Niggli Verlag

This book is suitable for those who work with automated text and image design. It shows examples of working correctly on a conceptual level. Exact directions for using all of the grid systems presented (8 to 32 grid fields) are given to the user. These can be used for the most varied of projects. The three-dimensional grid is treated as well. Put simply: a guidebook from the profession for the profession. The development of organisational systems in visual communication was the service and the accomplishment of the representatives of simple and functional typography and graphic design. In the 1920s in Europe, works already arose in the areas of typography, graphic design and photography with objectified conception and rigid composition. In 1961 a brief presentation of the grid with text and illustrations appeared for the first time in an earlier book by the author. Articles published mainly in trade journals then followed. This book now attempts to close a gap by giving examples and exact directions to the professional concerning all grid problems that can occur. The author, a world-renowned professional, thus offers his colleagues the tools to solve problems more easily.

The creation of a logotype as one of the most important elements of corporate design is a challenging task for communication designers. The concept that a good logotype is by definition a persuasive logotype creates a direct link to the genre of rhetoric, which, according to Aristotle, has the power of observing the means of persuasion on almost any subject. It follows that rhetoric concepts and methods are ideally suited for understanding the effectiveness of logotypes to expand the horizon of applied design work. In this publication the author illustrates how designers can utilize the tools of rhetoric, a science that dates back more than 2,500 years. Stylistic devices play a central role in this as logotypes are analyzed and classified to determine which communicative strategies and intended effects they fulfill. The theoretical insights gained from this provide designers with a wealth of knowledge that facilitates analysis, idea generation, and argumentation along with a deeper understanding of the design process.

As a response to the predominantly male presence in the design scene, this book exclusively presents works by exceptional women designers. It is not about discovering something inherently "female" and defining "feminine" design, but to counter the male-dominated discourse of the sector. The carefully selected graphic works stand on their own, ranging from commissioned assignments via free artistic projects to the area of design research. They open new perspectives on how diverse contemporary graphic design can be. This presentation is complemented by interviews conducted with 22 female designers, sociologists and design theorists. To shed light on the lacking visibility of women in the design sector, the authors especially focused in the design philosophy, perceptions, and ideals as well as the experiences encountered in everyday work situations.

The 14 Bauhaus books, edited by Walter Gropius and László Moholy-Nagy, were published between 1925 and 1930. Their authors discussed design principles, practices, and artistic approaches from various perspectives. Johannes Rinkenburger has examined and researched the contents and key concepts of this avant-garde series of books along with their backgrounds and context and elaborates their application and importance for current design schools. Based on design experiments, new links and correlations are established and methods shown that reveal, and apply the legacy of Bauhaus, one of the historically most important design schools worldwide, to contemporary design. In the visual illustrations, which make up a large part of the publication, individual concepts and methods of the Bauhaus books are combined, contemplated on and implemented using today's graphic design methods and techniques.

Almost a quarter of a century after the end of National Socialism in Germany, Otl Aicher was commissioned to design the "cheerful" Olympic Games in Munich 1972. He systematically and scientifically approached this task and liberated visual communication from national pathos by reducing it to the essential in the Bauhaus sense: the use. The manual, completed in 1967, contains a flexible system of colors, forms, and fonts on twenty-two fold-out sheets that enabled Aicher's team and partners to "play freely" and saved "unnecessary preparatory work and time-consuming detailed decisions." The outcome of more than 100 areas of design allowed him to create a wide-ranging identity-forming effect, while also setting new standards in corporate design. This book is a reprint of the original German edition with a booklet added with all texts in English. Otl Aicher (1922-1991) was an internationally acclaimed graphic designer and educator, renowned for his corporate identity work, visual communication systems, and typography. With concise corporate designs for commercial enterprises such as the Deutsche Lufthansa and as co-founder and rector of the Hochschule für Gestaltung Ulm--an experimental design school in the spirit of the Bauhaus--he achieved a high reputation worldwide.

Although handwriting is one of mankind's greatest cultural achievements, written communication today means mostly typing into computers and mobile devices. However, scientists stress that the brain benefits from writing by hand. The author, an acclaimed calligrapher and teacher of penmanship, addresses herself to all those who don't even use pen and paper for their shopping list, but would like to try it (again). Based on scientifically proven methods for cognitive activities, this title discovers and promotes the creative potential of handwriting - and to put it into practice right away on the pages of the book. Well-founded and very colorful, inspiring and yet structured: at the end there is the joy of expressing oneself by means of a personal mark, in a form that is even pleasant to look at. Furthermore, there is also the understanding that handwriting is much more than just the graphic transcription of language, going to the origin of the need for expression.

