Rockport Catalog 2013 A

ROCKPORT
publishers
Rockport Publishers
100 Cummings Center, Suite 406-L
Beverly, MA 01915
www.rockpub.com
2013
THE
COMPLETE
DESIGN LIST
ISBN-13: 978-1-59253-900-0
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InspIratIon,
Ideas, & opInIons from
desIgn fanatIcs
RockPaperInk is a place for designers
to come together to share their
opinions, creations, and passion for
the field. From graphic art to fashion,
architecture, and beyond, every topic
is fair game, and each contribution
builds on the sense of community
headed by our experts from around
the world. More than anything, this
is a spot to foster dialogue about
everything design and get inspired
by the views, ideas, and hair-pulling
conundrums of your fellow creators.
Join the conversation at
www.rockpaperink.com.
rocKports
new app for the ipad
Rockport has always provided
designers with outstanding inspirational and educational reference
book content and now designers can
browse and shop for titles in e-book
format through a new app for the
iPad. The app fully preserves and
respects the visual complexity of our
books, supporting both portrait and
landscape presentation with a full
suite of features to enhance the reading experience. Users can download
free previews and then purchase
complete e-books instantly. Visit the
App Store to download.
rocKport eBooKs
Rockport books are also available
as e-books through a wide selection
of e-book retailers, wholesalers, and
aggregators.
Designed for those fanatical

about design, RockPaperInk doesnt
disappoint.
Communication Arts magazine
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TABLE
OF
CONTENTS
BEST SELLING TITLES
BOOKS BY CATEGORY
BOOKS BY SERIES
Universal Principles of Design

& Universal Methods of Design ...........6-7
Design Fundamentals......................25-27
1,000 Series ................................... 61-63
Typography .....................................28-29
Annuals ..........................................64-65
LogoLounge Series .............................8-9
Color & Pattern Design....................30-33
Best of Series .................................66-67
Design Elements ..............................10-11
Logos & Identity ..............................34-37
Design: Series......................................68
Best of Series ..................................12-13
Packaging & Branding .....................38-39
Design Elements Series........................69
Graphic Design, Referenced,

Typography, Referenced & Fashion
Design, Referenced..........................14-15
Grids & Layout .....................................40
Design Matters Series ..........................70
Publication Design Reference ............... 41
Essentials Series .................................. 71
Color Harmony Compendium ..........16-17
Corporate Communications ............42-43
Making and Breaking the Grid ..........18-19
Portfolios & Promotions ..................44-45
The Graphic Designers

Electronic-Media Manual
& Interactive Design ........................ 20-21
Research & Information

Graphics ......................................... 46-47
Working Designers ...............................48
Fashion Illustration Series ....................72

Letterhead & Logo Design Series .........73
LogoLounge Series .........................74-75
Reference & Specification
Book Series .........................................76
Workbook Series ..................................77
General Design & Creativity.............49-50

Art & Illustration ................................... 51
Architecture, Interior Design
& Product Design ............................52-54
Fashion Design ...............................55-57
SPRING 2013 TITLES ..................78-79

INDEX...........................................80-82
CONTACT INFORMATION............83-84
DESIGN BOOKSTORES ...............85-87
DESIGN ASSOCIATIONS ................. 88
www.rockpub.com
www.rockportpub.co.uk
CA
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ROCKPORT
BEST
SELLING
TITLES
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Mimicry
Most Advanced Yet Acceptable
The act of copying properties of familiar objects,

organisms, or environments in order to realize specific
benefits afforded by those properties.
In nature, mimicry refers to the copying of properties of familiar objects,
organisms, or environments in order to hide from or deter other organisms. For
example, katydids and walking sticks mimic the leaves and branches of plants
to hide from predators, and the viceroy butterfly mimics the less tasty monarch
butterfly to deter predators. In design, mimicry refers to copying properties of
familiar objects, organisms, or environments in order to improve the usability,
likeability, or functionality of an object. There are three basic kinds of mimicry in
design: surface, behavioral, and functional.
Surface mimicry is defined as making a design look like something else. When a
design mimics the surface aspects of a familiar object, the design implies (by its
familiar appearance) the way it will function or can be used. An example is the use
of computer software icons that are designed to look like folders and documents.
Behavioral mimicry is defined as making a design act like something else
(e.g., making a robotic dog act like a real dog). Behavioral mimicry is useful for
improving likeability, but should be used with caution when mimicking complex
behaviors from large repertoires. For example, mimicking behaviors like smiling
generally elicit positive responses, but can give the impression of artificiality
or deceit if inconsistent with other cues (e.g., a baby doll that smiles when
touchedor spanked).
Mimicry is an effective strategy to

begin exploring a design problem,
but it should not be assumed that
mimicked solutions are correct or
best. For example, the early design
of the phone keypad mimicked
the keypad of adding machines.
Usability testing by researchers at
Bell Laboratories suggested that an
inverted keypad layout was easier to
master. Bell decided to abandon the
mimicked solution and establish a new
standard for telephones.
The history of mimicry in design likely predates the development of tools by early
humans. The seminal work on mimicry in
plants and animals was performed by Henry
Bates and Fritz Muller in the late 1800s.
See, for example, The Design of Everyday
Things by Donald Norman, Doubleday, 1990.
See, for example, Designing Sociable Robots
by Cynthia L. Breazeal, MIT Press, 2002; and
The Lovable Cat: Mimicry Strikes Again in
The Throwing Madonna: Essays on the Brain
by William H. Calvin, iUniverse, 2000.
See, for example, Biomimicry: Innovation
Inspired by Nature by Janine M. Benyus,
William Morrow & Company, 1998; and Cats
Paws and Catapults: Mechanical Worlds of
Nature and People by Steven Vogel, W. W.
Norton & Company, 2000.
Functional mimicry is defined as making a design work like something else.

Functional mimicry is useful for solving mechanical and structural problems
(e.g., mimicking the keypad of an adding machine in the design of a touch tone
telephone). Significant insights and rapid progress can be achieved by mimicking
existing solutions and design analogs. However, functional mimicry must be
performed with caution since the physical principles governing function may
not transfer from one context to another or from one scale to another (e.g., early
attempts at human flight by flapping wings).
The Mimic Octopus is capable of both

surface and behavioral mimicry, in this
case changing its pattern and texture,
and hiding all but two legs in order to
mimic the highly poisonous Sea Snake.
Trash
Recycle Bin
Documents
Work
Document
Data.txt
: Provision_Universal Principles Of Design

:D909-63/4270
Also known as MAYA.

The seminal work on MAYA is Never Leave
Well Enough Alone by Raymond Loewy, The
John Hopkins University Press, 1951.
Most Advanced, Yet Acceptable: Typicality
and Novelty as Joint Predictors of Aesthetic
Preference in Industrial Design by Paul
Hekkert, Dirk Snelders, and Piet C.W. van
Wieringen, British Journal of Psychology,
2003, vol. 94, p. 111124. See also Exposure
and Affect: Overview and Meta-Analysis of
Research, 19681987 by Robert Bornstein,
Psychological Bulletin, 1989, vol. 106, p.
265289.
Though familiarity and typicality are similar and
generally correlate, they are distinct. Familiarity
refers to the level of past exposure (e.g., a
person sees a juicer every day). Typicality
refers to how recognizable a thing is for its type
(e.g., a new juicer is recognizable as a juicer
based on the appearance of past juicers).
The traditional four-legged upholstered

chair served as the basic cognitive
prototype for office chairs for more
than fifty years.
The Aeron chair, introduced in 1992,

stretched this cognitive prototype for
most consumers. Its novel form and
high price were not acceptable to
most at that time. It would take several
years for norms to adjust and allow the
Aeron to become widely accepted.
The Variable Balans was introduced

in 1976. Its highly unique form and
approach to active sitting continues to
be too different for most consumers,
garnering positive attention almost
exclusively from the design community
where novelty is more highly valued.
Consider MAYA when designing for mass audiences. When introducing innovative
products that define a new category, consider incorporating elements that
reference familiar forms. In contexts where aesthetic assessments are made by
design or art experts (e.g., design competitions refereed by expert judges), MAYA
does not apply in these cases, emphasize novelty, as it will be weighed more
heavily than typicality.
See also Affordance, Anthromorphic Form, Baby-Face Bias, Convergence,

Savanna Preference, and Scaling Fallacy.
1st Proof
What does it mean to create a successful design? Some define success in terms
of aesthetics, others in terms of function, and still others in terms of usability.
The noted industrial designer, Raymond Loewy, defined success in terms of
commercial performance that is, sales. By this standard, Loewy believed that
aesthetic appeal was essentially a balancing act between two variables: familiarity
and uniqueness or, in modern psychological parlance, typicality and
novelty and to find the optimal balance between these variables was to find
the commercial sweet spot for success. According to Loewy, the sweet spot
could be identified using the Most Advanced Yet Acceptable (MAYA) principle,
which asserts that the most advanced form of an object or environment that is
still recognizable as something familiar will have the best prospects for commercial success. Though Loewy generally equated most advanced with most
streamlined, a more accurate modern interpretation would be most novel.
Although MAYA clearly has pragmatic appeal, the question as to its correctness
is an empirical one, and a growing body of research supports the principle.
People do indeed like the familiar, an observation supported by the exposure
effect, which claims that the appeal of objects and environments increases with
repeated exposures. People also like the novel, especially within design and
fine art circles two communities that tend to value originality above all else.
Additionally, people tend to notice and remember novelty greater than typicality,
a phenomenon known as the von Restorff effect. Research assessing the relative
value of typicality and novelty suggests that the two variables seem to weigh
about equally in influencing perceptions of aesthetic appeal. The last question
is whether MAYAs proposed point along the familiarity-novelty continuum is the
ideal one, and there is good evidence that Loewy got it pretty much right. When
dealing with everyone but design and art experts, the most novel design that is
still recognizable as a familiar object or environment is perceived to have the
greatest aesthetic appeal.
The Sony AIBO mimics many key

canine behaviorsbarking, wagging
tailleveraging the positive feelings
many people have for dogs to make
the design more appealing.
Mimicry is perhaps the oldest and most efficient method for achieving major
advances in design. Consider surface mimicry to improve usability, ensuring that
the perception of the design corresponds to how it functions or is to be used.
Consider behavioral mimicry to improve likeability, but exercise caution when
mimicking complex behaviors. Consider functional mimicry to assist in solving
mechanical and structural problems, but also consider transfer and scaling effects
that may undermine the success of the mimicked properties.
156
A method for determining the most commercially viable

aesthetic for a design.1
Surface mimicry is common in the

design of software icons and controls.
Even to those unfamiliar with the
software, the familiar appearance of
these objects hints at their function.
Mimicry
Text
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1st Proof

:D909-63/4270
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157
See also Exposure Effect, Normal Distribution, and von Restorff Effect.
162
3rd Proof

:CD0210-74/4270
Most Advanced Yet Acceptable
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2nd Proof

:CD909-214/4270
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BEST
SELLING
TITLES
UNIVERSAL PRINCIPLES
OF DESIGN &
UNIVERSAL METHODS
OF DESIGN
These highly-organized and
easy-to-navigate reference books
support cross-disciplinary thinking
and problem solving. Design concepts
and research methods are paired
with compelling visualizations that
illustrate them in practice.
For more information, see pages
27 and 46
CA
ReseaRch MethoD
23 Crowdsourcing
Design Phase:
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Crowdsourcing occurs when an undefined, large group of people

(a crowd) voluntarily responds to an open call and completes
tasks and microprojects.1
experienced researchers know that planning research takes effort, time, and money to align the
necessary tools, participants, and resources. When extra care is taken to properly devise remote
1. The term Crowdsourcing is a

portmanteau of the word crowd and the
user evaluation tasks and experiments, the method of crowdsourcing can be used to elicit a large
business word outsourcing. Jeff Howe
quantity of data from real people in less time.
coined it in The rise of Crowdsourcing, a

2006 wired magazine article.
Crowdsourcing leverages the strength of weak ties in a decentralized model that brings together
users and testersmembers of the crowdto evaluate prototypes and submit potential solutions
to problems. The microtasks that are assigned to volunteers are specifically structured to focus
the degree and the nature of effort required from volunteers. A microtask is defined as a short
taskeither qualitative or quantitativethat is accessed via a common platform, and that can be
completed by volunteers within just a few seconds or minutes. once completed, the participants
receive some sort of compensation, which can be either monetary (a micropayment) or nonmonetary (e.g., reputation points).
like most research methods, time and care taken in the design of crowdsourcing evaluations can
serve the team well when collecting and analyzing data downstream. When planning crowdsourcing evaluations and microtasks, there are some key design recommendations to consider. First,
uncomplicated tasks seem to get the most volunteers to participate, so design tasks to be straightforward. Be sure to include questions that have a bona-fide answer as part of the task. not only will
this prevent volunteers from gaming the system by entering nonsense that minimizes their time
investment while increasing how much they are rewarded, but also it can help teams to flag suspicious responses as potentially invalid. devise the tests so that completing them correctly and
in good faith requires as much or even less work than entering random, invalid responses.
2. Kittur, Aniket, ed H. Chi, and Bongwon Suh,

