost all books on design present the finished article. Rarely do we gain an insight into how visual solutions have been reached or the exploration, experimentation, and embryonic ideas behind them.
In this ambitious publication, some one hundred of the world's leading graphic designers and illustrators open up their private sketchbooks to offer a privileged glimpse into their creative process. The result is a visual tour de force.
Samples range from small, discrete typographical explorations to fully fledged illustration ideas, from a few scrappy scribbles and eccentric handwriting to photographic collages and other wacky forms of visual inspiration.
Concise and informative texts by the world authority on graphic design provide invaluable commentary on the artists' creative development, their design philosophies, sketchbooking techniques, and visual influences.
An illustrated history of propaganda art and design from Nazi Germany, Fascist Italy, the USSR, and Communist China.
Design School is a richly illustrated, unprecedented anthology of over 50 of the most challenging class projects from design schools around the world. The projects range from basic typography to social responsibility. From printed matter to environmental extravaganzas, students are challenged to push the limits of form and content.
How do students learn to solve design problems? How do cultural differences impact the way design is taught? What do design students want from their class assignments? What do design teachers hope to impart? The answers can be found in this impressive compendium of choice projects from the likes of the University of Art and Design, Helsinki, Finland; Fabrica, Bologna Academy of Fine Arts, Italy; Arts Academy of Split, Croatia; School of Visual Arts, New York, United States; Berlin University of the Arts, Germany, and many more.