„Heller Steven” – książki

Strzałki, zawijasy, wstęgi, kule, promienie słoneczne, równoległe poziome i pionowe linie, słowa, litery, kształty i obrazy. Logotypy to wszechobecne projekty graficzne symbolizujące idee, przekonania, oraz – rzecz oczywista – rzeczy. Przede wszystkim służą identyfikacji produktów, firm i instytucji, ale są też związane – oby zawsze pozytywnie – z etosem i filozofią tych podmiotów. 50 logotypów zaprezentowanych w tej książce to przykłady znakomitych pomysłów służących reprezentacji, reputacji i identyfikacji. Steven Heller jest prorektorem Wydziału Wzornictwa w Wyższej Szkole Sztuk Wizualnych w Nowym Jorku. Napisał ponad 170 książek na temat designu i kultury popularnej, a w 2011 roku został laureatem nagrody Smithsonian National Design. Gail Anderson jest dyrektorem kreatywnym pracowni Visual Arts Press w Wyższej Szkole Sztuk Wizualnych w Nowym Jorku. Jest graficzką, pisarką i edukatorką, wygłaszającą wykłady w licznych organizacjach i na międzynarodowych konferencjach.

Since being introduced in the 19th century, when they were considered the bastard cousins of more refined serif types, slab serif typefaces have become ubiquitous. Prized for their bold visual impact and versatility, they are used on a broad variety of demonstrative communications, from posters and newspapers to product packaging. Slabs come in many iterations and are recognized as a face with many characters ? and nationalities. Slab Serif Type artfully selects classic examples to present fresh and unexpected typographic ideas, bringing together material from across Europe and the United States, from vintage hand-lettering to iconic company logos. The authors employ their decades of combined experience as art directors to present hundreds of wonderful examples in a visual resource that will delight and inspire designers in all media.

Playthings From the Past For the Present Up until the 20th century, children?s play was not a subject that demanded much attention. While objects that entertained children have been present from ancient history, it was only with industrial mass production?and a developing urban middle class?that toys appeared more frequently. As playthings began to display a robust economic performance, an industry rose to provide this new market with the objects of their desire. European manufacturers dominated the toy market, with Germany, in particular, supplying the American market with the bulk of both singular and mass-produced products. World War I ended its dominance, and by the 1920s, bolstered by American ingenuity and an ever-growing consumer culture supported by the media empires of newspapers, radio, and television, American toys became ubiquitous in the consumer market. Ranging from the simple to the complex, children were inundated with a commodity to be wished for and sold to by the millions. From frilly dolls to science sets, children were marketed to with gusto, first through magazines and comic books and later through television. Toys fell along familiar gender lines all while being developed with the unspoken subtext of stimulating developing minds and being vehicles of problem solving with educational value.

Steven Heller, the world's foremost graphic-design commentator, and Lita Talarico, design educator, open up designers' personal sketchbooks to provide an intimate look at the creative processes behind typefaces, word-images and logos. Arranged alphabetically by name, the world's most exciting designers and typographers, including Philippe Apeloig, Ed Benguiat, Hoefler Type Foundry, Henrik Kubel, Toshi Omagari and Francesco Zorzi, present a staggering range of unique and exciting ways to communicate through letters and words. Sketchbook pages reveal the designers' creative processes across diverse briefs, concepts, languages and alphabets, from Roman to Cyrillic to Arabic. Aimed at all those who engage creatively with type, whether by hand or on screen, this rich compendium of typographic ideas stresses the importance of typographic thinking at a time when reading habits are evolving, while celebrating the varied and innovative ways that designers practise this time-honoured craft.