Palo Alto research Center. Crowdsourcing
for Usability: Using Micro-Task Markets
for rapid, remote, and low-Cost User
Measurements, 2007, www.clickadvisor.com
3. See note 1 above.
Further Reading
Howe, Jeff. crowdsourcing: why the power of
the crowd is driving the future of business.
new York: Crown Business, 2009.
Quinn, Alexander J., and Benjamin B.
Bederson. A Taxonomy of distributed
Using crowdsourcing, frog's frogmob invites

people from all over the world to upload their
photographs of interesting trends to inform and
inspire designers. The images come together to
tell a compelling narrative of how people live in
their environments, how they visualize concepts,
and the ways in which artifacts create meaning in
peoples every day lives.
Human Computation. university of maryland

technical report, 2009.
If your stakeholders value quantitative data and require large, statistically relevant samples to take
user-centered research seriously, consider using crowdsourcing as a gateway method to open
their eyes to the potential of other user-centered research methods. Having access to a global
crowdsourcing community has both benefits and drawbacks: on one hand, crowdsourcing provides
an opportunity for teams to gather and generalize results to represent a more varied, diverse
population. on the other hand, there is a lack of demographic information provided by testers, not
to mention other unknowns regarding their expertise or intentions. Ideally, to hedge against these
drawbacks, consider triangulation to increase confidence of research outcomes.
Behavioral
Attitudinal
52
Quantitative
Qualitative
Innovative
Adapted
Traditional
Exploratory
Generative
Evaluative
Universal Methods of Design
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courtesy of frog, frogmob.frogdesign.com
Participatory
Observational
Self reporting
Expert review
Design process
See also 05. Automated Remote Research 64. Photo Studies 91. Triangulation
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Universal Principles of Design reveals the

driving forces behind human motivation and
brings the designer to an understanding
of the intuitive. These principles arent
guesswork. Theyre real, based on sound
research, and they work. Chair of Graphic
+ Interactive Communication Department,
Ringling College of Art and Design
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Universal Methods of Design functions as a

great reference when we hear of a method
none of us is familiar with, but more
importantly its an excellent unsticker
when we run into a challenge in the design
or analysis of a study. This is a book that
every research team should have on hand.
-UX Magazine
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Design Firm
A suite of logos can add another level of depth and dimension to a brand, keeping the viewer enter-
tained by what it will become next.
Client
Project
BEST
SELLING
TITLES
Very often, a new logo design comes with a new name. Brands seeking
a fresh start are advised to first seek a new brand name, and out of this a
logo can be born.
This was the case with the Perth Zoos successful Twilight Concert Series.
The park had been offering summer concerts on its grounds for more than
one hundred years. When a new promoter was brought in to expand the
series with higher-profile acts appealing to an older demographic, it was
time for an identity change.
The first step The Brand Agency, based throughout Western Australia, took
when designing a logo for the new series was to rethink the name. Twilight
had grown overused. After wading through many possibilities, the team
settled on Nocturnal Concerts at the Zoo, as it tied in with the concert
settingnighttime at the zoo with all the animal intrigue this impliedas
well as a certain level of adult sophistication.
It was quickly established that we were trying
to target a demographic who were seeking
a safe and comfortable environment to enjoy
quality, live entertainment.
It was quickly established that we were trying to target a demographic

who were seeking a safe and comfortable environment to enjoy quality, live
entertainment, explains Daniel Agostino, head of design at the agencys
Perth office. They would much prefer the relaxed surroundings of the
zoos location to a packed auditorium or crammed pub environment. It also
needed to reflect a level of fun one would expect from being at the zoo as
well as showcase a feeling of a relaxed West Australian summers night.
Early on, the team had the idea to create a suite of logos that could be
ever-changing and flexible yet still remain part of an overarching family,
as Agostino calls it. This can add another level of depth and dimension
to a brand, keeping the viewer entertained by what it will become next,
he says.
The Brand Agency created a suite of logos for Perth Zoos Nocturnal Concerts at the Zoo series that could be ever-changing and flexible yet still remain part of an overarching family.
course, the animals. It outlined a number of different directions, including

constellations in a night sky, nocturnal animal calling signs, and the shapes
of musical instruments.
The new identity for Nocturnal Concerts at the Zoo appears in

bus-shelter advertisements and as stage decoration at the concerts themselves.
Of the directions, the image of the vinyl record stood out. Not only did
it link to the demographic, who would certainly connect with the icon
more so than, say, todays iPod generation, but also the team could tie the
The Brand Agency team also knew it wanted a layered identity to represent the events many characteristics: music, nighttime, summer, and of
56
aesthetic elements of a record to a full summer moon against a backdrop

of star trails.
With the basic route determined, the designers played more thematically
with color and with animal shapes embedded in the central moon. They
chose Dez Boulder Id for the word type because of its bold, fat characteristics, which link well to the feel of vinyl and recall the lettering of album
57
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The team experimented with different names for the series, which
covers. The typeface is understated and so does not compete with the
icon itself.
inspired different logo trials, before arriving at Nocturnal Concerts

at the Zoo.
Ultimately the font needed to create a solid foundation but really take on a
supporting role. The circular forms bring a feeling of repetition that again
links to the circular form of the logo shape, and a splash of color added to
the inside of the letter O gives a small nod to the color of each record label.
The logo encourages people to discover more, says Agostino. So many
who look at it see only one or two elements. For example, they might
only focus on the silhouette of an animal against a bright-colored moon,
but later they recognize that it also looks like a vinyl record. On another
glance they might see star trails in the night sky, or even a different animal
altogether. Over time, they discover more and more, and the reaction is
always a positive one.
The variation-on-a-theme approach worked perfectly with the series, so
that each concert would have a certain measure of individuality and personality. And, with the ability to add new albums to the suite each summer,
the system allows for greater longevity. With the accumulation of slightly
different album covers, the identity will gradually become quite eclectic,
rather than static.
I love design that challenges, and almost invites, the viewer to keep looking and keep discovering, Agostino continues. If you can do it at the initial
branding level, then it has the potential to add so much more depth to each
and every level of application. Why does a logo have to be this one static
mark that always appears in the same way, shape, and form? Why cant it
come to life and change, yet still represent the same thing?
The logo launched in the Australian summer of 2010/11, with six concerts
held between November and February, and was used across a wide variety
of print, press, and online applications.
Sketches for the logo mark played with a number of different

characters at the center of the album image.
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59
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34-36 and 74-75
LOGO SEARCH
1
Keywords
Type:
Symbol
1
Initials
Typographic
Combo
All
D = Design Firm
3A
70
4A
C = Client
D = Design Firm
1C D DOXA C Assisting Single Parents in Reaching Education 1D D Gizwiz Studio C AETERNA

2A D Face. C Agent 2B D One Mans Studio C Anna Jones Photography 2C D Glad Head C Advance Inform 2D D Gavula Design Associates C Ani Villas
D Studio Absolute C Mary F. Anderson, PC 3B D vanillashake media C Acadia Real Estate Properties 3C D Gehring Co. C Adaptor 3D D petervasvari.com C ACTUART
D Studio French C Anchor Publishing 4B D Matto C Altorius Community of Catholics 4C D Chris Trivizas | Design C Stellas Philotheos 4D D LPA C Creative Arts Alliance
D entz creative C Vanessa Williams 5B D notamedia C Actual Comments 5C D J.D. Gordon Advertising C All Power, Inc. 5D D fallindesign C Vladimir Afanasenko
3A
5A
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Each volume in the popular LogoLounge series brings together a

diverse collection of thousands of
new logos from top designers around
the world. The logos are organized by
visual categories for easy reference.
The LogoLounge Master Library books
feature expanded and highly focused
collections of logos in areas such
as initials and crests, animals and
mythology, and shapes and symbols.
Available in hardcover, paperback and
pocket-size mini editions, the LogoLounge series provides designers with
invaluable sources for inspiration and
resources for design solutions.
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LOGOLOUNGE SERIES
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C = Client
1A D Gizwiz Studio C Beebe Commercial 1B D Ninet6 Ltd. 1C D Hellofolio s.r.o. C Endresz Boldizsar 1D D Principals Pty Ltd. C The Bionics Institute of Australia
2A D Emilio Correa C Arteis, Inc. 2B D BRAND BROTHERS C La Boqueria 2C D Worthen Design C Bid Boomerang 2D D FutureBrand BC&H
D Poppyseed Creative C Jeff Boerboon Aerobatics 3B D Lemon Design Pvt Ltd. C Brahma Group 3C D The Netmen Corp C Bounce 3D D The Martin Group C LH Brubaker Appliances
4A D Worthen Design C Bennett and Porter 4B D Brook Hagler C Circle Craft 4C D Studio Ink C OpenCandy 4D D Hayes Image C Candysource
5A D J Fletcher Design C Celadon 5B D Steve Biel Design C Careers Industries 5C D Tandem Design Agency C Cone Drive 5D D 01d C Blue Whale
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BEST
SELLING
TITLES
DESIGN ELEMENTS
With hundreds of tips and examples,
this is the most complete manual
available outlining the basic principles
of layout, typography, color usage,
space, image, and how to put it all
together. Design Elements was
created with the design student in
mind. The instructional and informative imagery make this the perfect
text for designers to learn the fundamental skills that contribute
to successful design.
25 and 69
CA
Design Elements is a great overview and
loaded with images, layouts, and great
advice. I am definitely requiring it for my
class.
Professor, Iowa State Universitys College
of Design
The first day I started reading Design
Elements, I realized it would be perfect for
my students. This book is a must have in
the library.
Instructor, Art Center College of Design
11
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BEst of BusinEss card dEsign 9
022
023
tYpus maXimus
Boccalatte
dEsign firm
001
spEcimEn
Suzanne Boccalatte
dEsignEr(s)
Suzanne Boccalatte
art dirEctor
Joan Sutherland Performing Arts Centre

cliEnt
notEs
InDesign CS3, Illustrator CS3; Flouro Inks,

Sovereign Offset 300 gsm
003
D*MNGOOD
dEsign firm
002
spEcimEn
Dan Adler
dEsignEr(s)
Dan Adler
art dirEctor
D*MNGOOD
cliEnt
notEs
InDesign CS3; Finch Fine Opaque Smooth
Dreambox Creative
dEsign firm
003
spEcimEn
Matt Stuart
dEsignEr(s)
Doru Ghedeon Bere

art dirEctor
Brand the Speaker
001
cliEnt
notEs
Strathmore Writing Cover 110 lb.
Marc OBrien
dEsign firm
004
spEcimEn
Marc OBrien
dEsignEr(s)
Marc OBrien
art dirEctor
Marc OBrien
cliEnt
004
notEs
Cougar Bright White 130 lb. Cover
002
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S W E E To U S
BACKUS
Two sided
Colorful & Attractive
Often Full bleed
Unexpectedly Expressive
Patterns or Images
KEY CHARACTERISTICS
The ancestors of Cardious de Business were commonly simple and

distinctly conservative. As time passed, the need for a card to
distinguish itself from the pack became increasingly importanta
proverbial survival of the fittest. A certain species of cardsSweetous
Backusrose to the occasion. They grew colorful, creative backsides
to attract attention to themselves. Their numbers flourished as more
and more of these creatures began to adopt similar practices. We have
captured the best examples from the creative arms race to exhibit the
most interesting two-sided creatures.
NoTES
12
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BEST
SELLING
TITLES
BEST OF SERIES
These go-to sourcebooks for brochure,
business card, cover, letterhead and
logo, and news design feature innovative collections of the most current
and best work by internationally
acclaimed designers. Each highly
visual volume offers hundreds of
ideas, pages of inspiration, and
armloads of advice. Professional
designers, corporate executives, and
students will want to have these
essential resources on their bookshelf
to refer to again and again.
34, 41-42, 66-67 and 78
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knowledge
102
Conceived as an
offshoot of Print 94 in
1985, HOW was originally billed as The Magazine of Ideas and Technique in Graphic Design,
and its primary focus was how-to articles. In 1989, when it was purchased
by Cincinnati-based F + W Publications and Laurel Harper became editor,
the magazine shifted to a more general focus on business and creativity.
HOW
on paper
journals and magazines
Since thenand with a change of the editorial guard in 1998 to Bryn Mooth,
who had been a staff member since 1990HOW has established itself as
a lively resource for business and career advice as well as some of the most
energetic work from the United States. It has been able to extend that
attitude and persona to the popular Design, Mind Your Own Business, and
In-HOWse Designer conferences.
HOW MAGAZINE / cover art direction, Tricia Bateman / Photos: Hal Barkan
With more than six

years in its second
incarnation as STEP
inside design, it might
be easy to forget that, from 1985, when it was rst published, to 2002, it
was called Step-by-Step Graphics, and its content was primarily a literal
interpretation of its name, highlighting the skills and techniques of
graphic design. Originally intended to serve designers looking to embrace
desktop publishing and the possibilities of the computer, the scope of
STEP
inside design
STEP-BY-STEP GRAPHICS MAGAZINE / USA, 1990, 1999
080-119_C50477.indd 102
content became less relevant as the industry matured, leading to changes

in name, design, and editorial approach to cover the creativity behind
the design and the professionals who make it happen. Overseeing this
transition was Emily Potts, the magazines editor from 1998 to 2006; she
established a dynamic publication later headed by Tom Biederbeck.
One of the magazines most popular and unique issues was the STEP
100 Design Annual, a selective compendium chosen from up to 3,000
entries. In 2009 STEP ceased publication.
STEP INSIDE DESIGN MAGAZINE / USA, 2002, 2008, 2008
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knowledge
on paper
journals and magazines
103
@Issue
Around 1986, writer Delphine Hirasuna and
Pentagram 162 partner Kit Hinrichs attempted
to nd a publisher for a proposed magazine.
They envisioned a bridge between designers
and corporate clients, addressing the everpresent perception that neither party clearly
understands what each other contributes to
their intended collaboration. Not until 1994,
when Hinrichs mentioned the idea to the new
marketing manager of Potlatch papers, did they
nd someone to underwrite the project. The
Corporate Design Foundation, founded in 1985,
got involved as the official publisher of @Issue:
Journal of Business and Design. Since 1995, with
Hirasuna as editor and Hinrichs as creative
director, @Issue has been publishing real-life
case studies that bring to life the original concept
with incisive interviews and overviews of designers and clients working together. Offered by
subscription only, its circulation is a remarkable
100,000 as of its latest issue. With the success of
the magazine, a spinoff conference was started in
2006, with designers and clients speaking jointly
about specic projects and further cementing
Illustration, Gerard DuBois / 2005
Photography, Gerald Bybee / 2001
Illustration, John Hersey / 1998
the relationship between business and design.

