Designers Books

Tim Harrower provides a very practical guide to newspaper design. The art of newspaper design tends to be very subjective, so this book lays down some facts and guidelines to put to rest some of the indecisive elements of design.

For a beginner, this is a book that will give you the confidence and understanding to conquer page layout.

The CD gives the novice an even more practical guide than the book can deliver.

One criticism is that the book is printed on light gloss stock and is spiral bound. I am not sure how it was survive rough treatment.

Brian Hurst

This textbook is awesome. I've never seen a better textbook. It lays everything out, and makes it simple to understand. It tells you what to do and what not to do in simple language and clear pictures. It's one of few textbooks worth keeping for future use in your career (provided you're going into the newspaper industry)!

When I accepted my first "real" job in journalism as a page designer for a local weekly I was struck by a horrifying thought, I really knew nothing about newspaper design. I had done it before for my college paper, sure, but this was the big time. I needed a refresher course and I needed it fast... Tim Harrower and this spiral-bound book came to my rescue.

Although it was first published in 1989, this book will be relevant as long as newspapers exist, even in this age of computer design. Harrower explains and shows why certain designs are good and bad and he approaches it in a situational, problem-solving format. For example, he explains what should be done when you have to design a page with no art, when you have butting headlines, or two horizontal photos etc. Harrower says that most page designers stumble into the job and from this point of view he explains what exactly, a good design is. This book will always be on my desk.

(I wish my publications professor used this instead of the worthless $105 monstrosity he made us buy (and that we never used by the way).)

So, after some mild freaking out followed by a lot of reading, I can start my new job with confidence thanks to this book.

I ordered the hardbound and got the spiral bound, a product worth $12 less. It was then that I discovered there is no way to express a complaint to Amazon: no phone number, no email address, no human help. All that is available is a maze of pre-written web help, none of which includes "credit my account $12, since I don't want to go through the hassle of sending this book back." What's up, Amazon? Don't you want satisfied customers? I spend literally hundreds here each year. This egregious deficit needs to be fixed immediately. Otherwise, I highly recommend this book.

I am an editor these days.
I came on this book quite a few years ago when I was a sub. It was recommended to me by an old hand in the newspaper game.
Without doubt, it is the single best aquisition I have made in terms of newspaper design.
In the places I have worked, I have been regarded extremely highly for my layout skills.
This book, with a little creativity, is the basis of almost everything I do in terms of layout.
If you are serious about the newspaper game, get it, study it and then apply what you learn. It will help our career enormously.

I have met Jeffrey Zeldman at WebBuilder 2002 in Las Vegas and he gave me a copy of this book. Although the audience of the book is "traditional" designers and my background is more of a technical one, I still found it extremely useful.

Zeldman writes in a very light tone, which makes reading the book very easy and enjoyable.

This book gives a good overview of Web Design till 2001.
People who are interested in where the web is coming from will like this book. If your are looking for how web design is done today anno 2005 I would like to recommend Jeffrey Zeldman book "Designing with web standards".

Even though some of the content in this book is outdated (such is the nature of a book based on the internet, which evolves daily), it is still a mainstay in my collection. I would recommend this book to anyone even remotely interested in web design.

Jefferey Zeldman teaches basic, foundation building principles that you will use almost daily during your tenure as a web designer. If your looking for a book to hold you by the hand and teach you how to perform specific actions with step by step coding, this isn't your book. Instead, it touches upon ideas and methods. Zeldman covers topics from designing good navigation to fundamental steps in working with a potential client.

I gave this book 4 out of 5 stars. It would have received a perfect score if it wasn't for some outdated material. Purchase this book, it should be a part of any collection.

A thorough, comprehensive and usable book for people trying to migrate from traditional media into the (sometimes) scary world of new media.

Jeffrey Zeldman's unique voice permeates the entire book, holds your hand, and gently guides you through the ups & downs of working with the web. His examples are concise and to the point, his writing style (as always) humorous and friendly, and, most importantly, you get the feeling that he truly loves this medium, and would like nothing more than being able to help another person discover just what the fuss is all about.

