Böcker av Ellen Lupton

Seven years after the publication of Graphic Design: The New Basics, coauthors Ellen Lupton and Jennifer Cole Phillips have updated the book with current content and extended key sections.

"Revised and expanded third edition of the essential guide to how typefaces are constructed and how to use them"--

Extra Bold is the inclusive, practical, and informative (design) career guide for everyone!Part textbook and part comic book, zine, manifesto, survival guide, and self-help manual, Extra Bold is filled with stories and ideas that don't show up in other career books or design overviews.*; Both pragmatic and inquisitive, the book explores power structures in the workplace and how to navigate them.*; Interviews showcase people at different stages of their careers.*; Biographical sketches explore individuals marginalized by sexism, racism, and ableism.*; Practical guides cover everything from starting out, to wage gaps, coming out at work, cover letters, mentoring, and more.A new take on the design canon.*; Opens with critical essays that rethink design principles and practices through theories of feminism, anti-racism, inclusion, and nonbinary thinking.*; Features interviews, essays, typefaces, and projects from dozens of contributors with a variety of racial and ethnic backgrounds, abilities, gender identities, and positions of economic and social privilege.*; Adds new voices to the dominant design canon.Written collaboratively by a diverse team of authors, with original, handcrafted illustrations by Jennifer Tobias that bring warmth, happiness, humor, and narrative depth to the book. Extra Bold is written by Ellen Lupton (Thinking with Type), Farah Kafei, Jennifer Tobias, Josh A. Halstead, Kaleena Sales, Leslie Xia, and Valentina Vergara.

The essays collected in The ABCs of Triangle Square Circle: The Bauhaus and Design Theory trace the origins and impact of the Bauhaus, addressing modernist design theory in relation to the 19th-century kindergarten movement, and Bauhaus graphic design in relation to the ideal of a universal "language" of vision. Additional essays address psychoanalysis, fractal geometry, and Weimar culture.

The medium of the poster is distinguished by displaying messages combining images and text on a static, two-dimensional surface. Designers have, however, always toyed with extending the plane by adding a third dimension, whether spatial or temporal, in order to fool the eye. Stop Motion examines the myriad creative approaches to suggesting movement, recession into depth, dynamics, and rhythm. Perspectival narrowing and plastically rendered motifs are among the traditional stylistic means used in painterly and illustrative posters. Borrowings from Op Art or psychedelic art perplex the eye. In photographic posters, techniques such as blurring or time exposure are used to cause an image to vibrate. But sophisticated printing techniques can also broaden the possibilities of visual expression. In contemporary posters, it is the strictly graphic means of writing, abstract pictograms, or geometric forms that stretch out nested spaces, through which the gaze wanders restlessly.Stop Motion reveals that poster designers have in fact traditionally sought to incorporate the aspect of movement. Moreover, the works assembled in the publication show thatΓÇöwith the exception of the current animated poster trendΓÇöthe simulation of movement and three dimensions is always the result of a conscious design decision motivated by the respective content.