Photography, Stephen Smith / 2006
Illustration, Michael Schwab / 2002
@ISSUE MAGAZINE / Pentagram: Kit Hinrichs / USA
Through two decades

of publishing, starting
with its founding in
1990 by British writer and critic Rick Poynor 237, Eye has established itself
as one of the most diverse design publications. It continually delves deeply
into the past, present, and future of graphic design with incisive, critical,
and challenging writing from a multitude of writers around the world. In
1997, Dutch writer and editor Max Bruinsma 237 took on the editorial responsibilities, and in 1999, music industry writer John Walters became the
editor. Comparable in attitude to its writing, the design of the magazine
has rarely settled for conventions, with a unique editorial design approach
developed quite boldly between 1997 and 2005 by creative director Nick
Bell and now extended by art director Simon Esterson. In 2008, Walters
purchased the magazine from Haymarket Brand Media, the latest of four
publishers and owners of the magazine, now self-publishing through Eye
Magazine Ltd, a new company established with Esterson and business
director Hannah Tyson.
Eye
080-119_C50477.indd 103
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BEST
SELLING
TITLES
GRAPHIC DESIGN,
REFERENCED,
TyPOGRAPHy,
REFERENCED &
FASHION DESIGN,
REFERENCED
The books in this series chronicle and
examine the history of graphic design,
typography, and fashion design. Each
book is richly illustrated with 1,000
photographs and drawings.
27, 29 and 56
Fundamentals
The System
Specializations
83
CA
Fundamentals
The System
Graphic Design, Referenced and

Typography, Referenced have both been
named Outstanding Academic Titles by
Choice magazine.
Specializations
Photos by Michael Guran.
Photo by Giuseppe Aresu, Bloomberg, Getty Images.
Photo by Bill Hogan, Chicago Tribune, MCT via Getty Images.
84
Photo by Carlos Munoz Yague, Getty Images.
From the collection of the Museum of Fine Arts, Boston.
Graphic Design, Referenced is highly

recommended for design students.
Library Journal
Typography, Referenced is a beautifully
illustrated and superbly designed
compendium of typographic history,
language, and practice. Highly
recommended. Choice magazine
Above Top Misplaced heel

Photos by Claire Zeller Barclay; hair and makeup by Sarah Brown Roux.
shoe, Marc Jacobs, 2007

Above Creating a new
model, Christian Louboutin
studio, Paris, 2011 Above
Right Mary Janes, Manolo
Private collection.
Blahnik, 2007
Above Top Fabricating a
15
handbag, Gucci factory,

Classic Herms handbags
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Above Manolo Blahnik

advertisement, 2004
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Photo by firstVIEW.
Casellina, 2009 Above
Left Prada, Spring/

Summer 2011
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1
BEST
SELLING
TITLES
COlOR HARmONy
COmPENDIum
This is the most comprehensive
reference book on the usage of color
available today. It provides expert
advice and insight into how color
works, what can be achieved with the
right color choices, and how to determine what the right color combination
is for any project whether its being
printed, packaged, or posted online.
An interactive CD-ROM is included
that allows users to choose layouts,
logos, and package designs featured
in the book, experiment with colors,
and print them for reference.
For more information, see page 30
17
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BEST
SELLING
TITLES
mAkING AND BREAkING
THE GRID
Making and Breaking the Grid is a
comprehensive layout design
workshop that assumes that in
order to effectively break the rules
of grid-based design, one must first
understand those rules and see them
applied to real-world projects. With
this book, designers who havent
formally been introduced to grid use,
or who usually avoid using them,
may find inspiration to pursue new
methods; designers who always use
grids may reevaluate the organizing
potential of more organic or spontaneous structures. To students, this book
can be a valuable resource for seeing
a diversity of related work in context.
27 and 40
CA
19
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Know the Material
By reading the content, a designer takes the first

step toward developing a concept, a key ingredient
in successfully solving any visual problem. Whether
youre designing a large-scale enterprise site with
a massive amount of content or a microsite with a
minimum amount, you should read and analyze all
of the material that could, should, or will go into
the site design. Researching outside and in addition
to the given material is also worthwhile, and is not
limited to market-related materials, brand positioning, trend analysis, and media use. Consider a full
SWOT (Strengths, Weaknesses, Opportunities,
Threats) analysis to fully plan and evaluate the job.
Know the Audience
011
012
Designers have always had to understand the audience and how

they will engage with the material. Understanding consumer
behavior, brand loyalty, reading habits, learning styles, and the
bevy of factors that play into those issues and influences are
just some of the ways that designers can begin to define users
anthropological makeup.
Understand the Scope

Ask a number of questions at the outset in order to determine project control,
implementation, and finalization. How much work needs to be done? What
amount of text and imagery will go into the design? Who supplies that material?
Where will it all reside? What updates, if any, will need to be made over time?
And what about a timeline, and any foreseeable delays? Throughout this analysis, keep quality in mind, along with the team makeup and creative process that
ensures it. And be wary of people adding things to an already-defined project that
will create whats known as scope creep.
If given the choice between a text-heavy website with static photographs and an interactive
online game, most Red Bull drinkers would opt for the latter. Archrival understood this, and
developed an entertaining online game that pulled consumers closer to the brand. For the
Travis Pastrana Super Mega Nitro Jump game, Archrival put users into the action of riding
a dirt bike, speedboat, donkey, magic carpet, golf cart, and even more ridiculous vehicles.
T h e G r a p h i c D e s i G n e rs e l e c T r o n i c - M e D i a M a n u a l
week
Understand the Final Production

Traditional designers who work predominantly in printed media know
the specifics of building a document thats press-ready, specifying
the right paper, getting bids on a job, and seeing the design through
the printing and delivery process. Electronic media has its own final
production process with checkpoints in place to meet the end goal and
quality concerns. The five key checkpoints, in addition to visual design,
include implementation, testing, documentation, launch, and maintenance. During implementation, developers program the site so that it
functions. Testing investigates how the site operates on browsers and
the ways users interact with it. Documentation collects all of that information and analyzes it in order to aid in the launch and maintenance.
Finally, designers may have to come to grips with the word final, as
Eric Karjaluoto explains: Designers have to become more accustomed
to the notion of defined job cutoffs. When a print job goes to press
the changes end; on a website they seemingly never have to. As such,
designers have to clearly note when the scope of a project has come to
a close, and address additional content changes and software/media
upgrades as separate (billable) projects.
013
I N T R O D U C T I O N T W E Lv E f U N D a m E N Ta L s
I N T R O D U C T I O N T W E Lv E f U N D a m E N Ta L s
T h e G r a p h i c D e s i G n e rs e l e c T r o n i c - M e D i a M a n u a l
010
Gather
Assess
Design
+
Code
Define
Plan
Roughs
Review 1
Revision
Test
Review 2
Fix
Revision
Review 3
today
Revise
Deploy
By specializing in marketing and design for the sports, hospitality, and entertainment industries,
carbonhouse understands how to create engaging visual communications for venues such as the
Memphis Orpheum Theatre and Cleveland PlayhouseSquare.
20
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Gantt charts assign tasks to days, or in this case weeks, to give a visualization of the project components. Steps can
include gathering, discovery, problem understanding, calendar definition, team building, design, revisions, and final
outcome. Certain tasks can get color coded and assigned to teams, and critical tasks may receive hot colors such
as red or orange. Tasks may push forward or backward to adjust for internal and external factors. In some cases, the
final outcome isnt always foreseeable.
(Fogra 39)
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Design, development, and release can lead to ongoing coding, and fixing. These iterative and
overlapping steps may happen repeatedly because of fluctuating user needs, text or image content,
and hardware or software changes.
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BEST
SELLING
TITLES
THE GRAPHIC
DESIGNERS
ElECTRONIC-mEDIA
mANuAl &
INTERACTIvE DESIGN
Two of Rockports latest titles focus
on designing for the screen. They
help readers navigate the challenges
to create informative and engaging
experiences. In both books, key lessons are highlighted in image-packed
case studies and examples from top
designers around the world.
For more information, see page 27
CA
pRoFessioNAl
bAckGRouND oF
graPhiC Design
PartiCiPants
Library sCienCes
5%
26%
10 0
inDustriaL Design
mix of Design
anD teChnoLogy
user experIence
Backgrounds
2%
LiberaL arts
11%
7%
2%
other
our online survey for userexperience (uX) professionals
We found the variety of job titles included in the survey
asked three questions: What is the professional
interesting. Many were expected, such as director
background that led to your uX position? Where do you
of user experience, uX design lead, and information
live? What is your current job title?
architect. however, titles such as front-end developer,
18%
samples included
engineering, Anthropology,
broadcast Design, economics,
and information sciences
21%
teChnoLogy
arChiteCture
ux or interaCtive
7%
design director, and computer engineer were a little

in the interest of full disclosure, this survey hardly
less obvious, suggesting perhaps that a certain degree
met the guidelines required by the scientific method.
of uX proficiency is now expected in other interactive
professional background, for example, is a little vague.
professions. our favorite title: hackstar.
but as we expected, the results indicated a varied range

of backgrounds for this profession. As colleges and
As digital design continues to expand, new professions
universities continue to develop programs to meet the
will grow out of its changing needs. For example, a survey
needs of interactive design, this landscape may well
about content strategists or social media managers may
shift, becoming something that more people engage
well have revealed a similar diversity of backgrounds
in at an earlier age.
and titles. the field is changing all the time. you may
look back one day and be surprised at how your job as a
designer has evolved.
locAtioNs oF
PartiCiPants
illustration by William Ranwell
iNteRActiVe DesiGN
pAGe | 8
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uNiteD stAtes
st. paul
portland
chicago
seattle
cANADA
VeNezuelA
tuRkey
iNDiA
toronto
porlamar
istanbul
hyderabad
Atlanta
Montreal
bRAzil
uNiteD
AustRAliA
san Francisco
Austin
Vancouver
buenos Aires
kiNGDoM
sydney
los Angeles
burlington
GeRMANy
london
Geelong
Mountain View
Rochester
berlin
south
Melbourne
pasadena
New york
AFRicA
santa Monica
brooklyn
cape town
Minneapolis
Washington, Dc
001-083_C66575.indd 9
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ROCKPORT
BOOKS
BY
CATEGORY
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CA
Design Elements
A Graphic Style Manual

Timothy Samara
ISBN: 9781592532612
Item # 153185 AQ
8 x 10 in, 203 x 254 mm
272 pages, Flexi-bind
300 color photos
Rights sold: Russian, Spanish,
Italian, Japanese, Czech,
German, Korean, Chinese,
Portuguese, English language
in Asia excluding Japan, India,
Korea
Ct. Qty. 10
$30.00 US/19.99
UK/$37.50 CAN
CA
Design Elements,
Typography
Fundamentals

for Understanding
How Typography
Affects Design
Kristin Cullen
ISBN: 9781592537679
Item # 195050 AQ
8 x 10 in, 203 x 254 mm
300 color photos
All rights available
Ct. Qty. 20
$24.99 US/16.99
UK/$27.99 CAN
024-059_30084.indd 25
024-059_30084.indd 25
CA
Design Elements,
Color Fundamentals

for Understanding How
Color Affects Design
Aaris Sherin
ISBN: 9781592537198
Item # 193939 AQ
8 x 10 in, 203 x 254 mm
300 color photos
Rights sold: Korean, Spanish
Ct. Qty. 20
$24.99 US/16.99
UK/$27.99 CAN
CA
Design Elements,
Using Images to
Create Graphic
Impact

for Effective Image
Solutions in Graphic
Design
Aaris Sherin
ISBN: 9781592538072
Item # 199836 AQ
8 x 10 in, 203 x 254 mm
250 color photos
Ct. Qty. 20
$35.00 US/22.50
UK/$39.00 CAN
(RAY) (Text)
BOOKS
BY
CATEGORY
CA
Design Elements,
Form & Space

for Understanding
Structure and Design
Dennis Puhalla
ISBN: 9781592537006
Item # 193875 AQ
8 x 10 in, 203 x 254 mm
300 color photos
Rights sold: Korean
Ct. Qty. 20
$24.99 US/16.99
UK/$27.99 CAN
CA
Design Matters
An Essential PrimerBrochures, Logos,

Packaging, Portfolios
Capsule, Michelle Taute,
and Maura Keller
ISBN: 9781592537389
Item # 195013 AQ
8 x 10 in, 203 x 254 mm
448 pages, PB
900 color photos
Rights sold: Chinese
Ct. Qty. 10
$40.00 US/27.50
UK/$44.00 CAN
DESIGN FUNDAMENTALS
CA
Digital Design
Essentials
100 Ways to Better

Desktop, Web,
and Mobile Interfaces
Rajesh Lal
ISBN: 9781592538034
Item # 199825 AQ
8.5 x 10, 216 x 254 mm
208 pages, HC
200 color photos
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
25
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2
CA
CA
Drawing for
Graphic Design
Understanding Conceptual
Principles and Practical
Techniques to Create
Unique, Effective Design
Solutions
Timothy Samara
ISBN: 9781592537815
Item # 199782 AQ
9 x 9 in, 229 x 229 mm
192 pages, PB
500 color photos
Rights sold: English language
in Taiwan, Chinese
Ct. Qty. 6
$40.00 US/27.50UK/
$44.00 CAN
DESIGN FUNDAMENTALS
CA
Forms, Folds, and

Sizes, Second Edition
All the Details Graphic

Designers Need to Know
but Can Never Find
Poppy Evans and Aaris Sherin
ISBN: 9781592534616
Item # 153204 AQ
5.75 x 8.25 in, 145 x 210 mm
336 pages, PB
400 color photos
Rights sold: German
Ct. Qty. 10
$30.00 US/19.99 UK/
$32.95 CAN
Graphic Design and