Should be on the shelf of every designer - no matter what your level of experience is.

This book opened my eyes to issues such as accesibilty, css and xhtml, I now have a site that is fast to load and easy to update. I found this book to be an easy read,[ I am neither a graphic designer nor a trained web designer] I really like Zeldman's writng style and will use some of his points in my classes web design for photographers. The mix of code and ideas was great and for once I just read the book rather than being tempted into turning on my computer and starting work.

Es lo mejor que he tenido , el libro de un diseñador donde estan patrones, diseños y fotos...que mas se puede pedir!
Ojala se hicieran mas libros como este .
España,profesion: patronista

This is an outstanding book on a revolutionary designer. Wonderful photos, and "patterns" from the clothing. the only problem is Kirke never bothers to tell you what the scale is, so making these patterns is almost impossible. Her directions for making the patterns are laughable. The patterns are white lines on black. Why include patterns if you aren't going to put them in a usable form? There are people out there who can and have made clothing from this book. You will have to be very smart and well trained to do so. that said it is still one of the best books on a fashion designer I have seen.

Maybe Kirke will redesign the book with the pattern section properly done. Then the book would be worth more then $100.

This book is even better than I hoped. The photographs are stellar and for some designs - a bird's eye view of the pattern peices are included. Try to wrap your head around those non-conventional cutting techniques! I bought this for myself but this would be an excellent gift for someone interested in Fashion History, Fashion Design, Fine / Decorative Arts, etc. Super-Gorgeous book!

A great book on Vionnet's work and life. It has a lot of sewing patterns with instuctions from the WWI era to late 1930's; the patterns include day and evening dresses and frocks, capes and coats, slips and pajamas. Plus there a lot more pictures of Vionnet's clothing. The perfect gift for a fashion student. It is a pity that you do not hear so much about her.

This book is an absolute dream right through from the beautiful hard cover to the wonderful photographs, history and patterns. I am a Designer/Patternmaker and is the most beautiful book I have ever bought on fashion. Betty Kirke has put a lot of love and care into this treasure and any student of fashion, especially patternmaking and draping has to purchase this and learn a whole lot about bias cutting.

This book is a wake up call to the Creative! It completely opened my eyes to the many things to think about and plan for when leaving your secure job, and going out on your own. Extremely well written, with a plethora of knowledge on the subject. A complete eye opener. A MUST HAVE for the Creative who is planning on going freelance, or starting their own business. Very informative and necessary to read in order to succeed on your own. Very exciting, I could barely put it down!

According to the author's website at http://www.creativebusiness.com/books.lasso The Business Side of Creativity addresses freelancing and the basics of pricing, selling, and running a SMALL design or marketing communications business. The Creative Business Guide to Running a Graphic Design Business focuses on the management of a MULTIPERSON organization. The website gives a summary on the various chapters of each book.

I started out excited about this book, then quickly realized much of what the author had to say was outdated at best, not the best advice on numerous occasions, but yet the book contained some valuable information. A bit stoneage as far as business marketing practices. One hundred pages on setting up your own studio/small business with personnel (No, thank you). If working as a freelancer in the graphics or copy arenas is your thing, its worth paying $20.00 to get something out of it.

This is such a comprehensive book. If you have any question about how to run a business, let alone a creative one, this book is the only one you'll need.

I'm starting a sole-proprietor (one-person) freelance design business and I have found this book to be extremely helpful. It manages to be realistic about what to expect while also providing encouragement that if you prepare well and work smart, you have the opportunity to reach your financial goals. The book has made me consider contracts carefully and has given me valuable suggestions (for example, setting up standards such as "I can't accept jobs for which I can bill less than 8 hours' work"), thinking about what kinds of clients I want to attract in my business, and so on. It has important points to consider if you are locating your business outside a large metropolitan area. I recommend it for anyone who is starting out - or considering starting out - on a solo creative business.

