Design Literacy: Understanding Graphic DesignAllworth Press, 1997 - 277 pages Although created to fulfill ephemeral needs, great works of graphic design often become memorable cultural icons representing the times and places of their origins. Design Literacy presents ninety-three "object lessons," specific histories examining the contexts in which well-known, unknown, and anonymous works have made decisive contributions to the evolution of graphic design. Steven Heller and Karen Pomeroy create a mosaic of design stories that offer a series of valuable lessons in how design works and an engaging history of graphic design from the late nineteenth century to the present. Tracing the development of each work, Heller and Pomeroy explain its role in design history and how it relates to the cultural milieu from which it emerged. Design Literacy is a quick remedy for designers and students of design suffering from a diet of too much "eye candy" and hungry to understand the forces at work behind the visual power of great works of graphic design. |
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Page 91
... Weingart developed a system of typographic reordering as an alternative to the dominant Neue Grafik or international ... Weingart's exponents were schooled in academic modernism and found that this new method released them from old ...
... Weingart developed a system of typographic reordering as an alternative to the dominant Neue Grafik or international ... Weingart's exponents were schooled in academic modernism and found that this new method released them from old ...
Page 144
... WEINGART KUNSTHALL BASEL KUNSTKREDIT 1976777Wettbewerbe , Aufträge und Ankäufe des Staatlichen Kunstkredits Ausstellung 7. bis 30. Mai 1977 and Freitag 20.15 Uhr Eintritt frei By itself , typography is as boring as hell , " stated ...
... WEINGART KUNSTHALL BASEL KUNSTKREDIT 1976777Wettbewerbe , Aufträge und Ankäufe des Staatlichen Kunstkredits Ausstellung 7. bis 30. Mai 1977 and Freitag 20.15 Uhr Eintritt frei By itself , typography is as boring as hell , " stated ...
Page 145
... Weingart arrived . “ I had a special understanding with Ruder and he let me use the workshops whenever I wanted , " Weingart said in an interview in Eye ( April 1991 ) . In this pristine academic environment , the perpetually restless ...
... Weingart arrived . “ I had a special understanding with Ruder and he let me use the workshops whenever I wanted , " Weingart said in an interview in Eye ( April 1991 ) . In this pristine academic environment , the perpetually restless ...
Contents
Object Lessons | 1 |
Nie Tadeusz Trepkowski | 11 |
Grapus Posters Grapus | 17 |
Copyright | |
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