Architecture, A 20thCentury History
A Guide to Type, Image,
Symbol, and Visual
Storytelling in the
Modern World
Richard Poulin
ISBN: 9781592537792
Item # 199783 AQ
8.5 x 10 in, 216 x 254
272 pages, HC
300 color photos
Ct. Qty. 6
$55.00 US/35.00 UK/
$60.00 CAN
30 /31
In conventional drawing, gesture results

from the bodys movement. If one is
working digitally using a tablet, this
authentic rhythm is translated directly;
creating gesture with the tools in a
software application may be challenging,
given the limitations of movement
imposed by a mouse, the spatial disconnect created by the screen interface, and
the mechanical nature of point-based
vector drawing. However, drawing
software usually offers brush forms that
mimic the irregularity of conventional
mark-making, and working digitally also
allows a designer analytical control
that is nearly impossible when working
conventionally by adjusting the points
and line segments of a vector shape, or
by distorting and skewing.
Behaviorial
Grammar:
The Gesture
TEXT BLACK
The mark expresses a specific movement

called its gesture, and its this quality of
drawing that gives it life. Gesture translates into energy and behavior. It may be
passive and delicate or bold and aggressive; it articulates directionality, rhythm,
punctuation, and fluidity through repetition, variation, and patternclustering,
dispersing, rising or falling, circulating,
and so on /A, B /. As marks accumulate,
this gestural rhythm becomes an identifiable, fundamental part of the drawings
form language. Further the specific nature
of the gestural rhythm will contribute
to the drawings narrative (see pp. 8081)
influencing the viewers emotional
response to the message /C /.
Refined letterforms /F / express gesture

derived from their source in writing
/G /; the evidence is their shading, or
D Pushing and pulling curvilinear gestural
motion ensures dynamism in a reductive

symbol / STIM Visual Communication
United States
Maintaining gestural rhythm in reductive

drawings /D, E / is critical for their liveli
ness. Symbols, logos, diagrams, and
letterforms rarely exhibit surface activity
beyond that of their actual form components. What must be discernable is
a culmination of many evolutionary
gestures so that they appear to pulse,
to push and pull against each other.
thick-and-thin contrast, as well as in

their width proportion and the speed
at which strokes modulate from thick to
thin. Selecting a particular typeface for
a project often depends on how tight or
open it feels, how far the strokes rise
and fall from the baseline, and how this
movement repeats itself from character
to character /H, I /.
Drawing
/ for Graphic
Design
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Discovery
Universal
Principles
First Principle:
Unified Form
Language
F Gesture is immediately evident in oldstyle (left)
and script forms (middle), but may also be appreciated in more controlled forms (right).
G The fluid, bold, slashing gesture in this calli-
TEXT BLACK
graphic logo establishes a dynamic, confident

feeling / PCD Estudio de Diseo Argentina
A This nonpictorial drawing shows a variety of gestures: waving, staggered, aggressively

angular, curvilinear and meandering, fluid and staccato / Christine Hiebert United States
H An irregular, up-and-down gesture across the
line of type imparts a casual, playful, quirky quality /

Javirroyo Spain
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I Feelings to be evoked in text depend on a given
C Dramatically swooping downward

B A singular, continuous, looping and arcing
gesture / LoSiento Spain
and upward gestures impart a sensation of movement / Flor Portugal
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E The wavelike, lateral gesture of the line patterns is restated
typefaces gestural cadencethe rhythm created

by the alternation between the letters strokes and
counterspaces. Compressed faces usually impart
a sharp, anxious, or energetic tone (top), while
open or extended faces express a tone that is
restful, or seems drawn out over time (bottom).
by the types back and forth movement, but contrasted by its

vertical gesture / Rudi Meyer France
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CA
The Graphic Design

Reference &
Specification Book
Everything Designers
Need to Know Everyday
Poppy Evans
ISBN: 9781592538515
Item # 210655 AQ
5.46 x 7.83 in, 139 x 199 mm
336 pages, PB
400 color photos
Ct. Qty. 10
$25.00 US/16.99 UK/
$28.00 CAN
CA
Graphic Design,
Referenced
A Visual Guide to the

Language, Applications,
and History of Graphic
Design
Bryony Gomez-Palacio and
Armin Vit
ISBN: 9781592537426
Item # 195006 AQ
8.5 x 10 in, 216 x 254 mm
400 pages, PB
1000 color photos
in Asia, French
Ct. Qty. 10
$35.00 US/25.00 UK/
$39.00 CAN
CA
The Graphic
Designers
Electronic-Media
Manual
How to Apply Visual

Design Principles to
Engage Users on
Desktop, Tablet,
and Mobile Websites
Jason Tselentis
ISBN: 9781592537785
Item # 199779 AQ
8 x 10 in, 203 x 254 mm
300 color photos
in Asia, Korean, Chinese,
French
Ct. Qty. 6
$40.00 US/27.50 UK/
$44.00 CAN
CA
Graphic Designers
Essential Reference
Visual Elements,
Techniques, and Layout
Strategies for Busy
Designers
Timothy Samara
ISBN: 9781592537433
Item # 195007 AQ
8 x 10 in, 203 x 254 mm
248 pages, PB
1500 color photos
Rights sold: Chinese, Czech
Ct. Qty. 10
$25.00 US/16.99 UK/
$28.00 CAN
CA
CA
CA
Interactive Design
An Introduction to the
Theory and Application of
User-Centered Design
Andy Pratt and Jason Nunes
ISBN: 9781592537808
Item # 199784 AQ
8 x 10 in, 203 x 254 mm
250 color photos
Ct. Qty. 6
$45.00 US/30.00 UK/
$49.99 CAN
024-059_30084.indd 27
024-059_30084.indd 27
The Language of
Graphic Design
An Illustrated Handbook
for Understanding
Fundamental Design
Principles
Richard Poulin
ISBN: 9781592538256
Item # 200345 AQ
8.25 x 10.25 in, 210 x 2260 mm
288 pages, PB
400 color photos
Rights sold: Polish, Chinese,
Czech, French, Spanish
Ct. Qty. 10
$29.99 US/20.00
UK/$32.99 CAN
HC ISBN: 9781592536764
$45.00 US/30.00 UK/
$49.99 CAN
(RAY) (Text)
CA
Making and Breaking

the Grid
A Graphic Design Layout
Workshop
Timothy Samara
ISBN: 9781592531257
Item # 153276 AQ
9 x 11 in, 228 x 280 mm
208 pages, PB
508 color photos
Rights sold: Portuguese,
Chinese, English language
in Russia
Ct. Qty. 10
$25.00 US/16.99 UK/
$34.95 CAN
Universal Principles
of Design
125 Ways to Enhance
Usability, Influence
Perception, Increase
Appeal, Make Better
Design Decisions, and
Teach through Design
William Lidwell, Kritina
Holden, and Jill Butler
ISBN: 9781592535873
Item # 158942 AQ
8.5 x 10 in, 215 x 255 mm
272 pages, PB
400 color photos
Rights sold: Dutch, Portuguese, Japanese, Spanish,
French, Chinese, Czech,
Russian, Korean, Croatian
Ct. Qty. 10
$30.00 US/18.99
UK/$37.50 CAN
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BOOKS
BY
CATEGORY
TYPOGRAPHY
CA
30 Essential
Typefaces for
a Lifetime
Imin Pao and Joshua Berger

ISBN: 9781592532780
Item # 153052 AQ
7.5 x 10.25 in, 190 x 260 mm
302 pages, PB
300 color photos
Ct. Qty. 10
$40.00 US/27.50
UK/$56.00 CAN
30
Design Elements,
Typography
Fundamentals
Design: Type
A Seductive Collection of
Alluring Type Designs
Paul Burgess
ISBN: 9781592537983
Item # 199806 AQ
8 x 10 in, 203 x 254 mm
500 color photos
in Asia
Ct. Qty. 6
$45.00 US/30.00
UK/$49.99 CAN

Typography Affects
Design
Kristin Cullen
ISBN: 9781592537679
Item # 195050 AQ
8 x 10 in, 203 x 254 mm
300 color photos
Ct. Qty. 20
$24.99 US/16.99
UK/$27.99 CAN
type specimen poster
Barker letterpress poster

Designer:
Annica Lydenberg
Photo: Juan Carlos Pagan
Type specimen sheets began as a way for

printers to demonstrate to buyers how a
certain typeface would look at various sizes
on paper. They developed into a way for
typographers to showcase their work using
design, color, and word combinations.
Create a poster showcasing an alphabet
you have created.
CA
Playing with Type
28
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50 Graphic Experiments
for ExploringTypographic
Design Principles
Lara McCormick
ISBN: 9781592538171
Item # 211090 AQ
9 x 9 in, 229 x 229 mm
300 Color Photos
Ct. Qty. 10
$40.00 US/25.00
UK/$44.00 CAN
Select your text. This should include the

title of your typeface. The remaining
content could be a pangram, text from a
book, lyrics from a song, or something
funny and clever that is memorable. Look
at type foundry sites for inspiration.
Create an 18" 24" (46 5 cm) canvas and
set your alphabet. Vary the size of your text
so that you can provide an example of how
your typeface looks as a headline and body
copy. If you have more than one weight or
style in your alphabet, incorporate that as
well. Use color sparingly (remember, its the
type youre showing off).
Before finalizing your type specimen, be
sure to check the kerning and letterspacing!
Alfonso letterpress plate

Photo: Juan Carlos Pagan
Pangram
One way to display all the
letters in the alphabet
legibly is through the use of
a pangram, a sentence that
contains all the letters of the
alphabet. The most common
is The quick brown fox
jumped over the lazy dog.
I began looking at typefaces, thinking of what I liked

about them, analyzing what kind of typeface I
wanted to design: serif, sans, what would the
x-height be? Where would it be used? After
sketching for days, I finally set my sights on the
sketches for Olivia. Its quirky yet elegant features
made this typeface different and interesting to
pursue. After the digitizing process, many decisions
were made to help regularize the overall look and
character of the font. Olivia is a work in progress;
next I will be designing a bold weight and an italic.
What I like most about drawing letters is the drawing part. As a result, Alfonso
has an illustrative quality that I wanted to feature in the specimen poster. While a
traditional type specimen with varying lines of copy serves an important function,
I wanted something a little more visually arresting. And since this was made for
letterpress, there was also the selfish consideration of making something that I
could hang on my wall. I think this design highlights the character of the
individual letters, while also showing that they work well together as a system.
Plus, it looks good in a frame.
Designer: Isabel Urbina
Designer: Mark McCormick
98
If you loved this, youll love these!

Modular Type, page 82; Handwriting, page 85;
Opposites Attract, page 88; 3-D Type, page 90
playing with type
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CA
CA
Stop, Think, Go, Do
How Typography and

Graphic Design Influence
Behavior
Steven Heller and Mirko Ilic
ISBN: 9781592537662
Item # 195051 AQ
9 x 9 in, 229 x 229 mm
500 color photos
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
CA
Typography
Essentials
Type, Form &

Function
100 Design Principles for

Working with Type
Ina Saltz
ISBN: 9781592537402
Item # 195003 AQ
8.5 x 10 in, 216 x 254 mm
208 pages, PB
300 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
A Handbook on the
Fundamentals of
Typography
Jason Tselentis
ISBN: 9781592536740
Item # 193884 AQ
9 x 9 in, 229 x 229 mm
300 color photos
Rights sold: Korean, Spanish,
Chinese
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
Typography,
Referenced
A Comprehensive Visual
Guide to the Language,
History, and Practice of
Typography
Jason Tselentis, Allan Haley,
Richard Poulin, Tony Seddon,
Gerry Leonidas, and Ina Saltz
ISBN: 9781592537020
Item # 193943 AQ
8.5 x 10 in, 216 x 254 mm
400 pages, HC
700 color photos
Rights sold: Italian
Ct. Qty. 6
$50.00 US/35.00
UK/$55.00 CAN
The more I drew type, the more fun I had. I was

warping letter features and creating strange ligatures.
It was the exact opposite of all the rules of
typography I held dearly. Ive posted nearly 1,110
daily drawings and the majority of them incorporate
lettering. Since I post daily, I always try to do
something a little differentthis desire has led me
to try things that I wouldnt have normally thought to
do. I cant say it enough: Draw, draw, draw! Creating
your own voice using hand-drawn letters is not an
easy thing to teach; there really arent any set rules.
Lettering: Chris Piascik
Hand lettering becoming a hallmark of my work happened almost accidentally.

As a child, I would take apart the music albums around me and re-create my own.
Fast-forward ten years and I was obsessing over typography as a graphic design
student at the Hartford Art School. The lettering I have become known for
didnt begin to take shape until a few years after my graduation. My schedule
was hectic and I felt disheartened by the fact that I was no longer drawing for
drawings sake. I decided to change that by committing myself to posting a
drawing each day on my website. Early on, I started drawing type and text out
of necessity because I was struggling to come up with things to draw late at
nightId hear a random song lyric or an absurd quote on the news and make
it into a drawing.
CA
Typography
Workbook
Lettering: Chris Piascik
106
PM
PM
playing with type
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A Real-World Guide to
Using Type in Graphic
Design
Timothy Samara
ISBN: 9781592533015
Item # 153289 AQ
9 x 9 in, 229 x 229 mm
240 pages, PB
500 color photos
Rights sold: Portuguese
Ct. Qty. 10
$25.00 US/16.99
UK/$33.00 CAN
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2
BOOKS
BY
CATEGORY
COLOR & PATTERN
DESIGN
CA
Color Design
Workbook
Color Harmony
Compendium
A Real World Guide to

Using Color in Graphic
Design
AdamsMorioka
ISBN: 9781592534333
Item # 153299 AQ
9 x 9 in, 229 x 229 mm
240 pages, PB
350 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$27.50 CAN
The Complete Color

