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An essential resource to using contemporary typefaces for effective communication Type is the handwriting of the 21st century, lending its expressive voice to the language of all written communication. Type Speaks is the first book to explore type as a medium that conveys emotions, concepts, and ideas, filled with hundreds of new fonts available through digital foundries. Some exude joy, radiate serenity, or jangle the nerves; some sell or persuade or command or seduce. More than ever before, a great range of type choices, both conventional and unconventional, is available to graphic design professionals and nonprofessionals alike. In this new world, Type Speaks will be an essential reference for anyone crafting messages in words.

For all those who thought digital heralded the end of an era: illustration is alive and kicking, and new tools have given the art renewed vigor and the illustrator greater stamina. Steven Hellerand Julius Wiedemannpresent a snapshot of “the new golden age of illustration,” rounding up 100 of the most talented artists around the world. We dare you to pick your favorites. For the last ten years, Steven Heller and Julius Wiedemannhave traced the latest developments in illustration across the globe—and for all those who thought digital heralded the end of an era, they’re here to set the record straight. There were extraordinary eras before mass media changed our viewing habits, back in the day when illustration was the most primary means of illuminating the word on paper, to today when we get our words and images on screens as small as a watch face. And in this environment, today’s designers and artists are holding their own brilliantly. Illustration is more free and varied than ever, and it is ubiquitous in all kinds of media from paper to screen, books, packages, clothing, cars, and restaurants. This book celebrates the sheer quality, diversity, intensity, comedy, vivacity, and exceptionality of the work being created by illustrators right now. From veteran artists like Brad Holland, whose oblique and metaphorical paintings for the New York Times’ op-ed section revolutionized illustrative content in the 1970s, to up-and-coming stars like Robin Eisenberg, her pastel-skinned alien belles cruising in spaceships on indie-rock album covers, the 100 artists in this collection are just the tip of the proverbial iceberg, but they represent a compelling snapshot of the styles, techniques, and use of color by artists across the world. We dare you to pick your favorites. Includes: an introduction and foreword by editors Julius Wiedemann and Steven Heller 600 pagesof brilliantly reproduced works a biography for each artistdetailing their background, philosophy, motivations, and contact details an index of illustration agencies The editors Steven Helleris the co-chair of the School of Visual Arts MFA Designer as Author Program. For 33 years he was an art director for The New York Times, and currently writes the “Visuals” column for The New York Times Book Review. He is the author of 120 books on graphic design, illustration, and satiric art. Julius Wiedemannstudied graphic design and marketing and was an art editor for newspapers and design magazines in Tokyo before joining TASCHEN in 2001. His titles include the Illustration Now!and Record Coversseries, as well as the infographics collection and books about advertising and visual culture.

This book serves as an introduction to the key elements of good illustration. The Illustration Idea Book presents 50 of the most inspiring approaches used by masters of the field from across the world. Themes covered include creating characters, symbol and metaphor, illustrated lettering, inventing worlds, and caricature. The result is an instantly accessible, inspiring, and easy to understand guide to illustration using professional techniques.

This chic journal encourages people to sketch, trace and colour classic typefaces, or use the ruled and gridded pages to create their own designs, inspired by the gallery of type samples. An illustrated gallery allows them to brush up on terminology and absorb tips from the pros.

Gleaned from thousands of images, this book offers the best of American print advertising in the age of the "Big Idea." From the height of American consumerism, bold and colorful campaigns paint a fascinating portrait of the 1950s and 60s, as concerns about the Cold War gave way to the carefree booze-and-cigarettes capitalism of the Mad Men era. Digitally remastered for optimum reproduction quality, the ads burst with crisp fonts and colors, as well as a sexy sense of possibility, beguiling their audience to buy everything from guns to girdles, cars to toothpaste, air travel to home appliances. At turns startling, amusing and inspiring, this panorama of mid-century marketing is at once an evocative period piece and a showcase of design innovation and advertising wit.

"Graphic Style Lab" is a lively and playful approach to discovering different design styles. This guidebook is full of experimental design projects that cover the distinctions between a personal and universal style, historical and contemporary style, one-of-a kind styles. You'll also discover how lettering, type and typography often define style.Improve your awareness and sensitivity to type styles, forms, and type choices through these visual experiments, and boost your confidence in your personal and professional work."Graphic Style Lab" can be used in the classroom or independently. Go directly to any of the step-by-step exercises and create extraordinarily creative graphic design. Don't be afraid to try something different! "Graphic Style Lab" offers 50 experiments that apply the fundamental principles of graphic design in a way that is creative, fun and interactive.

