Graphic Design Books

It's a must-have for any novice or expert graphic designer. Wonderful pieces from tons of designers around the world. Worth every penny.

This book is awesome ! Book has collection from prints, ads, flyers, personel portfolio, web designs, illustrations, book cover designs... in 21st Century.

It catagorised it by artist and exhibitions. You can find www.requiemforadream.com and www.donniedarko.com designer and many other cool projects. And text info is in 3 languages, English, German, French.

Any graphic designer must have this book. :)

Excellent. Very well written and engaging - great ideas for class discussions. Have recommended the book to friends and colleagues.

This book is a splendid addition to the field of Graphic Design History. Until recently the study of graphic design lacked the sort of critical analysis that art historians have routinely lavished on painting or sculpture. Drucker and McVarish do a great job of engaging the reader in their thought processes. Some of the best pages are mash-ups of colorful and diverse graphics with interjected commentary and questions. For example, the two-page spread presenting Chinese oracle scripts, Sumerian cuneiform, and a Mayan codex is bisected by a horizontal red ribbon of text asking: What is the written equivalent of an ironic inflection? What is the spoken equivalent of a sans serif face?
I had the opportunity to see this text of this book before it was published. The book design is splendid. One might quibble with certain inclusions or ommisions, but overall this volume is extraordinary. The writers left me thinking anew about the impact and importance of graphic design. I teach a graphic design history class, and I found it thought provoking.

i am so thankful to the authors of this book! they explained everything with such clarity and attention to detail. i am recommending this book to a lot of fellow landscape designers. this book has clear and well drawn details on a lot of landcape structures. it is far far better than a lot of text books on the same subject, and it's worth ten times more than its price.

What an excellent little book! As a landscape designer (who provides the aethetic overview for the contractor to install), this book has proven extremely helpful in answering my never-ending questions, "how will ____ be built?" As such, it is invaluable in the design process as well.

Aimed at residential design, every hardscape element I need is explained and illustrated in a professional, thorough, easy-to-understand way. Examples of what's covered: retaining walls, steps, drainage, railings, irrigation, lighting, septic systems, paving systems, deck structures, built-in fireplaces, built-in kitchens, water, pools, spas....etc, etc, etc.
Of the more complicated things (built-in kitchens, swimming pools), the authors kept the details simple, describing the overall concepts, so that a designer can show them, but a skilled contractor would need to fill in. Of the things a do-it-yourselfer can do (e.g. fences, simple paving), there is a more thorough covering.

This book is NOT among the comprehensive construction standards references that must (by necessity of their content) be priced in the $100 to $200 range. This one is focused and kept to-the-point as a quick but thorough reference for all manner of outdoor construction used in residential landscapes.

For landscapers, landscape designers, homeowners, artists--anyone needing professional construction information edited down to the essentials-- I highly recommend this book!

I stole my copy from a friend and never returned it! This is one of the best reference books for historical graphic design styles. The book is very well organized, and contains quite a few color illustrations. It has given me hours of inspiration when I have an assignemnt to do for a client. They have examples of everything from Victorian packaging to Psychedelic poster art. This book would make an ideal gift for a student just learning the field, or an old pro that has been around for years.

This book is essential reading for anyone remotely interested in graphic design. I use it as a reference for my students in graphic design classes. It's a beautifully concise summary of the history of graphic design styles - and gives visual examples as well as background information connected to the social forces that shaped the trends examined. If you are a student - it's a great first taste of the styles and movements that influence current graphic designers. If you are currently working in the field - it's a must have reference book.

It's unbelievable that how they can put those dozens of invaluable gems written by graphics programmer from all over the world together into one book. It's a must for every graphics programmer.

I'm the archivist for the free Graphics Gems code base on the web. I do it for free, because this code is so valuable. Others think so, too: there is an average of 100 hits a day on the site. Go look at the online list of what's in this volume to see if it's for you.

Highlights (for me) include an IEEE fast square root, uniform random rotations, triangle-cube intersection, and BSP tree ray tracing. There's tons more.

This book explains the complex world of color printing and the designer's relationship to the printer in a well-organized, well-illustrated, easy-to-read style. You will find everything from trapping to common paper folds, printed examples of good halftones and bad, how to make sure things go right, but also how to compromise when things go wrong. I have made it required reading for my desktop design staff of 4. In short, this is an excellent introductory book. I strongly recommend it for both classroom teaching and less experienced designers. This few hours of reading could replace years of experience.

This book covers all the primary points of commercial art and reproduction in a clear, comprehendable manner and has lots of illustrative photos to boot. A must have for any designer.

This book wasn't hard covered and had 224 pages. The paper stock belonged more to the magazine type, but much thicker.

The artbook features plenty of concept art throughout the pages with relating movie scripts. A considerable amount of artwork was draw using pencil. I haven't seen as much pencil coverage on other books. There are lots of painted stuff too. All felt very raw and simulated pages that had just come off the artists' drawing board.

The drawings, storyboards, character designs were captioned by original Hellboy artist Mike Mignola, and other concept artists, providing plenty of insights into the designs.

3D computer graphics write up was missing from the book. Computer graphics fans looking to read about how the characters are modeled and the technology behind the movie, be prepared to be disappointed. This artbook is all about concept.

More monster art will be featured in the other artbook called Monsters of Hellboy II.