Harmony
A Complete Color
Reference for Designers
of All Types, 25th
Anniversary Edition
Terry Marks, MINE Design,
Origin, and Tina Sutton
ISBN: 9781592535903
Item # 158858 AQ
7 x 9.25 in, 178 x 235 mm
432 pages, HC w/ CD
500 color photos
Ct. Qty. 10
$29.99 US/18.99
UK/$37.50 CAN
Expert Color Information

for Professional Color
Results
Tina Sutton and
Bride M Whelan
ISBN: 9781592530311
Item # 153268 AQ
6.75 x 9 in, 172 x 228 mm
216 pages, PB
250 color photos
Rights sold: Italian, French,
Japanese, Russian, Spanish,
Korean, Chinese
Ct. Qty. 10
$25.00 US/16.99
UK/$36.00 CAN
54 // Design Elements // Color Fundamentals
Chapter 2 // Form and Space // 55
Elements of Design
and Their Variables
The fundamental elements of design such as line, point, and shape provide
the backbone for many communications solutions. Since the eye is drawn
to what it sees and perceives most easily, a viewer will often notice the hues
and tones of a composition before anything else. When color is used in
combination with these elements, it can provide a strong visual statement.
These variables may be used on their own, together, or in combination with
other components such as type and image.
t Color affects how we perceive

shapes in a composition. When the
color of these shapes is altered, some
seem to recede into the background
while others appear to advance
forward on the page. Trying several
different combinations of color for
each project is more likely to produce
successful color relationships.
Design: Melchior Imboden, Buochs,
Switzerland
Shape
When used in conjunction with color, shape may reveal meaning and make
a composition more appealing to an audience. Shape is also an important
tool when laying out multipage documents. The combination of color and
shape can be used to break up content and/or create a repeating structure
that encourages a viewer to turn the page and keep reading the text.
p Alternating blue and pink dots on the
top half of the composition creates an
eye-catching pattern, and the repetition of
pink draws the eye down toward the text
below. Design: LSDspace, Madrid, Spain
CA
Design Elements,
Color Fundamentals
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Aaris Sherin
ISBN: 9781592537198
Item # 193939 AQ
8 x 10 in, 203 x 254 mm
300 color photos
Ct. Qty. 20
$24.99 US/16.99
UK/$27.99 CAN
p An identity package can be based on the repetition of shape and color. In this example for Stylecraft,
the system allows for a tremendous amount of
variation while retaining an overall visual consistency.
Design: THERE, Surry Hill, Australia
p These shapes seem to jump off the page

because the designer has skillfully combined
compositional elements with intensely bright hues.
Design: Gotz Gramlich, Heidelberg, Germany
t Small tonal variations in grays seem greater

because they have been combined with sharpedged triangles. The two accents of red add a
shock of emphasis that will keep viewers interested. Design: Uwe Loesch, Mettmann, Germany
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u Elements in this identity package are differentiated by shape but are unified by color.
Design: Maris Maris, New York City
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Pattern and Palette

Sourcebook
w/CD-Rom
Pattern and Palette

Sourcebook 2
A Complete Guide to
Choosing the Perfect
Color and Pattern in
Design
Anvil
ISBN: 9781592531615
Item # 154122 AQ
7 x 9.25 in, 178 x 235 mm
208 pages, PB
400 color photos
Rights sold: Japanese,
Chinese, Italian, French,
Russian, Greek, Spanish,
English language in Germany,
Austria, Switzerland, EU
Ct. Qty. 10
$29.99 US/19.99
UK/$41.95 CAN
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A Complete Guide to
Choosing the Perfect
Color and Pattern
in Design
Heidi Arrizabalaga
ISBN: 9781592533176
Item # 153193 AQ
7 x 9.25 in, 178 x 235 mm
208 pages, PB
950 color photos
Russian, Dutch, French,
English
language in EU, Switzerland,
India, China, Taiwan
Ct. Qty. 10
$30.00 US/19.99
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8
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Sourcebook 4
21
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A Comprehensive Guide
to Choosing the Perfect
Color and Pattern in
Design
Kathie Alexander and
Harvey Rayner
ISBN: 9781592536047
Item # 192511 AQ
7 x 9.25 in, 178 x 235 mm
400 color photos
in SE Asia, China, Taiwan,
Korea, Japan
Ct. Qty. 10
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Pattern and Palette Sourcebook 2
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CD906-36/4234
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CD906-36/4234
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BOOKS
BY
CATEGORY
COLOR & PATTERN
DESIGN
Pattern Sourcebook:
Around the World
250 Patterns for Projects

and Designs
Shigeki Nakamura
ISBN: 9781592534968
Item # 153373 AQ
5.81 x 8.25 in, 148 x 210 mm
160 pages, PB
250 color photos
Rights sold: French, English
language in EU, Switzerland
Ct. Qty. 20
$17.99 US/10.99
UK/$19.95 CAN
Pattern Sourcebook:
Chinese Style

and Designs
Shigeki Nakamura
ISBN: 9781592534975
Item # 153374 AQ
5.81 x 8.25 in, 148 x 210 mm
160 pages, PB
250 color photos
Ct. Qty. 20
$17.99 US/10.99
UK/$19.95 CAN
Pattern Sourcebook:
Japanese Style 2

and Designs
Shigeki Nakamura
ISBN: 9781592535606
Item # 153380 AQ
5.81 x 8.25 in, 148 x 210 mm
144 pages, PB w/ CD
250 color photos
Ct. Qty. 20
$17.99 US/12.99
UK/$19.95 CAN
CA
Pattern Sourcebook:
Nature
32
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and Designs
Shigeki Nakamura
ISBN: 9781592535583
Item # 153378 AQ
5.81 x 8.25 in, 148 x 210 mm
128 pages, PB w/ CD
250 color photos
Ct. Qty. 20
$17.99 US/12.99
UK/$19.95 CAN
(RAY) (Text)
Playing with Color
for Exploring Color
Design Principles
Richard Mehl
ISBN: 9781592538089
Item # 199835 AQ
9 x 9 in, 229 x 229 mm
300 Color Photos
Chinese
Ct. Qty. 10
$40.00 US/25.00
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Hae Jeon Lee

Color wheel and grayscale composition
gouache on watercolor paper
Cory John Stoffa

Color wheel and grayscale composition
Above: computer rendering
Right: gouache on watercolor paper
26
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color wheels
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experiment 11: transparency

Challenge: Explore color mixing with transparent materials
Materials: transparent paper; tissue; gels
Using transparent materials in compositions is an excellent way
to study color mixing. It is more immediate and less challenging than
mixing paint. The process is simple and objective. The visual effects
are factuallayering specific transparent materials will always have the
same results.
This process frees us to observe and consider the mixtures achieved
by layering certain colors.
Begin by layering the transparent materials in various combinations.
Make note of the parent colors and their mixtures. The colors you
observeparents and mixtureswill be your palette.
Experiment with the layering order. Different kinds of transparent
material react differently to layering. Unlike transparent ink, paint, and
some gels, transparent papers are not completely transparent. The
texture of paper adds itself to the mixture of colors. This makes layering
a decisive factor in working with transparent paperthe bottom layer
is partially obscured by the layers that cover it.
Keep your compositions simple. Try to include the parent colors and
all possible mixtures.
The mixtures will be darker than the parent colors and will be closest
in appearance to the top layer color. This factual effect adds contrast of
light and dark to the composition.
Play with various ways of making shapes. Scissors will produce one
effectsimilar but different from the effects of using a craft knife
and a straightedge. Both tools can make geometric and organic shapes.
Folding paper adds a sense of play to the process. Tearing instantly
creates organic shapes and makes the material recognizable as paper.
Transparency collages, made with transparent materials

Above right: Sebit Min; right: Lisa Case
color illusion
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Playing with Color
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2
BOOKS
BY
CATEGORY
LOGOS & IDENTITY
Letterhead & Logo

Design 10
Sussner Design
ISBN: 9781592535798
Item # 158910 AQ
9 x 11 in, 229 x 279 mm
240 pages, PB
800 color photos
Rights sold: Spanish, English
language in Russia, EU,
Switzerland, Norway
Ct. Qty. 10
$30.00 US/0.00
UK/$37.50 CAN
34
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CA
The Best of
Letterhead & Logo
Design
Design Matters:
Logos 01
Mine Design, Top Studio

Design, Stoltz Design, and
Sayles Graphic Design
ISBN: 9781592537914
Item # 199799 AQ
9.25 x 11.25 in, 235 x 286 mm
352 pages, PB
800 color photos
Ct. Qty. 20
$19.99 US/14.99
UK/$21.99 CAN
An Essential Primer for

Todays Competitive
Market
Capsule
ISBN: 9781592533411
Item # 153316 AQ
8.25 x 10.25 in, 210 x 260 mm
192 pages, PB
220 color photos
Rights sold: Spanish, Russian,
German, Korean
Ct. Qty. 20
$24.99 US/16.99
UK/$29.95 CAN
Letterhead & Logo

Design 9
Letterhead & Logo

Design 11
Letterhead & Logo

Design 12
LogoLounge (mini)
Design Army
ISBN: 9781592537617
Item # 195029 AQ
9 x 11 in, 229 x 279 mm
240 pages, PB
350 color photos
in Japan, Germany, Austria,
Switzerland
Ct. Qty. 10
$30.00 US/20.00
UK/$33.00 CAN
HC ISBN: 9781592535347
$45.00 US/27.50
UK/$56.00 CAN
(RAY) (Text)
Oxide Design Co.

ISBN: 9781592537174
Item # 193942 AQ
9 x 11 in, 229 x 279 mm
240 pages, HC
350 color photos
Ct. Qty. 6
$45.00 US/30.00
UK/$49.99 CAN
MINE
ISBN: 9781592533893
Item # 153196 AQ
9 x 11 in, 229 x 279 mm
240 pages, PB
500 color photos
Ct. Qty. 10
$30.00 US/19.99
UK/$41.95 CAN
2,000 International
Identities by Leading
Designers
Catharine Fishel and
Bill Gardner
ISBN: 9781592532247
Item # 153349 AQ
5.62 x 6.38 in, 143 x 162 mm
356 pages, PB
2000 color photos
Rights sold: Chinese, English
language in Japan, EU, Switzerland, Indian Subcontinent,
Sri Lanka, Pakistan, Russia,
Hungary
Ct. Qty. 20
$19.99 US/12.99
UK/$27.95 CAN
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LogoLounge 3 (mini)
2000 International
Designers
Bill Gardner
ISBN: 9781592535101
Item # 153358 AQ
5.62 x 6.38 in, 143 x 162 mm
376 pages, PB
2050 color photos
in Japan, EU
Ct. Qty. 20
$19.99 US/12.99
UK/$21.95 CAN
LogoLounge 4 (mini)
LogoLounge 5
2000 International
Designers
Bill Gardner
ISBN: 9781592536689
Item # 192561 AQ
5.62 x 6.38 in, 143 x 162 mm
376 pages, PB
2000 color photos
Ct. Qty. 20
$19.99 US/0.00
UK/$21.99 CAN
LogoLounge 6
2,000 International
Designers
Bill Gardner
ISBN: 9781592537358
Item # 194983 AQ
9 x 11 in, 229 x 279 mm
192 pages, PB
2200 color photos
Ct. Qty. 10
$30.00 US/20.00
UK/$33.00 CAN
HC ISBN: 9781592535279
$50.00 US/34.99
UK/$55.00 CAN
2,000 International
Designers
Bill Gardner
ISBN: 9781592538249
Item # 200344 AQ
9 x 11 in, 229 x 279 mm
192 pages, PB
2000 color photos
in Taiwan, EU
Ct. Qty. 10
$35.00 US/22.50
UK/$39.00 CAN
HC ISBN: 9781592536184
$50.00 US/35.00
UK/$55.00 CAN
SO, JUST HOW BIG CAN

ONE LITTLE IDEA BECOME?
LogoLounge 7
2,000 International
Designers
Bill Gardner and
Anne Hellman
ISBN: 9781592537273
Item # 199819 AQ
9 x 11 in, 229 x 279 mm
192 pages, HC
2000 color photos
in Taiwan, Czech, Chinese
Ct. Qty. 6
$50.00 US/35.00
UK/$55.00 CAN
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08
INTRODUCTION
LETTERHEAD & LOGO DESIGN 11
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2
BOOKS
BY
CATEGORY
Logos & IdentIty
LogoLounge Master
Library, Volume 1
3,000 Initials & Crest
Logos
Bill Gardner
ISBN: 9781592535675
Item # 158937 AQ
7.25 x 9 in, 000 x 000 mm
296 pages, HC
3000 color photos
Rights sold: Japanese
Ct. Qty. 6
$40.00 US/24.99
UK/$49.99 CAN
LogoLounge Master
Library, Volume 3
3,000 Shapes and
Symbols Logos
Bill Gardner
ISBN: 9781592536900
Item # 193880 AQ
7.25 x 9 in, 184 x 229 mm
296 pages, POB
3000 color photos
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
LogoLounge Master
Library, Volume 4
3000 Type and
Calligraphy Logos
Bill Gardner
ISBN: 9781592537648
Item # 195053 AQ
7.25 x 9 in, 184 x 229 mm
296 pages, POB
3000 color photos
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
CA
Logo Creed
The Magic Behind Making

a Great Logo
Bill Gardner
ISBN: 9781592538287
Item # 210275 AQ
8 x 10 in, 203 x 254 mm
500 color photos
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
36
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Logo Design
Workbook
A Hands-On Guide to
Creating Logos
Sean Adams and
Noreen Morioka
ISBN: 9781592532346
Item # 153283 AQ
9 x 9 in, 229 x 229 mm
240 pages, PB
500 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$35.00 CAN
Logo Savvy
Top Brand Design Firms

Share their Naming and
Identity Strategies
WOW Branding
ISBN: 9781592533046
Item # 153055 AQ
9.5 x 9.5 in, 241 x 241 mm
192 pages, HC
300 color photos
Rights sold: Russian
Ct. Qty. 6
$40.00 US/27.50
UK/$50.00 CAN
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BOOKS
BY
CATEGORY
PACKAgIng & BRAndIng
CA
1,000 Package
Designs (mini)
Brand Bible
The Complete Guide to

Building, Designing,
and Sustaining Brands
Debbie Millman
ISBN: 9781592537266
Item # 193938 AQ
9 x 9 in, 229 x 229 mm
300 color photos
Ct. Qty. 6
$45.00 US/30.00
UK/$49.99 CAN
to Packing It In
Grip
ISBN: 9781592537051
Item # 193872 AQ
6 x 6 in, 152 x 152 mm
440 pages, PB
1000 color photos
in Japan
Ct. Qty. 20
$19.99 US/12.99
UK/$21.99 CAN
DESIGN CONSIDERATIONS: FORM AND SHAPE
DESIGN CONSIDERATIONS: FORM AND SHAPE
DESIGN CONSIDERATIONS: PRINTING
19 Special Folds
20 Window Reveals
28 Laser Etching
Like origami, folds can be used to create shape. In certain

instances, this design approach will deliver punch and
economy in the nishing process. Always test the strength
of the folded concept with the actual package material
before committing to a nal die to avoid any retail mishaps.
A window reveal in the top or side of a package involves the

consumer by allowing an enticing view of the product. The
shape of the opening is an opportunity to say something
about the product or provide a dramatic picture frame
through which the product can be seen.
Laser etching is a precision printing method used to mark

or brand a substrate. Often, a computer is used to drive the
Project
Product package design
Firm
movement of a laser over surfaces such as glass, metal,

wood, and plastic. Laser etching has the additional benet
of processing a high volume of material at a rapid speed.
Turner Duckworth,
London and San Francisco
Design Team
David Turner, Bruce Duckworth,
Window reveals are created at the same time as the die line
and wont cost more. However, if you are adding plastic to
protect the product this will increase the package cost.
Sarah Moffat
Client
Project
Liz Earle Beauty Co.