I have a copy of the first edition of this book and am still mesmerized by it. When it first came out, everyone I knew at design school who bought it felt like the information and techniques had given them an out-of-body-experience and it quickly became THE book to own, learn from, and emulate. Anyone who buys this book and applies the material and techniques will become better at drawing, rendering, and creative presentation methods...it is a sure-fire way to achieve "star power" in your office and in front of your clients!

great book! Out of the dozens of hand rendering guides I looked at, this was by far the best and the easiest to learn from. It tells you what pencils, markers, and tools to buy to achieve certain effects, and gives you step-by-step rendering instructions for tons of different types of materials and lighting situations. I highly recommend this- in fact, it should be mandatory for interior design students!

This is an excellent resouce for the study of rendering. After detailing the elements of color and design, it describes, step-by-step, how to achieve many finishes both interior and exterior. It is both instructive and informative.

It's really hard to say too many things about this book. Even older editions of Color Drawing are great, but this newest one goes above and beyond the call of duty. In an age when a lot of books get re-released as new editions with few substantive changes, Color Drawing breaks the mold by updating the techniques with current technology (i.e. Photoshop). It's great to see that the author and publisher realize that pure hand-drawing and rendering is quickly becoming a thing of the past and that the practitioners of today and tomorrow need to have excellent computer skills too. This book is full of very useful tips for combining Photoshop with hand drawings to create great effects. So even if you have an earlier edition, do yourself a favor and buy the new one anyway because you will learn a lot.

This is the standard for rendering in architecture and interior design as far as I am concerned. It will most definitely become a required textbook for my classes in visual presentation in the years to come. Doyle takes you step-by-step into the process of rendering with marker, color pencil, and pastels. But he doesn't just spoon feed you the recipe for each material rendering, he presents the basis for a process that allows you to render virtually any material not found in the book.

I have actually used this reference for years as needed for ActionScript. I still had a good use for this text in ensuring compatibility with Flash MX until the lack of features became too overwhelming. This is in the face of newer versions of Flash such as CS3 (9.0) that use ActionScript 2.0/3.0. All in all, this book was wonderful until the release of Flash 8.

Because of the new Filters that have come out with Flash 8.0 and the features of ActionScript 2.0 to support these and other enhancements, I would instead recommend Flash 8 ActionScript Bible if one is concerned with cross-compatibility in their ActionScript code and wishes to still be able to use AS with newer features such as Filters (but not as new as Transitions or other CS3 exclusive features - for that, I'd recommend ActionScript 3.0 Bible or something similar).

As far as who I could possibly recommend this book for: It's good for somebody who is still working with Flash MX 2004 and below to Flash 5 (much of the text is compatible with Flash 5), however, I don't know that there are many of those sorts of individuals.

This book is a great resource for when you're looking for that specific line of code. Its terrible to read from front to back, but its an excellent way to find exactly what you're looking for. Its so much code, it'll make your eyes bleed.

One of the few comprehensive actionsctipt titles on the market. The first half of the book boasts a large variety of tutorials and examples that skillfully lead the reader through both the syntax and use of actionscript. Personally I found the text clear and practical. The chapters on OOP were of particular value as they went beyond actionscript basics into application, bordering on philosophical.

The second half is an invaluable reference of the entire actionscript dictionary with a comprehensive CD full of .fla example files and bonus chapters on the XML Object. As a qualified teacher I found it hard to fault the methodology employed by the various authors.

Well worth the purchase.

I am a former programming teacher and I have a style to teach my students the most UNDERSTANDABLE way to do something not just how to do it. This text/reference achieves that purpose. If you have an understanding of Flash (which you should have before getting into scripting see Weinman books) then this book will serve you well. There are other books on scripting - great books - such as Moock's books but they are more so for the programmer. This book is for the novelist programmer that desires to learn about action scripting.

5 stars if you know Flash well.
1 star if you haven't had any experience with it at all.