I've some pictures from the book on my blog. Just do an Internet search on "parka blogs hellboy ii"

Anyone who purchased the first Art of HELLBOY will not be disappointed by this "sequel". Mike Mignola & Wayne Barlowe are now joined by the talents of Francisco Ruiz Valasco & Stephen Scott. Guillermo Del Toro again includes his notebook sketches for some evolutionary insight between his imagining to finished character. The complete & final script is once again included. As impressive as this book is I must admit I am even more eager about the forthcoming Monsters of Hellboy II. But this book does stand alone quite easily for anyone, Either for fans of the series or anyone interested in design.

This is a simple and good book. Clear, concise, and a primer in pure typography, Schmid reveals the essence of ink on paper. And he is not afraid to speak confidently of the role of the counterform, the pure whiteness of the paper, the skin upon which the writer's words take wings in the deft hands of a typographer such as he.

The Basel School influence is evident. However, the designs carry the influence of the East as well. Working from Japan, Schmid has absorbed not only the early teaching of mentor Emil Ruder, but the simple, quiet elegance of Japan -- the Japan of the rational tatami mat, the clear design of the Katsura Palace, the bold stroke of the calligrapher's brush, and the Taoist essence of the tea ceremony. It is the immaterial that imparts essence. That is evident everywhere in this elegant book. If design is attitude, it is not in your face. It is simply there.


Rich Kraham.com

If you like a swiss typography this is a book for you.
It only use lower case in this book. Helmud schmid was a student of Emil Ruder and if you had a Emil Ruder book this has a similar feeling. The type is very small with three grid coloums.
I recomended to my friends and they ordered the book after I showed the book.
Truly wonderful book

Compiled and co-edited by art historians Oliver Berggruen and Max Hollein, Henri Matisse: Drawing With Scissors, Masterpieces From The Late Years is a compilation of learned essays on the work of the great artist after age-related illness, which confining him either to his bed or a wheel chair, would no longer permit him to paint, so Mattise took up cutting out colored paper patterns and having his assistants mount them in special patterns under his guidance (often from his wheel chair). The profusely illustrated essays include "Jazz: Rhythm and Meaning (Margret Stuffmann); "Painting with Scissors: Jazz and Verve" (Michael Anthonioz); "Drafts for Publications and Maquettes" (Ingrid Pfeiffer); "Decoration beyond Decoration" (Remi Labrusse); "Resonance and Depth in Matisse's Paper Cut-Outs" (Olivier Berggruen); "The Windows in the Chapel of the Rosary in Vence" (Ingrid Pfeiffer); "Philodenros" (Hannes Bohringer); and "Painting alone remains full of adventure - Matisse's Cut-Outs as an Inspiration for Nicolas de Stael, Ellsworth Kelly and Andy Warhol" (Gunda Luyken). A superb guide, Henri Matisse is very strongly recommended addition to personal and academic library Art History reference collections is enhanced with the inclusion of an informative foreword by Max Hollein and Olivier Berggruen, an extensive biography of Mattise, a list of illustrated works, and a selected bibliography for further study.

Originally published in an expensive hardcover edition as a catalogue to a European exhibition of the same name, Prestel has wisely chosen to republish this important book in a smaller, softbound and attractively priced format. This is an unexpected boon to lovers of Henri Matisse's art, as "Drawing With Scissors" is the most important publication on Matisse's famous last works - the paper cut-outs or gouaches decoupees - to appear in many years, and effectively supercedes John Elderfield's "The Cut-Outs of Henri Matisse" as the best introduction to these famous works. The authors are a noted group of European art historians, and each of the essays here explore different aspects of the making, meaning, and interpretation of these unique objects, from the cut-outs as Matisse's final attempt to unite color and drawing to the cut-outs as revolutionary works which explode the traditional opposition between "high art" and "decoration" in Western history. Although visually simple to the extreme and coloristically exuberant, these last works were the product of many years of searching and investigation into the nature of reality and the creative process, and the authors do justice to the unexpected intellectual heft behind the gorgeous appearance of the cut-outs. Physically, this small book is gorgeous - the layout and design equal the hardcover edition and the quality of the color reproductions is stunning. A must-have for any serious art library.

O livro é ótimo!

Tem referencias ótimas. Do mundo do grafite, stickers e afins!

HIDDEN TRACK - How Visual Culture Is Going Places, edited by Robert Klanten and Sven Ehmann. Die Gestalten Verlag, Berlin, Germany; [...]. 2005. 208 pp. xxpricexx 9-3/4" x 11", ISBN 3-89955-084-6. color photographs.
"Hidden Track" demonstrates that "quite often works of extraordinary artistic quality come into existence in the context of design, advertising, and entertainment" by featuring over four pages on average works of 49 contemporary artists and art businesses in these areas. Office reception areas, street corners, lobbies, showrooms and store windows, walls, signs, and in a few cases art galleries are among the many and varied places where the works are seen. Besides briefly showcasing the work of the many contemporary, mostly commercial, artists, the anthology is meant to make the point of how much such art is already a part of public spaces playing a role in generating their ambiance and working toward both social and business purposes. The implication of the title is that this "track" of art has not been given sufficient attention or appreciation. The title can also be taken ironically in that this ubiquitous art making for the visual culture of contemporary life is so taken for granted that it is "hidden," and its influence on noncommercial artists and the public's preferences in art has been only barely explored. With the wide range of imaginative art styles hardly different and in many cases indistinguishable from works exhibited in many galleries and museums, one cannot disagree with the book's central point that the line between art work in design, advertising, and entertainment and art by pure artists outside of these areas has become porous and all-but-eroded. While this is not a new point, "Hidden Track" decisively, informatively, and visually attests to it.