Firm
Liz Earle Beauty Co. makes a
Pati Nez Associats
range of moisturizing skin care
Design Team
products for mature skin that
Pati Nez, Kike Segurola
contains precious argon and
Client
organic rosehip oils. The design
Cavas Recaredo
approach uses illustrations of

rosehip tendrils that creep around
This Catalan wine is produced
the pack. The perfect see-through
with a minimum of human inter-
rosebuds reveal the products
vention. The design concept was
natural orange tone and create
based on the same premise. The
a visual metaphor. The silver
typography was laser-cut into
outer package layer suggests
off-white cotton paper. Laser
science, while the yellow peaking
etching was used to create the
through the diecuts suggests the
typography on the wooden box.
products natural ingredients.
Project
Firm
Project
Aloof Design
Design Team
Firm
Sam Aloof, Jon Hodkinson,
2creativo
Andrew Scrase
Design Team
Client
Mariona Lpez, Abel de Benito
Heals
Client
Art-Fruit
This package illustrates how

cardboard, when folded, can
Framing the gourmet sweets inside,
provide an involving, high-end
this window reveal allows the
feel for a luxury product. In
consumer to glimpse the colorful
addition, this creative solution
natural fruit products. The black
achieved luxury-gift status within
exterior and red interior of the
a standard packaging budget.
cardboard box further dramatize

the effect and present the candy
as an exclusive gourmet treat.
46 Packaging Essentials
38
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CA
Essential Elements
for Brand Identity
Package Design
Workbook
100 Principles for

Designing Logos and
Building Brands
Kevin Budelmann, Yang Kim,
and Curt Wozniak
ISBN: 9781592537938
Item # 199801 AQ
8.5 x 10 in, 216 x 254 mm
208 pages, PB
300 color photos
Korean, Chinese, English
language in Asia, French,
Italian
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
The Art and Science of

Successful Packaging
Steven DuPuis and John Silva
ISBN: 9781592537082
Item # 193882 AQ
9 x 9 in, 229 x 229 mm
240 pages, PB
450 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
Really Good
Packaging Explained

Creating Packages
Sarah Roncarelli and
Candace Ellicott
ISBN: 9781592536030
Item # 191716 AQ
8.5 x 10 in, 216 x 254 mm
208 pages, HC
250 color photos
Korean, Chinese
Ct. Qty. 6
$40.00 US/25.00
UK/$50.00 CAN
Top Design Professionals

Critique 300 Package
Designs and Explain
What Makes Them Work
Rob Wallace, Bronwen
Edwards, Marianne Klimchuk,
and Sharon Werner
ISBN: 9781592535453
Item # 158871 AQ
9 x 11 in, 229 x 279 mm
272 pages, PB
500 color photos
Rights sold: German
Ct. Qty. 6
$45.00 US/27.99
UK/$56.00 CAN
SUSTAINABLE DESIGN
57 Biodegradable and Recyclable Packages
Project
Firm
The traditional three Rs of reduce, reuse, and recycle are

part of a waste hierarchy that can be applied to product
and package development. Development of sustainable
packaging is an area of considerable interest to standards
organizations, government agencies, consumers, designers,
packagers, and retailers.
Project
Harpun
Many surveys have suggested that more than two-thirds

of the population would prefer packages made from
recycled material or would be willing to pay more for
environmentally responsible packaging. This can be
achieved by minimizing packaging, maximizing the use
of postconsumer recycled materials, using materials that
can be and are recycled, and designing packaging where
the individual parts can be separated for recycling.
Design Team
Camilla Jarem,
Cathrine Lie Hansen,
Finne Stle Felberg
Client
kologiske Norgrden
This package design is an example
of a cooperative effort between
the chicken product producer
Firm
and Green Dot Norway, which
Pati Nez Associats
Project
is a privately owned, nonprofit
Design Team
company responsible for nancing

the recovery and recycling of
Pati Nez, Kike Segurola
Firm
Client
Harpun
used packaging on behalf of the
Cavas Recaredo
Design Team
industrial sector. The resultant
Camilla Jarem,
bold package character, made
Cathrine Lie Hansen,
from recycled plastic, incorporates
This Catalan wine is produced

with a minimum of human inter-
Finne Stle Felberg
strong, fresh colors with white
vention. The design concept was
Client
backgrounds to help the product
based on the same premise. The
kologiske Norgrden
stand out on the shelf.
typography was laser-cut into

off-white cotton paper. Laser
This molded pulp egg carton
etching was used to create the
doesnt need to be recycled.
typography on the wooden box.
It goes directly into the
Essentials (Rockport)
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g
8
CA
CA
Project
compost heap.
Firm
Sunhouse Creative
<Multiple intersecting links>

Designer
Susie Hetherington
Client
Just Drinking Water
Aquapax water is contained in

an attractively designed paper
carton. The paper container
occupies less space and weighs
less than other containers. As
a result, it uses less energy to
transport. Also, the carton
is recyclable and biodegrades
quickly.
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BOOKS
BY
CATEGORY
CA
CA
Best Practices for

Graphic Designers,
Grids and Page
Layouts
An Essential Guide for

Understanding and Applying Page Design Principles
Amy Graver and Ben Jura
ISBN: 9781592537853
Item # 199795 AQ
6.75 x 9 in, 172 x 228 mm
250 color photos
in Asia, German, Chinese,
Portuguese, Italian, French
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
gRIds & LAyoUt
CA
Layout Essentials
Layout Workbook
100 Design Principles

for Using Grids
Beth Tondreau
ISBN: 9781592537075
Item # 193879 AQ
8.5 x 10 in, 216 x 254 mm
208 pages, PB
250 color photos
Rights sold: Spanish,
Portuguese, Japanese,
Korean, German, Dutch,
French, Chinese
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
Building Pages in Graphic
Design
Kristin Cullen
ISBN: 9781592533527
Item # 153293 AQ
9 x 9 in, 229 x 229 mm
240 pages, PB
500 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$29.95 CAN
I T I S I M P O RTA N T T O R E M E M B E R
CA
T h AT M A N Y D E V I C E S A R E
AVA I L A B L E T O M A k E L AYO U T S
Making and Breaking

the Grid
E xC I T I N G . T h E P U R P O S E
O F T h E G R I D I S T O P ROV I D E
A Graphic Design Layout

Workshop
Timothy Samara
ISBN: 9781592531257
Item # 153276 AQ
9 x 11 in, 228 x 280 mm
208 pages, PB
508 color photos
in Russia
Ct. Qty. 10
$25.00 US/16.99
UK/$34.95 CAN
C O N S I S T E N C Y T O T h E L AYO U T S ,
B U T N O T N E C E S S A R I LY
E xC I T E M E N TW h I C h W I L L B E
P ROV I D E D BY T h E S U M O F A L L
When thinking
thinking about
about aa book
book design,
design, the
the team
team at
at
When
Vignelli Associates
Associates first
first determines
determines the
the size
size of
of the
the book
book
Vignelli
based on
on the
the content,
content, to
to ensure
ensure that
that the
the grid
grid system
system
based
used to
to organize
organize the
the content
content will
will provide
provide structure
structure and
and
used
continuity from
from cover
cover to
to cover
cover without
without obscuring
obscuring
continuity
the content.
content. For
For example,
example, square
square pictures
pictures tend
tend to
to work
work
the
better
in
a
square
book
format
to
best
exhibit
the
better in a square book format to best exhibit the
content without
without cropping
cropping images.
images.
content
T h E E L E M E N T S I N T h E D E S I G N .
Massimo Vignelli,
Vignelli, Vignelli
Vignelli Associates
Associates
Massimo
16 Best
Best Practices
Practices for
for Graphic
Graphic Designers:
Designers: Grids
Grids and
and Page
Page Layouts
Layouts
16
40
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16
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(Fogra 39)
39) Job:02-28019
Job:02-28019 Title:RP-Best
Title:RP-Best Practices
Practices for
for Graphic
Graphic Designers
Designers
(Fogra
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Best Practices for Graphic Designers, Grids and Page Layouts
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m Vignelli
Vignelli Associates
Associates
ffiirrm
ntt Rizzoli
Rizzoli International
International
cclliieen
Vignelli Associates:
Associates: Approach
Approach to
to Grid-based
Grid-based Design
Design 17
17
Vignelli
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(Text)(RAY)
(RAY)
(Text)
After finessing
finessing the
the storyboard
storyboard and
and
After
getting the
the layout
layout just
just right,
right, the
the
getting
designers build
build each
each spread
spread using
using the
the
designers
storyboard as
as aa guide.
guide. Following
Following the
the
storyboard
sketches as
as closely
closely as
as possible
possible so
so as
as
sketches
not to
to negate
negate the
the work
work already
already done
done
not
establishes the
the cinematic
cinematic flow
flow of
of the
the
establishes
piece as
as aa whole.
whole.
piece
(RAY) (Text)
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2/9/12 9:12
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(RAY)
(Text)
(Fogra 39)
39) Job:02-28019
Job:02-28019 Title:RP-Best
Title:RP-Best Practices
Practices for
for Graphic
Graphic Designers
Designers
(Fogra
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2
45th Publication
Design Annual
Society of Publication
Designers
ISBN: 9781592536696
Item # 192546 AQ
9 x 12 in, 229 x 305 mm
336 pages, POB
1000 color photos
Ct. Qty. 6
$60.00 US/40.00
UK/$65.00 CAN
The Best of Cover

Design
Books, Magazines,
Catalogs, and More
Altitude Associates
ISBN: 9781592536894
Item # 193886 AQ
9 x 11 in, 229 x 279 mm
224 pages, HC
300 color photos
Ct. Qty. 6
$45.00 US/30.00
UK/$49.99 CAN
46th Publication
Design Annual
Designers
ISBN: 9781592537501
Item # 195027 AQ
9 x 12 in, 229 x 305 mm
336 pages, POB
1000 color photos
Ct. Qty. 6
$60.00 US/40.00
UK/$65.00 CAN
The Best of News

Design 31
Society for News Design

ISBN: 9781592536672
Item # 192555 AQ
9 x 12 in, 229 x 305 mm
272 pages, HC
800 color photos
Ct. Qty. 6
$60.00 US/40.00
UK/$65.00 CAN
47th Publication
Design Annual
Designers
ISBN: 9781592538225
Item # 200342 AQ
9 x 12 in, 229 x 305 mm
336 pages, POB
1000 color photos
Ct. Qty. 6
$65.00 US/40.00
UK/$72.00 CAN
BOOKS
BY
CATEGORY
PUBLICAtIon desIgn
RefeRenCe
The Best of News

Design 33

ISBN: 9781592538232
Item # 200343 AQ
9.25 x 12.25 in, 235 x 311 mm
272 pages, HC
800 color photos
Ct. Qty. 6
$65.00 US/40.00
UK/$72.00 CAN
41
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BOOKS
BY
CATEGORY
CoRPoRAte
CommUnICAtIons
The Best of Brochure

Design 11

Design 12
Kiki Eldridge
ISBN: 9781592538263
Item # 200346 AQ
9.25 x 11.25 in, 235 x 286 mm
224 pages, PB
450 color photos
in Japan
Ct. Qty. 10
$35.00 US/22.50
UK/$39.00 CAN
BEst of BusinEss card dEsign 9
The Best of the Best

of Brochure Design:
Volume II
Public
ISBN: 9781592538331
Item # 210576 AQ
9 x 11 in, 229 x 279 mm
224 pages, HC
300 color photos
Ct. Qty. 6
$45.00 US/30.00
UK/$49.99 CAN
Jason Godfrey, Willoughby

Design Group, Wilson Harvey,
and Cheryl Cullen
ISBN: 9781592537921
Item # 199800 AQ
9.25 x 11.25 in, 235 x 286 mm
352 pages, PB
800 color photos
in EU
Ct. Qty. 20
$19.99 US/14.99
UK/$21.99 CAN
162
163
intEractivous cardious
St. Bernadine Mission

Communications, Inc.
dEsign firm
001
spEcimEn
Jennifer Hicks
dEsignEr(s)
Andrew Samuel
art dirEctor
The Dog & Hydrant

cliEnt
notEs
Illustrator CS3; Metal dog tag, stickers
designlab, inc
dEsign firm
002
spEcimEn
Scott Gericke
dEsignEr(s)
Laura Burns Gericke

art dirEctor
designlab, inc
cliEnt
001
notEs
InDesign CS3, Illustrator CS3; Mohawk Superfine

Ultrawhite, 130 lb. Cover, eggshell finish
The Best of Business

Card Design 9
Rule29
ISBN: 9781592537907
Item # 199798 AQ
9 x 11 in, 229 x 279 mm
240 pages, PB
800 color photos
Rights sold: Hungarian
Ct. Qty. 10
A3 Design
dEsign firm
003
spEcimEn
Alan Altman
dEsignEr(s)
Amanda Altman
art dirEctor
carbonhouse
cliEnt
notEs
Illustrator CS3; 2x thick Classic Crest 130 lb.
Voicebox Creative
dEsign firm
004
spEcimEn
Voicebox Creative
dEsignEr(s)
Jacques Rossouw
art dirEctor
Sbragia Family Vineyards

cliEnt
notEs
Illustrator CS3
002
004
003
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The Best of Business Card Design 9
42
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Title: Estoril Fashion Art Festival Catalogue

Firm: MusaWorkLab
Art Director: MusaWorkLab
Designer: MusaWorkLab
Client: Associao ModaLisboa
Client Industry: Fashion
Printer: M2 Artes Grficas
Method: Offset
Paper: Fedrigoni paper
The variation in the cards reflects the

array of participants of the event.
Fonts: Didot, League Gothic, Linux Libertine.