I was a beginner once, who couldn't figure out Flash at all. I'd like to help you build a bridge between where you may be now, as a beginner, to where you may find yourself aspiring to go.

If your only experience with Flash is to have seen the many wonderful and breathtaking Flash movies on the Internet and just had a look at the authoring tool, I strongly recommend that you leave this book until much later. It has its place in the learning curve but it isn't, in my opinion, the first book to see.

There are understandings to possess that this book doesn't cover sufficiently well enough for those whose minds work in particular ways. This is a programming book, for using the phenomenon of programming to create great design and animations. Whilst the focus is on design, you aren't using the design tools on the interface. With this book, you are using the Actionscript language and you have to have a logical mind for this activity (as well as keeping your strong creative one).

I began my steep learning curve with Flash by watching others and watching video tutorials, especially those by George Pierson. In this way, I can ask questions that are tailored for me and I get tailored responses. Books aren't always able to do so well here.

What is great about this book is the MX Actionscript reference in it and the seemingly well designed theory tutorials. I can't find a fault with the reference. The theory is quite good. In the reference, all Flash MX commands are covered. There are examples of how to use them, but the coverage may not be enough for some. Brill. Just BRILL. I can be excited but because I can follow Actionscript.

Approach this book when you are successfully making Flash movies on your own. Yes, on your own. For me, this book is an aid for when I am going to where I haven't gone to before. It helps me make judgements on ideas I get.

Ink and pen was pretty much perfected around the turn of the century and the benefit of that expertise is captured quite well in this book. You still get the best and most expressive lines from a steel pen. This seems like a perfect book for a beginner or an experienced artist interested in all the nuances of the pen.
My only real issue with the book is it seems to be focused heavily on architectural themes and technical issues and less on art. So I give it 4 stars.

This is the Bible.
That's the long and short of it. To my knowledge, there is no other tutorial that is as complete and exhaustive as this 60 year old text on the then prominent art of pen and ink drawing. Arthur Guptill begins with a detailed exploration of the nature of pen and ink rendering as well as its limitations. Pen and ink is never intended to create photographic representations of the subject and so any comparison between the photograph and the ink rendering is fallacious. He then goes on to explain how the results of pen and ink are achieved. Some of the material will be superfluous to the artist who uses the Rapidograph pen because it illustrates the different techniques that are specific to the various flexibilities of the dip-pen nibs and how varying the pressure can produce different line effects. These techniques are the reasons I prefer the flex-tip nibs over the modern technical pen. (Or it could be that I'm just and old fashioned cuss.) Guptill stresses the importance of practicing pen-strokes much as a pianist must practice scales. Neither the instruments nor the lack of skill in the basic techniques should stand in the way of the artist in the midst of creating the picture. Practicing strokes is the surest way to freedom of expression when it counts most.
Many methods of producing grey scale with the pen and one value of black ink are also presented exhaustively. When this book was written, newspapers relied less on photographs and more on the pen primarily because printing techniques had not been developed that could inexpensively reproduce on newsprint the subtle shading of a photograph. Only the most important stories warranted a print photo. Artists had to rely on pen techniques to suggest them. That, more than any other thing, makes this text invaluable, for even though we have mastered the art of photographic printing, yet there is a charm to the pen and ink rendering that will never be replaced. It is good to have a ready reference to how these effects are achieved.
Also valuable are the principles of composition, light, shade and texture that are common to most art texts, but here these are presented with the specific ways they are achieved in monochrome ink and various pens. And, there are ample illustrations of works by the greatest illustrators of the time, showing how each one achieved results. Copying these artists is probably the most valuable experience an artists can get from a book.
Much of the work, in fact, the majority, is in the area of architectural rendering, and it seems that architects may be the ones who will get the most use of this textbook, but illustrators are well represented too, and the techniques are the same for both.
I have found this book essential in my own illustration work and recommend it highly to anyone in the graphic arts.