Risography, named after the Japanese firm Riso, is a digital printing process based on screen printing techniques that was developed in the transition phase from mechanical to digital printing. Although the printer looks like a copying machine, the colors are transferred onto the paper without the use of heat or chemicals, saving energy and making the process ecologically friendly. The Risograph printer is at the forefront of a new creative explosion. More and more artists and designers all over the world are rediscovering this stencil duplicator for themselves, sparking a unique and unexpected renaissance in analogue printing. And Risography is just the most prominent technique in a new wave of cutting-edge contemporary design, one that is also recuperating forgotten technologies such as the Gestetner and the mimeograph. A comprehensive introduction that addresses past, present and future is followed by an essay about the key pioneers in the contemporary risography scene. In the chapter Risoworld notable risography-oriented publishers, printers and design studies from around the world are presented. At the heart of the volume are fabulous, hugely diverse examples of Riso-printing, including postcards, magazines, posters, flyers, and experimental printed products, all of which inspire through vivacity of colour, unique textures and, above all, the perfectly imperfect authenticity of Risography.

Is there a bigger challenge for a designer than the creation of an identity for the Olympic Games? Each venue must have its own unique image that merges national spirit and international trends with the Olympic values of friendship, solidarity, and fairness. This title provides an in-depth overview of the history of the Games, centering visual design aspects for the first time: logos, mascots, medals, pictograms, uniforms, tickets, luggage tags, posters, souvenirs, and much more. Markus Osterwalder presents approximately 6,000 illustrations on over 1,500 pages in two volumes, coming in a slipcase, with fifty-eight chapters that detail astonishing facts and stories about who created what and how. Three foldout sheets give an overview on key design topics from the birth of the Modern Games to the present. For each of the Games, the passionate Swiss collector has chosen comprehensive examples from all desigin fields that enable viewers and readers to fully grasp the design identity of the respective Games. In addition, this title also highlights extraordinarily exciting developments in the field of corporate identity and brand design. Markus Osterwalder, Secretary General of the International Society of Olympic Historians, has one of the biggest Olympic ollections worldwide and is a renowned expert in the field. A graphic designer, Osterwalder has been devoted to the visual history of the Olympic Games for almost thirty years. He started to collect everything from and about the Olympic Games when he attended his first Games in Lillehammer 1994. Recently, he curated the exhibition "Olympic Langauage--Exploring the Look of the Games" at the Olympic Museum in Lausanne, Switzerland.

As a result of globalization and increased interaction across countries and cultures, multilingualism has gained importance. Script, as the most important conveyor of confirmation, plays a major role in this development. Designers are more and more faced with the challenge of creating designs that not only combine various languages but two or even more writing systems. At first, Bi-Scriptual discusses on a theoretical level questions such as the sociocultural relations between various writing systems and the increasing importance of sociocultural communication. Following a general section on the practical application of bilingual design, experts of the concerned languages compare eight writing systems with the Latin script. This part also contains topical interviews and practical examples of more than 100 designers.

The company Thonet was founded in 1819 and has since become a furniture manufacturer with the highest standards of design and quality. Worldwide, the name is associated with famous design classics of our time. In this book, the graphic design behind the Thonet brand is explored for the very first time, along with the development of signets and printed goods parallel to the furniture design and the aesthetics of the age. More than 100 exhibits from the Thonet archives are presented chronologically - from the first 19th century sales posters, adorned with ornaments like the furniture of the period, to the reduced-format catalogs from the 1920s, to the creation of a timeless image from 1974. Discussions with designers of the brand from 1969 complete the volume. This publication is both graphic design history and a portrait of a 200-year-old company.

How does design function? What is the difference between design and styling? Is the principle "form follows function" still valid? And what constitutes the design process in practice? There are so many questions on the highly topical subject of design. The authors provide answers to many of them by covering a wide range of topics, from the historical roots to the outlook on the near future, from a comprehensive look at product functions to the analysis of the complex design process, from theoretical foundations to descriptive case studies. The central theme is product design, taking the conflicting interests of consumers, manufacturers and designers into consideration. All factors of planning and designing of industrial products are considered and clearly presented. The book is aimed at enquiring users as well as committed entrepreneurs, interested technicians and aspiring designers from a great variety of fields.

