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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.

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.

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.

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.

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.

The striking inequalities in living conditions in today’s cities and metropolises reveal one of the greatest humanitarian challenges of our time. Assuming that architecture can never be neutral, those involved in this field of design are called on to recognize and to act on their responsibility to society, and not only in projects involving urban development. Their work should therefore not only be about creating living space, but questions of the distribution of resources, so closely interwoven with architectural design, must also play a role. This book is conceived as a collage of stories, photos, design and critical discussions about the relationship between architecture and human rights. Through this hybrid form, all of the people involved at every level of this relationship are given a voice and invited to question whether the architecture of the regions, streets and buildings for which they are responsible contributes to the protection and advancement of human rights.

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.

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.

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.

This book is the legacy of Emil Ruder, one of the originator of Swiss Style, famous throughout the world for the use of asymmetric layouts, use of a grid, sans-serif typefaces and flush left, ragged right text. His holistic approach is still recognized as fundamental for graphic designers and typographers all over the world. The voume is a comprehensive masterpiece seen in its overall structure: in the themes presented, in the comparison of similarities and contrasts, in the richness of the illustrations and the harmoniously inserted types. Behind the purely pedagogic examples of exact proportions, a rich, philosophical thinking shines through. Today, fifty years after this book was first published, it is still widely used and referenced.