I bought this book to learn pen drawings but as this tome was written several years ago, it talks about a different set of instruments, principally a quill/or quill type pen. The uniqueness of this pen is that the width of the line varies with the pressure you put. These pens are now available only in specialty art stores. If you are planning to use the technical pen (available in a number of gages) a better and more apt alternative is The Technical Pen.

This book however, still rates 3 stars from me because of the depth of material. Some of the illustrations are very, well illustrative :) and the overall coverage of material is comprehensive.

This book is essential. I am a pro illustrator and I still find myself cracking it open. Through out your career in art you will have a hand full of books that amaze you and keep teaching you. This is it.

TJ Walkup

This book is all that the other reviewers say it is. The text is clear and informative, if dated... but the illustrations! The illustrations are worth the price of the book. Even just the basic exercise illustrations in the first part of the book are beautiful, and demonstrate what is possible with this medium.

I have to admit, I'm a Rapidograph person (and if you are too, please see The Technical Pen in addition to this book) rather than a flexible nib person, but the lessons and examples in Guptill's book are priceless anyway.

Highly recommended.

Mollison must be credited with promotion of the concept of Permaculture and this book is a world-wide view with enough examples to stimulate the thinking of a designer in any climate. It would be the bible for anyone working as an ecological designer on a worldwide scale. This tome includes not only a wealth of information but Mollison's personal views are given at every opportunity as well. With the breadth of his knowledge it can sometimes be helpful. That said, it is not an easy read. Mollison assumes familiarity with terminology from many disciplines, but with a scientific background it makes it all the more credible.

However, since its publication, there are other books for specific climate types that provide more detail. For those living in temperate climates, particularly the NE US, Dave Jacke/Eric Toensmeier's Edible Forest Gardens is more focused. If you live and plan to practice permaculture in only such climates, it should be sufficient. For the tropics, see [...] for a manual.

The information presented in this book is worth a semester of agriculture, chemistry, and geography classes.

I was initially set back when I went looking for a copy of this classic and discovered that there wasn't a recent printing available and all of the ones on the market were over $100 at the time. Still, I wanted to learn about Permaculture and everyone said that this was the place to start.

I am extremely happy with my decision to buck up and fork over my money. This text is the source from which all others on the topic are written and they pale in comparison.

If you are someone who is looking to homestead, or currently doing so, this book will help you plan your own gardens, manage your land as a whole, and be able to assist others in the community.

Lastly, the book is a nice hardcover, the pages are thick for a tome of this size, and the print is nice and dark. The copy in front of me has been well thumbed, tossed around, and shelved on many occassions and is still holding up nicely. Only the corners are dinged up a little.

Bill Mollison represents the most successful attempt to mainstream practical home-scale sustainable design principles. I found myself needing to do an enormous amount of supplementary research to actually understand what bill was talking about, but to explain them in depth here would have taken away from the thrust of the book - which is mainly to show you example after example (many on every page) at sustainable principles of design put into practice.

The book remains the best book on sustainability written to date. There are some aspects of his system that are lacking that I will briefly draw attention to. Understand that I deeply appreciate his genius, but I want to just mention that these other things need to be integrated into his system to be fully fully sustainable.

1) He doesn't pay enough attention to seed saving and plant breeding. A loss of seed diversity and a re-invigoration of seed savers is essential to truly sustainable self-sufficient design.

See:
Seed to Seed - by Suzanne Ashworth and Kent Whealy
Breed your own Vegetable Varieties - by Carol Deppe

2) He very rarely mentions the role mushrooms and fungi can play in sustainability.

See:
Mycelium Running: How Mushrooms Can Help Save the World by Paul Stamets

3) He doesn't stress the science behind it enough, which is fine, but leaves you asking sometimes... how do we know this is really ecologically sound? How can I NOT imitate mr. mollison but still create an ecologically sound system? Basically, Mollison's proscriptions are incredibly scientifically informed but not always scientifically explicit.

See:
Plant Ecophysiological Ecology
New Dimensions in Agro-Ecology
Smallholders, Householders: farm families and the ecology of intensive sustainable agriculture - by Rober Netting

4) In relation to the first point, he also doesn't stress the role that evolution plays in sustainability. This is a very complicated problem, see book.