Photographers: Jornal O Sculo, C.M.Cascais,
Luciana Cristhovan, Eugenio Recuenco,
Jose Manuel Ferrater, David Urbano, Daniel
RierA, Antoine Passerat, Luis Venegas, Carlos
Ramos, Paulo Segades, Lus de Barros, Pedro
Ferreira, Rui Aguiar
Illustrators: Maria Archer, MusaWorklab
Writers: Text by the authors
Designers Statement:
Catalog for cultural festival that put together
Portuguese and Spanish creative talents such
as Luis Venegas, Paco Rabane.
The festival incorporated exhibitions, fashion
shows and debates with names carefully summoned from the ranks of fashion, photography,
publishing, cinema, video art, public art, and
food design.
The enclosing case is simple and

sophisticated with type debossed
giving it a high-end feel.
118
119
120
121
Title: Estoril Fashion Art Festival Catalogue

Firm: MusaWorkLab
8331_127_06.tif
Although every card is quite different, the
primary typeface and black/red/white color
palette holds the pieces together visually.
43
The Best of Brochure Design 12
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2
BOOKS
BY
CATEGORY
Portfolios &
Promotions
1,000 Bags, Tags, &

Labels
Distinctive Designs for

Every Industry
Kiki Eldridge
ISBN: 9781592531837
Item # 153042 AQ
9 x 9 in, 229 x 229 mm
320 pages, PB
1000 color photos
language in Japan, Russia,
Asia excluding Japan and
India, Germany, Austria,
Switzerland, EU
Ct. Qty. 6
$40.00 US/27.50
UK/$56.00 CAN
1,000 Bags, Tags,

& Labels (mini)
1,000 More Greetings
Distinctive Design for

Every Industry
Kiki Eldridge
ISBN: 9781592535330
Item # 153360 AQ
6 x 6 in, 152 x 152 mm
440 pages, PB
1000 color photos
in Japan
Ct. Qty. 20
$19.99 US/12.99
UK/$21.95 CAN
Creative Correspondence
for All Occasions
Aesthetic Movement
ISBN: 9781592536405
Item # 192548 AQ
9 x 9 in, 229 x 229 mm
1000 color photos
in Japan, EU, Taiwan, Asia
Ct. Qty. 6
$40.00 US/25.00
UK/$44.00 CAN
CA
1,000 Indie Posters

John Foster
ISBN: 9781592536566
Item # 192530 AQ
9 x 9 in, 229 x 229 mm
1000 color photos
Ct. Qty. 6
$40.00 US/25.00
UK/$44.00 CAN
44
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1,000 Music Graphics

(mini)
A compilation of
packaging, posters, and
other sound solutions
Stoltz Design
ISBN: 9781592536634
Item # 192549 AQ
6 x 6 in, 152 x 152 mm
440 pages, PB
1000 color photos
in Japan
Ct. Qty. 20
$19.99 US/12.99
UK/$21.99 CAN
(RAY) (Text)
Building Design
Portfolios
Innovative Concepts for

Presenting Your Work
Sara Eisenman
ISBN: 9781592534388
Item # 153300 AQ
6.75 x 10 in, 171 x 254 mm
192 pages, PB
300 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$27.50 CAN
Design for Special

Events
500 of the Best Logos,

Invitations, and Graphics
Peleg Top
ISBN: 9781592534166
Item # 152920 AQ
9.25 x 9.25 in, 235 x 235 mm
320 pages, HC
600 color photos
Ct. Qty. 6
$50.00 US/30.00
UK/$55.00 CAN
De
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CA
Design Matters:
Portfolios 01

Todays Competitive
Market
Maura Keller
ISBN: 9781592536023
Item # 191712 AQ
8.25 x 10.25 in, 210 x 260 mm
250 color photos
Rights sold: Korean
Ct. Qty. 20
$24.99 US/16.99
UK/$31.99 CAN
Design: Portfolio
Self Promotion at Its Best

Craig Welsh
ISBN: 9781592538409
Item # 210770 AQ
8 x 11 in, 203 x 280
500 color photos
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
New Masters of
Poster Design
Poster Design for

the Next Century
John Foster
ISBN: 9781592534340
Item # 153199 AQ
9 x 12 in, 229 x 305 mm
256 pages, PB
400 color photos
Ct. Qty. 10
$30.00 US/19.99
UK/$32.95 CAN
New Masters of
Poster Design,
Volume 2
Poster Design for This

Century and Beyond
John Foster
ISBN: 9781592537365
Item # 195002 AQ
9 x 12 in, 229 x 305 mm
256 pages, PB w/jacket
400 color photos
Ct. Qty. 6
$40.00 US/25.00
UK/$44.00 CAN
Design Port1.pdf
Design: Portfolio
45
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2
BOOKS
BY
CATEGORY
ReseARCh &
InfoRmAtIon gRAPhICs
CA
A Designers
Research Manual
Succeed in Design by
Knowing Your Clients and
What They Really Need
Jenn and Ken Visocky OGrady
ISBN: 9781592535576
Item # 153304 AQ
6.75 x 10 in, 171 x 254 mm
192 pages, PB
300 color photos
Rights sold: Chinese, Korean
Ct. Qty. 10
$25.00 US/16.99
UK/$27.50 CAN
CA
CA
Information Design
Workbook
Graphic Approaches,
Solutions, and Inspiration
+ 30 Case Studies
Kim Baer
ISBN: 9781592536276
Item # 191707 AQ
9 x 9 in, 229 x 229 mm
240 pages, PB
500 color photos
Ct. Qty. 20
$20.00 US/14.99
UK/$25.00 CAN
Universal Methods
of Design
100 Ways to Research

Complex Problems,
Develop Innovative Ideas,
and Design Effective
Solutions
Bruce Hanington and
Bella Martin
ISBN: 9781592537563
Item # 195001 AQ
8.5 x 10 in, 216 x 254 mm
208 pages, HC
250 color photos
Rights sold: Chinese, Dutch,
Japanese, Korean, French,
German, Russian
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
CA
Visual Language for

Designers
Principles for Creating
Graphics that People
Understand
Connie Malamed
ISBN: 9781592537419
Item # 195004 AQ
9 x 11 in, 229 x 280 mm
240 pages, PB
300 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
Writing and Research

for Graphic Designers
A Designers Manual to
Strategic Communication
and Presentation
Steven Heller
ISBN: 9781592538041
Item # 199826 AQ
8 x 10 in, 203 x 254 mm
176 pages, HC
250 color photos
Ct. Qty. 6
$40.00 US/25.00
UK/$44.00 CAN
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33 ergonomic Analysis
Design Phase:
Ergonomic analysis provides an assessment of tools, equipment, devices,

workstations, workplaces, or environments, to optimize the fit, safety,
and comfort of use by people.
ergonomic analysis is performed as an evaluation of products or environments currently in use to
suggest improvements through corrective measures such as adaptations, adjustment, or equip-
1. Tannen, rob. Crimping Tools: An
Head
Head
ment replacement, or to inspire redesign. It may be conducted as a predesign analysis, through the
evaluation of comparable products or systems, or utilizing human studies, literature, and standards, to
establish ergonomic criteria for new design.
Whitepaper for Thomas & Betts, June 2009.
Shoulder
Shoulder
See also:
Elbow
Elbow
http: www.designingforhumans.com/
Hand
Hand
idsa/2010/06/ergonomic-analysis-for-tool-
Foot
Foot
ergonomic review of the State-of-the-Art.
Five interrelated criteria commonly used in ergonomic analysis are size, strength, reach, clearance,
redesign.html
and posture,1 ranging in scale from micro (finger, hand, tool) to macro (limb, body, environment).
2. extensive data sets of human dimensions
Size Anthropometry is the systematic measurement of people, used in the evaluation of existing tools
for size appropriateness, and for designing new tools and systems according to human scale.2
Strength The amount of manual force needed for effective use of products and systems encompasses the range of human criteria from finger strength in trigger-based actions, to hand strength for
gripping and force requirements, and limb, torso, and body strength for tasks such as lifting.
Same Position
are available in print and online. In design,
landmark text the measure of man published
Above: ergonomic analyses of human postures and

movements used to inform the design of library media
stations for the deichmannske main library in oslo,
norway. www.systemsorienteddesign.net
in 1959, and updated as the measure of man
courtesy of birger Sevaldson, ahO
dreyfuss and Associates is credited as

the authoritative resource for human
anthropometric data, stemming from the
and woman, first published in 1993. See:
Clearance Clearance describes the effective space required within and around tools and machinery
for safe, comfortable hand use, and minimum thresholds for avoiding obstacles in the environment.
Clearance is commonly based on accommodating the 95th percentile male, on the assumption that
this will account for use by all users equal or smaller in size.
Tilley, Alvin r., and Henry dreyfuss
Wide jaw opening provides

clearance for inserting/
removing terminals
Associates. the measure of man and woman.

new York: Wiley, 2001.
Cagan, Jonathan, and Craig vogel. creating

breakthrough products. Upper Saddle river,
nJ: Prentice-Hall, 2002.
Posture In assessing hand postures, tools and systems should avoid excessive deviation (lateral
movements left and right) or flexion (movements downward and upward) from a neutral position. For
example, ergonomic keyboards attempt to maintain a natural, neutral posture for the wrist. At body
scale, a healthy posture and the reduction of bending and stooping are critical to avoid discomfort,
fatigue, and long-term injury.
dul, Jan, and Bernard Weerdmeester.

ergonomics for beginners: a Quick reference
Guide. Boca raton, Fl: CrC Press, 2008.
Ideal
Crimpmaster 30 500
Panduit
CT 1570
T&B
T&B erG 4001 requires 18% less
force than its closest competitor.
erG 4001
Release mechanism
is accessed external
to handles for ease
of access
Tyco
Procrimper III
Contoured handle
with upper and
lower touch points
to support grip span
Grip Span (in inches)
Pheasant, Stephen, and Christine Haslegrave.

bodyspace: anthropometry, ergonomics and
the design of work. Boca raton, Fl: CrC
Above and right: ergonomic analysis of a crimping device

hand tool for Thomas & Betts. 3
Press, 2005.
Although ergonomic analyses are usually performed as objective, behavioral evaluations, it is important to also include qualitative assessments. For example, preference measures such as comfort
questionnaires can be used to compare and correlate physical measures with subjective perceptions.
High visibility
color coding
for size
Critical Zone
Further Reading
Applied Hand Force (in pounds)
Reach At a micro level, reach refers to the span of the hand, measured as the distance between touch
points in tool and equipment design, establishing grip requirements. At a macro level, reach is used to
establish and evaluate effective body positions, for the user to safely, effectively access operator controls, or components of a workstation, appliance, or architectural feature in the environment. reach
thresholds are typically established for the fifth percentile of females, assuming that if the smallest
user can grip or access, most users will be accommodated.
courtesy of rob tannen, bresslergroup
Grooved handle
overmolding provides
comfort, grip stability,
and durability
Behavioral
Attitudinal
72
Quantitative
Qualitative
Innovative
Adapted
Traditional
Exploratory
Generative
Evaluative
Handle cleat (foot)

grips surface for
optimal leverage
when crimping
Participatory
Observational
Self reporting
Expert review
Design process
See also 34. Evaluative Research 84. Task Analysis 94. Usability Testing
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ReseaRch MethoD synthesis / analysis techniqUe ReseaRch DeliveRable
34 evaluative research
Design Phase:
g
6
ReseaRch MethoD synthesis / analysis techniqUe
Evaluative research involves the testing of prototypes, products, or

interfaces by real potential users of a system in design development.
evaluative or evaluation research attempts to gauge human expectations against the designed
artifact in question, determining whether something is useful, usable, and desirable. This is the most
established form of research in design, stemming from a long history of product and interface testing in human factors, commonly known as user testing. To avoid connotations that the participants themselves are being tested, the term product testing is preferred. Furthermore, whereas
testing in the past focused primarily on performance measures to gauge variables such as speed
and accuracy in task completion, the emphasis in design evaluation is now more comprehensive,
collecting feedback on preference measures as well, including the aesthetic and emotional response
from users. evaluation research therefore encompasses methods that gauge human factors and
ergonomics, usability, aesthetic response, and emotional resonance.
1. See for example:

Kittur, Aniket, ed H. Chi, and Bongwon
Suh. Crowdsourcing for Usability: Using
Micro-Task Markets for rapid, remote, and
low-Cost User Measurements. proceedings
of chi, 2008.
See also:
Amazon Mechanical Turk: www.mturk.com
fivesecondtest: www.fivesecondtest.com
navflow: www.navflow.com
clicktest: www.theclicktest.com
evaluation research is ideally iterative, based on feedback from potential users in cyclical rounds of
concept and prototype development to refine product and interface details. evaluation should never
be reserved only for final product release, when design changes are potentially complicated and
expensive. However, evaluation research of existing products may be useful in early stage design
research, to inform new product development, for competing products or variations, or for complementary products within a system.
Further Reading
Barnum, Carol. usability testing essentials:
ready, Set . . . test! San Francisco, CA: Morgan
Kaufmann, 2010.
Hackos, JoAnn, and Janice redish. user and
The methodology of evaluation research may be tightly controlled, employing a scientific, experimental model typical in lab testing. The advantage of this model is the control over extraneous variables, but this may come at the expense of realism. depending on the fidelity of prototypes, testing
can also be conducted using flexible evaluations by people using products or prototypes in context
or approximate conditions of real-world use. The value of this approach is realism, but it may come
at the expense of control over other influencing variables.
task analysis for interface design.