Raw Data presents work by seventy-three of the worlds most innovative information graphics designers. Now that huge amounts of information can be gathered and processed with ever-greater speed, graphic designers and illustrators are playing a crucial role in explaining what all the collected data really means and how we can make sense of it to improve our personal and professional lives. More than just a survey of finished work, Raw Data gets behind the final image to reveal how a stack of numbers can be transformed into a beautiful image rich with meaning and explanation. Among the international practices included are those who have been leading the way in the infographics revolution (Nigel Holmes, The New York Times ), along with a new generation of designers only just emerging from university (Fernando Hernandez, Tim Hucklesby).

Virtually anything can be used to make original typography: flora, fauna, foodstuffs even mens underwear. Whats more, once you start looking, it is impossible not to see letters everywhere, in natural, artificial and urban environments. A celebration of the world of letters, The Typographic Universe features more than 300 examples of unusual letterforms, either created from non-traditional materials or found in unexpected places. From deliberate inventions aromatic alphabets made of spaghetti, soup or spices, or contorted typefaces styled out of human handprints to serendipitous and often short-lived discoveries letters formed by chemtrails in the sky, by negative spaces between trees branches and city buildings, or by cracks in plaster to fading ghost types painted on buildings in a pre-digital age, this typographic scavenger hunt will excite and inspire graphic designers, typographers and anyone who shares the current popular fascination with the wonderful world of typography.

100 Classic Graphic Design Journals surveys a unique collection of the most influential magazines devoted to graphic design, advertising and typography. These journals together span over 100 years of the history of print design and chart the rise of graphic design from a necessary sideline to the printing industry to an autonomous creative profession. Each magazine is generously illustrated with a large selection of spreads and covers. A descriptive text based, where possible, on interviews with editors, designers and publishers is also included for each magazine alongside comprehensively researched bibliographic material. The magazines featured cover a range of industries and eras, from advertising (Publimondial, La Pubblicita Italiana), posters (Das Plakat, Affiche) and typography (Typografische Monatsblatter, Typographica), to Art Nouveau (Bradley, His Book), Modernist design (Neue Grafik, ULM) and Post-Modern and contemporary graphics (Emigre, Its Nice That). These 100 journals offer an invaluable resource to historians and students of graphic design, and a rich seam of visual research and inspiration for graphic designers.

From wedding announcements to IOUs, there are hundreds perhaps thousands of scripts, some classic, others eccentric. Derived from handwriting, these are typefaces that are stylized to suggest, imply or symbolize certain traits linked to writing. Drawn from the Golden Age of scripts, from the 19th to the mid-20th century, this is the first compilation of popular, rare and forgotten scripts from Britain, Italy, France, Germany and the USA. This title is filled with examples from a broad spectrum of sources advertising, street signs, invitations, type-specimen books and personal letters. This collection is a delightful trove of long-overlooked material, and will be an invaluable sourcebook for anyone with an interest in graphic design.

Bold, monumental, atmospheric, architectural letters with relief and shadow define great periods of confidence and optimism. Shadows add intrigue and spectacle to otherwise mundane words. And they're back in style. Drawn from a particularly rich period in the history of shadow type, from the 19th to the mid-20th century, this is the first compilation of popular, rare and forgotten three-dimensional letters from Germany, France, Britain, Italy and the United States, where the best examples were produced. Presented in compact form, with examples from some 300 sources compiled by the leading historian of graphic design, this lively publication, packed full of typographic ideas for any purpose, will amuse, enchant and inspire anyone aiming to impart depth to their design.

This is a unique survey of photography from its origins until now. From a delivery boy to one of the most important industrialists in American history, George Eastman's career developed in a particularly American way. The founder of Kodak died in 1932, and left his house to the University of Rochester. Since 1949 the site has operated as an international museum of photography and film, and today holds the largest collection of its kind in the world. The continually expanding photography collection contains over 400,000 images and negatives - among them the work of Alfred Stieglitz, Edward Steichen, Ansel Adams and others - as well as 23,000 cinema films, five million film stills, one of the most important silent film collections, technical equipment and a library with 40,000 books on photography and film. The George Eastman House is a pilgrimage site and a place of worship for researchers, photographers and collectors from all over the world. This volume shows in chronological order the most impressive images and the most important developments in the art of light that is photography. It provides in its huge collection and themes a unique survey of the medium from its origins until now.