A culinary and graphic travelogue through Europe Jim Heimann?s new book on Menu Design in Europe is a mouthwatering feast for the eyes, featuring hundreds of European menus from the early 19th century to the end of the millennium. At once a history of continental cuisine and a sprawling survey of graphic styles, Menu Design in Europe satisfies the craving for foodies and design enthusiasts alike. The dominance of French cuisine provided the template for the culinary delights that spread throughout (and beyond) the continent. As restaurants and dining experiences increased in the 19th century, the need for a more formal presentation of available items resulted in a range of printed menus that could be both extravagant and simple. The 1891 menu from Paris?s Le Grand Vefour, with its intricate die-cut design, evokes a bustling Belle Epoque bistro, while the 1932 menu from London?s Royal Palace Hotel transports you to the bar at a spirited, Jazz Age nightspot. On the opposite side of the design spectrum, the menu for the mid-century Lasserre restaurant expresses a surrealistic simplicity. A range of stylistic decades is represented, from masterpieces of Art Nouveau and Art Deco to the graphic appropriations of the German Democratic Republic. Also showcased are the Michelin awarded restaurants of the celebrity chef?era and rarities such as a German military menu from World War II. More than just bills of fare, these menus often represent a memorable dining experience, at times being presented with as much care and attention to detail as the meal itself. So, although one cannot sit in La Tour D?Argent in 1952 and sample its famous duck dish Le Caneton Tour d?Argent, we can surely imagine what it was like when looking at the waterfowl-themed illustration displaying the night?s offerings. Featuring an essay by graphic design historian Steven Heller and captions by leading ephemerist and antiquarian book dealer Marc Selvaggio, Menu Design In Europe features menus from leading collectors and institutions, providing a sumptuous visual banquet and historical document of two centuries of culinary traditions.

Ads of the 1970s get funky and socially conscious Both eclipsed and influenced by television, American print ads of the 1970s departed from the bold, graphic forms and subtle messages that were typical of their sixties counterparts. More literal, more in-your-face, 70s ads sought to capture the attention of a public accustomed to blaring, to-the-point TV commercials. All was not lost, though; as ads are a sign of the times, racial and ecological awareness crept into everything from cigarette to car advertisements, reminding Americans that everyday products were hip to the modern age. In an attempt to discover how best to communicate with a mass audience, marketing specialists studied focus groups with furious determination, thus producing such dumbed-down gems as "sisters are different from brothers," the slogan used for an African-American hair product. By the end of the decade, however, print ads had begun to recoup, gaining in originality and creativity as they focused on target audiences through carefully chosen placement in smaller publications. A fascinating study of mass culture dissemination in a post-hippie, television-obsessed nation, this weighty volume delivers an exhaustive and nostalgic overview of 70s advertising.

The inventor of album art ?I love music so much and I had such ambition that I was willing to go way beyond what the hell they paid me for. I wanted people to look at the artwork and hear the music.? ?Alex Steinweiss Alex Steinweiss (1917?2011) invented the album cover as we know it. In 1940, as Columbia Records? young new art director, he pitched an idea: why not replace the standard plain brown wrapper with an eye-catching illustration? The company took a chance, and within months its record sales increased by over 800 percent. Over the next three decades, Steinweiss made thousands of original artworks for classical, jazz, and popular record covers for Columbia, Decca, London, and Everest; as well as logos, labels, advertising material, even his own typeface, the Steinweiss Scrawl. His daring designs, gathered here in all their bright combinations of bold typography with modern, elegant illustration, revolutionized the way music was sold. The book includes Steinweiss?s personal recollections and ephemera from an epic career, as well as insightful essays by three-time Grammy Award?winning art director/designer Kevin Reagan and graphic design historian Steven Heller.

Low-cost and mass-producible, stencil type is the world?s most universally used style, seen on everything from bridges to bags, from street signs to packaging. And because they are an affordable means of mass communication, stencils are often employed by populist, rebellious and street-art movements. Hundreds of international examples, chosen from the late 19th century to the 20th, are brought together in a compact package that will provide endless inspiration for typographical ideas. Packed with examples from a broad range of locations and objects ? construction hoardings, footlockers, wine barrels, shipping containers and so much more ? Stencil Type represents a unique and highly curated choice based on decades of graphic-design experience and knowledge. This is a companion to the cult typography volumes Scripts and Shadow Type, perennial favourites among designers looking for fresh and unexpected ideas in historical type.