From the analysis of the formal components of objects, via an overview of the possibilities of developing and optimizing the creative process, to the development of one's own evaluation catalog. What shapes exist? What form-giving operations are possible? What are the evaluation standards for existing objects and those to be developed? These three fundamental questions, which every architect, designer, and artist asks, again and again, are addressed, systematically explained, and answered in three sections in this volume. The publication also provides readers with a set of basic tools that enables them to communicate better when discussing and explaining their own work with other creative people and other professionals. The first part is a comprehensive compilation that identifies and describes all forms within objects. The middle section offers a qualitative overview of the possibilities with which form elements, forms, or objects can be developed and optimized. In the third section, the methodology for the development of an own evaluation system is presented. The objective of this work is to offer an orientation on the basics of design, combining the aspects of form, craft, content, and method into a holistic understanding of design.

Santiago Calatrava is among the most important and influential architects of our times. His candid architecture is polarizing yet unmistakable. The trademark of the Spanish architect are sculptural bridge designs that gained international acclaim as a symbiosis of elegant shape vocabulary and engi - neering master feats and that shape the cityscapes in locations such as Jerusa - lem, Venice, and Dallas. This book is a special homage to his work: Santiago Calatrava in person talks about the visions on artistic-archi - tectural philosophies behind his unpar - alleled bridge designs. He also contrib - utes many descriptions of implemented and unimplemented projects, which, together with first drafts, water color paintings, as well as high-quality pho - tographs and renderings, document the selected projects.

Drawing is not a myth, but a tool, a means of gaining knowledge and the basis for illustrative and artistic pictorial expressions How pictures can be used to tell a story, how are they made, and how the head and the hand collaborate in the creative process? Just as each image is unique, so are the individual intentions of the artists. The technical craftsmanship of HOW is as much a decisive criterion for the quality of an image as its contextual WHAT. In addition to all depiction methods, rules of design, and phenomena of perception, a number of additional factors are important in making convincingly narrated images. This book invites readers to question the world with alert eyes, to discard conventions and to open up to other ways of thinking and new ways of seeing and approaching things: to dare to be playful and ready for any kind of experiment, to ultimately throw all rules overboard in order to find their very own artistic individuality. The author's approach is not so much a step-by-step instruction with template-like schemes, instead it focuses on the intrinsic logic of things, their connections and relations, and the link between presentation and design.

An indispensable handbook about monospaced typefaces with the relevant cultural-historical background, a variety of convincing applications and extensive typeface collection accompanied by all needed facts and information. Monospaced fonts originate from the typewriter and are characterized by the peculiarity that all letters, digits and characters have the same width. Mono is the new Black discusses the function and aesthetics of this unique kind of typeface and deals with its cult status in the (mainly young) design scene. The aim of the handbook is to inform and inspire typographers, typeface developers, designers, as well as readers interested in culture in general with facts, analyses, expert positions, practical examples, and a comprehensive font collection. In a cultural-historical outline, the author first presents the historical aspects of this typeface and shows how closely intertwined type, technical progress, and social development are. In the middle section, he presents a selection of examples of the work of globally active designers and agencies with a focus on the many possible applications. The final section is a script compendium that provides a clear overview of 175 monospaced fonts and shows the changes that these distinctive monospaced fonts have undergone, from machine type to entirely digitally developed coding fonts.

This monograph shows how the oloid, a timelessly beautiful geometric body, serves today more than ever as a source of inspiration and functional component in the visual arts and design, in technology and research, in architecture, philosophy, and music. In 1929, the sculptor, inventor and researcher Paul Schatz (1898-1971) discovered the geometric form of the oloid. Schatz' lifework was characterized by this fundamentally new body, which emerged from movement, for which he sought and found new and pioneering applications for a number of decades. This monograph, rich in images and generally understandable, shows how today, more than ever, the timelessly beautiful oloid serves as a source of inspiration and a functional element. This is true for the fine arts and design, in technology and research, in architecture, philosophy or music. Close aesthetic references to the contemporaneous sculptures of Naum Gabo, Constantin Brancusi, or Henry Moore are just as surprising as current homages to Paul Schatz by artists such as Ólafur Eliasson. As simple as it is complex, at the same time elegant and powerful, the oloid proves to be a universal body that has not yet revealed all its secrets and potential.