See:
Evolutionary Conservation Biology.

These are not really criticism so much as signs of slight conceptual anal retentiveness on my part... Also please don't forget mollison's OTHER books which are incredible as well, especially the permaculture book of ferment and human nutrition.

I bought this book many years ago and still find myself going back and re-reading it over and over. If you're new to the Permaculture thought process you will be knocked off your horse with the common-sense, integrated approach to gardening and farming systems. I attribute this book and the thoughts provoked by it as the catalyst in seeking integrations and aggregation on many different fronts. This will always be one of the books I will treasure. I wore off the cover and have punched holes in all the pages and keep it in a three-ring binder.

...and probably one of the most fun to read. I read the first 8 chapters while working on a permaculture site on Isla Ometepe in Nicaragua, and ordered it immediately upon returning home.

Bill Mollison carefully and beautifully lays out the theory and practice of Permaculture (permanent agriculture). Permaculture is a holistic design system that sustainably envisions, creates, and organizes the spaces that we as humans inhabit on this planet. It takes everything that I feel is good for the world-Green architecture, local food, water conservation, renewable energy, organic agriculture, etc.-and wraps them into one cohesive scheme for planning the spaces and manner in which we live.

For more information, check out the Permaculture Research Institute's page at www.permaculture.org.au, especially the quick video "Greening the Desert", which is an excellent introduction.

At school my whole class read this book for read aloud! It was a very good book. Frida was very good at art. She had five sisters but it seamed like they didn't pay attention to her! She was always lonely and she was bored.But atleast she had Imaginary friends to comfort her. One day she got in a horrible bus accident! Read this book to find out how Frida turned out after her pain. Reccomended for people who may want to learn how to turn pain into beauty.

I own the Spanish version of this book, and I love it. So do all my students - I teach Preschool Spanish (ages 3-6). My 5 year old daughter is an artist and she loves the vivid colors and imaginative characters that follow Frida through her life. The children I teach do not know Spanish, but they are able to look at the pictures and understand the story. They regularly request this book and enjoy looking for the 'spooky' characters.

My son and daughter could really relate to another person's life thanks to this well-written and cleverly illustrated book. Frida was, as they are now, someone who wasn't always able to have her mother's attention. She lived out fantasies in her mind, just as they do. She used her imagination even when she was unable to move her body, just like they do before they fall asleep at night. Frida's quotidian and extraordinary experiences spring to life thanks to the inventive illustrations and sympathetic writing.

More than once, creating art saved Frida Kahlo's life. Even though she had five sisters, she was almost always lonely and sad. When she was infected with polio and she was very sick, even her imaginary friends couldn't cheer her up, but painting and drawing rescued her. Most of her life, she was in heart-breaking pain after being in a horrible bus accident. Read this book to find out how art saved her once more. Recommended for people who want to learn how Frida Kahlo turned terrible pain into beautiful masterpieces.

My mom read me this book and I saw that art is important and special, it can save you and allow you to express your imagination even when times are tough

I bought this book for my nephew and it is a nice quality board book that has poetry along with images of Van Gogh's famous paintings. Even the adults enjoy looking at the artwork!

We bought the 4-box collection which includes this book, and have bought many of the others since. My daughter loves them, and they are a wonderful addition to any child's library.

My 16 month old son enjoys this book very much. He is fascinated by the images and he likes to listen to the rhymes as well. An excellent introduction to art.

Little ones love these colors, Van Gogh used a lot of vivid colors and they are just as stimulating as Seuss illustrations. Finally a book parents can ejoy reading to their kids!

I am a preschool teacher and enjoy teaching three year olds about art and artists. One artist that we recently studied was Vincent Van Gogh. The children painted sunflowers just like Van Gogh. They loved looking at this book and hearing the story that went along with it. They spent a lot of time studying his sunflower painting in this book and then painted beautiful sunflowers of their own!