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A collection of articles representing progress in the major areas of fundamental and applied handwriting research. Areas covered are: behavioural and cognitive science; development, education and neuroscience; computer analysis and recognition; and forensic document examination.
Perspective is key to visualizing a space and communicating an idea to others. This book explains how to tackle perspective with hand sketching - how to turn a 3D scene into a 2D drawing successfully. Written for a wide range of professionals from architects to set designers, engineers to interior designers, it explains the principles of perspective clearly and how to communicate a vision successfully. Topics covered include: materials and equipment, specifically with drawing on location in mind; observational drawing using the body, arms and hands to help understand the spaces being drawn; perspective constructions for one and two vanishing points for interior and exterior drawings; panoramic views and aerial perspective - how to approach drawing a crowded scene/location; adding detail - whether creating atmosphere and expression, or adding figures for scale and finally, advice is given on drawing imaginatively and how to visualize your thoughts confidently. It is fully illustrated with examples of how to draw perspective in the urban and natural landscape.
Why attractive things work better and other crucial insights into human-centered design Emotions are inseparable from how we humans think, choose, and act. In Emotional Design, cognitive scientist Don Norman shows how the principles of human psychology apply to the invention and design of new technologies and products. In The Design of Everyday Things, Norman made the definitive case for human-centered design, showing that good design demanded that the user's must take precedence over a designer's aesthetic if anything, from light switches to airplanes, was going to work as the user needed. In this book, he takes his thinking several steps farther, showing that successful design must incorporate not just what users need, but must address our minds by attending to our visceral reactions, to our behavioral choices, and to the stories we want the things in our lives to tell others about ourselves. Good human-centered design isn't just about making effective tools that are straightforward to use; it's about making affective tools that mesh well with our emotions and help us express our identities and support our social lives. From roller coasters to robots, sports cars to smart phones, attractive things work better. Whether designer or consumer, user or inventor, this book is the definitive guide to making Norman's insights work for you.
Have you ever struggled to complete a design project on time? Or felt that having a tight deadline stifled your capacity for maximum creativity? If so, then this book is for you. Within these pages, you'll find 80 creative challenges that will help you achieve a breadth of stronger design solutions, in various media, within any set time period. Exercises range from creating a typeface in an hour to designing a paper robot in an afternoon to designing web pages and other interactive experiences. Each exercise includes compelling visual solutions from other designers and background stories to help you increase your capacity to innovate. Creative Workshop also includes useful brainstorming techniques and wisdom from some of today's top designers. By road-testing these techniques as you attempt each challenge, you'll find new and more effective ways to solve tough design problems and bring your solutions to vibrant life.
The Graphic Design Exercise Book provides a series of challenging design briefs that reignite a designer’s creativity while also imparting new skills. Whatever their age or experience, graphic designers like to be creatively challenged, and may also want to broaden their skill-base in order to break into new and lucrative areas of the design industry. A range of industry insiders share their specialist knowledge by way of briefs that stretch the imagination and encourage the development of new skills across a range of genres, including logos, packaging, branding, identity, promotion, publication design, music graphics, and web design. Organized much like a recipe book, each brief lists the required materials and equipment so that designers can pick and choose. Interviews and in-progress work is included, while a number of fully realized projects illustrate the possible outcomes. The Graphic Design Exercise Book is a must-have addition to
A toolkit for visual literacy in the 21st century A New Program for Graphic Design is the first communication-design textbook expressly of and for the 21st century. Three courses--Typography, Gestalt and Interface--provide the foundation of this book. Through a series of in-depth historical case studies (from Benjamin Franklin to the Macintosh computer) and assignments that progressively build in complexity, A New Program for Graphic Design serves as a practical guide both for designers and for undergraduate students coming from a range of other disciplines. Synthesizing the pragmatic with the experimental, and drawing on the work of Max Bill, György Kepes, Bruno Munari and Stewart Brand (among many others), it builds upon mid- to late-20th-century pedagogical models to convey contemporary design principles in an understandable form for students of all levels--treating graphic design as a liberal art that informs the dissemination of knowledge across all disciplines. For those seeking to understand and shape our increasingly networked world of information, this guide to visual literacy is an indispensable tool. David Reinfurt (born 1971), a graphic designer, writer and educator, reestablished the Typography Studio at Princeton University and introduced the study of graphic design. Previously, he held positions at Columbia University Graduate School of Architecture, Planning and Preservation, Rhode Island School of Design and Yale University School of Art. As a cofounder of O-R-G inc. (2000), Dexter Sinister (2006) and the Serving Library (2012), Reinfurt has been involved in several studios that have reimagined graphic design, publishing and archiving in the 21st century. He was the lead designer for the New York City MTA Metrocard vending machine interface, still in use today. His work is included in the collections of the Walker Art Center, Whitney Museum of American Art, Cooper Hewitt National Design Museum and the Museum of Modern Art. He is the co-author of Muriel Cooper (MIT Press, 2017), a book about the pioneering designer.
From a professional for professionals, here is the definitive word on using grid systems in graphic design since 1981.
If you can dream it, you can design it Whether your goal is to design your own marketing materials, launch a visually compelling blog, or just have some fun creating your own CD covers, The Complete Idiot’s Guide® to Graphic Design is your one-stop reference. Presented in an intuitive, accessible format, here are the fundamental elements of design and design principles, as well as instruction on how to apply those elements and principles to a variety of projects. • Covers art supplies, software, concept development, reproduction needs, and much more • Sample projects include business cards, print and web ads, and graphic T-shirts • Follows the success of other titles aimed at the aspiring artist, including the Complete Idiot’s Guide® titles on digital photography, drawing, and manga
Are you getting the most learning value from visuals? Thoroughly revised and updated, Graphics for Learning is the second edition of the bestselling book that summarizes the guidelines for the best use of graphics for instructional materials, including multimedia, texts, working aids, and slides. The guidelines are based on the most current empirical scientific research and are illustrated with a wealth of examples from diverse training materials. The authors show how to plan illustrations for various types of content, including facts, concepts, processes, procedures, and principles. The book also discusses technical and environmental factors that will influence how instructional professionals can apply the guidelines to their training projects. Praise for the First Edition "For years I've been looking for a book that links cognitive research on learning to graphics and instructional design. Here it is! Ruth Clark and Chopeta Lyons not only explain how to make graphics work—they've created a very interesting read, full of useful guidelines and examples." —Lynn Kearny, CPT, instructional designer and graphic communicator, Graphic Tools for Thinking and Learning "Finally! A book that integrates visual design into the larger context of instructional design and development." —Linda Lohr, Ed.D., author, Creating Graphics for Learning and assistant professor, University of Northern Colorado
Our all-time best selling book is now available in a revised and expanded second edition. Thinking with Type is the definitive guide to using typography in visual communication, from the printed page to the computer screen. This revised edition includes forty-eight pages of new content, including the latest information on style sheets for print and the web, the use of ornaments and captions, lining and non-lining numerals, the use of small caps and enlarged capitals, as well as information on captions, font licensing, mixing typefaces, and hand lettering. Throughout the book, visual examples show how to be inventive within systems of typographic form--what the rules are and how to break them. Thinking with Type is a type book for everyone: designers, writers, editors, students, and anyone else who works with words. The popular companion website to Thinking with Type (www.thinkingwithtype.com.) has been revised to reflect the new material in this second edition.