new York: Wiley, 1998.
Tullis, Thomas, and William Albert. measuring
the user experience: collecting, analyzing,
and presenting usability metrics. San
Francisco, CA: Morgan Kaufmann, 2008.
new crowdsourcing opportunities afford online testing by volunteers to assess pages, navigation, and how users are engaging with prototype interface designs and wireframes, complete with
summarized data analysis and visualizations presented in graphs and heat maps.1 While evaluation
research should always encompass testing with potential users, other methods use expert evaluators to assess products and interfaces, such as cognitive walkthrough and heuristic evaluation.
When evaluation research is conducted following thorough exploratory and generative research, it
often needs only to serve a verification purpose, to assess how well designers have responded to
input from users as they iterate and refine their designs.
evaluation research can be conducted through a range of

formal and informal means. Here stakeholder evaluations
were informally invited through a public display of
prototypes for a proposed new signage program in the
School of design at Carnegie Mellon University.
Behavioral
Attitudinal
74
Quantitative
Qualitative
Innovative
Adapted
Traditional
Exploratory
Generative
Evaluative
Participatory
Observational
Self reporting
Expert review
Design process
See also 01. A/B Testing 46. Heuristic Evaluation 87. Think-aloud Protocol
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2
BOOKS
BY
CATEGORY
Working Designers
100 Habits of
Successful Freelance
Designers
Insider Secrets for

Working Smart & Staying
Creative
Steve Gordon Jr.
ISBN: 9781592535125
Item # 153073 AQ
8.25 x 10.25 in, 210 x 260 mm
192 pages, HC
300 color photos
Ct. Qty. 6
$40.00 US/24.99
UK/$43.95 CAN
365 Habits of
Successful Graphic
Designers
The Design
Entrepreneur
Insider Secrets from

Top Designers on
Working Smart and
Staying Creative
Laurel Saville, Steve Gordon
Jr., Joshua Berger, and
Sarah Dougher
ISBN: 9781592537372
Item # 195015 AQ
8 x 10 in, 203 x 254 mm
496 pages, PB
900 color photos
in Asia
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
Turning Graphic Design

Into Goods That Sell
Steven Heller and
Lita Talarico
ISBN: 9781592537068
Item # 193876 AQ
6.75 x 10 in, 171 x 254 mm
240 pages, PB
500 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
L
a
p
o
CA
Graphic Design
That Works
48
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Secrets for Successful

Logo, Magazine, Brochure,
Promotion, and Identity
Design
Rockport Publishers
ISBN: 9781592532797
Item # 153287 AQ
6.75 x 8.25 in, 171 x 210 mm
352 pages, PB
600 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$35.00 CAN
(RAY) (Text)
CA
Managing the Design

Process-Concept
Development
An Essential Manual for
the Working Designer
Terry Lee Stone
ISBN: 9781592536177
Item # 191720 AQ
8 x 10 in, 203 x 254 mm
200 color photos
Ct. Qty. 6
$40.00 US/25.00
UK/$44.00 CAN
Managing the Design

ProcessImplementing Design
An Essential Manual for

the Working Designer
Terry Lee Stone
ISBN: 9781592536191
Item # 192564 AQ
8 x 10 in, 203 x 254 mm
200 color photos
Rights sold: Chinese, German
Ct. Qty. 6
$40.00 US/25.00
UK/$44.00 CAN
001-27
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2
The Anatomy of
Design
Atlas of Graphic
Designers
D ES IG N : PA P ER
Design: Paper
A Seductive
Collection of Alluring
Paper Design
Public School
ISBN: 9781592537716
Item # 195056 AQ
8 x 10 in, 203 x 254 mm
1000 color photos
in Asia
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
Elena Stanic and

Corina Lipavsky
ISBN: 9781592536641
Item # 192552 AQ
9 x 11 in, 229 x 279 mm
600 pages, PB
1000 color photos
in Asia
Ct. Qty. 6
$30.00 US/19.99
UK/$33.00 CAN
Uncovering the
Influences and
Inspiration in Modern
Graphic Design
Steven Heller and Mirko Ilic
ISBN: 9781592535545
Item # 153207 AQ
10 x 10 in, 254 x 254 mm
208 pages, PB
1400 color photos
Ct. Qty. 10
$30.00 US/18.99
UK/$32.95 CAN
62
C LOSE R LOOK
BOOKS
BY
CATEGORY
63
D E S I G N : PA P E R
138
Hatch Design
USA
general Design
& Creativity
PAC KAG I N G
139
Jamie Nash
USA
CLOSER LOOK
Watson and Company
USA
Launched in 2009 by Daniella Luxembourg

and Amaila Dayan, Luxembourg & Dayan is a
private gallery located in the Upper East Side
of Manhattan.
Simple, thoughtful paper choices are

combined with beautifully set type to
create an elegant identity.
The chipboard is a nice contrast

to the refined materials.
A single color helps the

identity stand out from
an otherwise traditional
black-and-white gallery
color palette.
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2
BOOKS
BY
CATEGORY
Design School
general Design
& Creativity
178
Sketchbook
Extraordinary Class
Projects From
International Design
Schools
Steven Heller and
Lita Talarico
ISBN: 9781592537594
Item # 195005 AQ
6.75 x 10 in, 171 x 254 mm
224 pages, PB
300 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
design school
the projects
179
Conceptual Drawings
from the Worlds Most
Influential Designers
Timothy ODonnell
ISBN: 9781592537341
Item # 195030 AQ
9 x 11 in, 229 x 279 mm
192 pages, PB
300 color photos
in Asia
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
180
design school
the projects
Color y Carnaval
The Transparent Cover
University of Bogot Jorge Tadeo Lozano
Autonomous Metropolitan University,

Azcapotzako Campus
Bogot D.C., Colombia
181
design as a fundamental
bian popular culture.
element of the Colom-
42
41
Mexico City, Mexico

Class: Basic Design
Level: First year
Faculty: Diego Giovanni Bermdez Aguirre
Duration of Project: Six Weeks
project goal
Develop color, form, structure, and space by
studying the figures, masks, and dances of the
Carnival of Barranquilla.
project brief

El
Torito

La
Marimonda

El
Monocuco
This project is based on an analytical reading

of the Carnival of the city of Barranquilla (a
Cultural Patrimony of Humanity, according to
UNESCO) from the point of view of its overall
design and its fundamental components. Each
student analyzes the text for its form, color,
texture, movement, and structure, relating to
project outcome
Student: Alex Rodriguez
Student: Laura Nieto
Student: Diana Mosquera
The exercise resulted in the design of a series of

posters that picked up the essential elements of
each aspect examined and that, moreover, were
within the framework set out by the International Congress of Graphic Design, established in
Merida, Venezuela, in November 2004.
The Torito represents the tradition and strength of the carnival, shown in the bull-faced
mask and the handling of the
colors of the national flag.
The Marimonda is known

for gratitude and overflowing joy, elements that are
expressed with complementary and warm colors.
The carnival is an example

of joy and diversion through
movement and spontaneity,
which the poster reveals in its
warm trowel of color and defined curvilinear forms.

El

El
Rey Momo
Student: Luisa Luna
The structure demonstrates the results of the

analysis of the carnival text. It is the fundamental element from which comes the diverse
possibilities, in terms of form and color, for the
poster of King Momo.
This poster objectively expresses by means of

dynamic forms and primary colors (present in
the Colombian flag) the magnificence and authenticity of the Great Congoone of the most
important dances of the carnival.

La
Negrita Puloy
Student: Estefania Mayolo
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Student: Carlos Rivera

Student: Dulce Hernandez
The image of a half-full sack in which the harvest is deposited is evidence of the insufficiency
of the production of an arid land. The glare is associated to a certain extent with a blaze and the
text has a suitable contrast for readability.
This flame is awesome and devastating, and the

text is placed in the space allowed by the photo.
I have not reduced the size of the typography of
the authors name because I consider it to be as
important as the books title.
project brief
Congo Grande
Student: Alejandro Guerrero
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Redesign the cover of the popular book El Llano

en llamas (The Burning Plain) by Juan Rulfo,
one of the most internationally renowned of
Mexican writers. It is a book of short stories that

deals with conditions of rural life at the time of
the Mexican Revolution, highlighting social contrasts, the struggle for land, religion, and politics.
The students have to read the book thoroughly
and make assessments of the covers of previous
editions. The cover trim is 4.5 6.5 inches (11.5
16.5 cm) and the printing is four color. The method
for carrying out the project comprises three stages:
defining the need for the design, determining the
design direction, then creating the book cover.
Class: Design of Messages III

Level: Second Year
Faculty: Felix Beltran
Duration of Project: One Month
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El
Descabezado
Student: Carlos Mendoza
The essential elements of the

figure of the Negrita Puloy are
manifested in curved forms juxtaposed with luminous colors.
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The headless Descabezado (left-without-a-leader) represents the

violence lived in Colombia for decades. Asymmetry, resistance,
and sharpness serve to represent this carnival personage.
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Student: Christian Alvarez

Student: Luis Baltazar

Student: Liliana Linares
I wanted to reflect the metaphor of the principal story and

accentuate a dramatic scene.
The heavy letters are compatible with the rest of the scene.
I opted for an enflamed scene

of rural workers to describe a
situation that continues to
exist in Mexico.
I decided to use a photograph

of a peasant for my work, since
I consider them to be the main
subject of these stories. The reddish tones evoke the fire of the
Mexican Revolution.

Student: Elizabeth Mandujano

Student: Miryam Cervantes

Student: Gabriela Maciel
I decided to make the blaze

more evident than that of
other proposals. The peasants appearing in one corner
are defenseless before the immense flames.
I tried to make the background

black to accentuate the dramatic quality of the flames.
The typography is condensed;
I now believe it could have
been a little bolder.
I wanted to reflect the conditions of the countryside described in the stories using a
photograph of the peasants
emerging from the blaze.
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1,000 Ideas by 100
Manga Artists
Cristian Campos
ISBN: 9781592537143
Item # 193871 AQ
9 x 9 in, 229 x 229 mm
1000 color photos
Ct. Qty. 10
$24.99 US/16.99
UK/$27.99 CAN
1,000 Ideas for

Graffiti and Street Art
Murals, Tags, and More
from Artists Around
the World
Cristian Campos
ISBN: 9781592536580
Item # 192529 AQ
9 x 9 in, 229 x 229 mm
1000 color photos
in EU
Ct. Qty. 6
$40.00 US/25.00
UK/$44.00 CAN
BOOKS
BY
CATEGORY
Creating Comics!
47 Master Artists Reveal

the Techniques and
Inspiration Behind Their
Comic Genius
Judith Salavetz and
Spencer Drate
ISBN: 9781592536412
Item # 192556 AQ
8 x 10 in, 203 x 254 mm
176 pages, PB
200 color photos
Ct. Qty. 10
$30.00 US/20.00
UK/$33.00 CAN
Morning Breath
art & illustration
{INTERVIE W }
b r o o K Ly n , n E W yo r K , u . s . A .
oPPosItE PAGE : Inside the Morning
Breath studio: Jason Noto (left) and
Doug Cunningham (right), 2010.
LEF t: Morning Breath Early Bird
Icon, 2002.
rIGHt: Deck for Atlas, Artist series
board design, 2010.
Morning breath is the name of a two-man design

studio based in brooklyn, new york. Jason noto
and doug cunningham first met in san Francisco
while working for think skateboards, deciding
in 2002 to strike out on their own to do the work
we love for people we like. their collaborations
include working with companies such as Atlas,
Zoo york, Adrenalin skateboards, and circuit
Wheels.
Take us through a typical day at Morning Breath.
What does your space look like, when does your
workday start, and what kind of projects do you
work on?
Inside the World of

Board Graphics
Skate, Surf, Snow
Robynne Raye and
Michael Strassburger
ISBN: 9781592537181
Item # 193941 AQ
9 x 11 in, 229 x 279 mm
300 color photos
Ct. Qty. 10
$35.00 US/25.00
UK/$39.00 CAN
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Our days at Morning Breath are anything but typical.

We usually arrive between ten and eleven oclock in
the morning. A lot of our projects are bicoastal, so
it makes sense to start late and end a bit late. Most
of our days begin with a quick powwow to discuss
what needs to happen that daywhich project is
on fire.. Some days, our projects are straightforward
design; other days, they are looser, a blend of illustration and our brand of design. When were waiting
on feedback from a client, well use that time to
take care of the business side of thingsinvoicing,
catching up on emails, sending out orders from our
store, and so on. We also do a lot of painting and
personal projects. Finding time for those projects
can be challenging, but weve become pretty good
at juggling.
Masters of
Science Fiction and
Fantasy Art
A Collection of the Most

Inspiring Science Fiction,
Fantasy, and Gaming
Illustrators in the World
Karen Haber
ISBN: 9781592536757
Item # 193881 AQ
9 x 12 in, 229 x 305 mm
224 pages, PB
400 color photos
Ct. Qty. 10
$30.00 US/20.00
UK/$33.00 CAN
(RAY) (Text)
Our studio is on the tenth floor of a building

on the Brooklyn waterfront. We have a really cool
view of Manhattan outside our window. The inside
of the studio is divided into a painting/make-a-mess
space near the windows in the rear and a more
organized computer/workstations space in the front.
In the center, we have a pool table for those moments of procrastination.
I read that you tag team when you create work. Noto
does the design and Cunningham the illustration.
Can you describe your process for creating a

board design?
A lot of our style and method for creating board

graphics is similar to how we did it at Think
Skateboards in the mid-nineties. If we have a solid
concept or are creating a very loose abstract design,
we usually start with an illustration of some sort
and typographic elements. For a lot of our work,
we want to achieve a slightly vintage feel, and to do
this we use an archive of old typefaces along with
specific techniques. Once the design and illustration
are put in place we both give it a critique, and share
suggestions and opinions on making it better.
Have you noticed any difference in the design
culture between the West Coast and East Coast?
We met while working at Think in 1996 in San

Francisco. At the time, most skateboard companies
were on the West Coast. The East Coast skateboard
scene had been growing, but wasnt yet as big as
the California scene. Over the next decade, the
scenes began to merge, with many people in that
industry going bicoastal, including the pro skaters.
This brought the urban street culture of New York
City to the skate scene of California, which was
still a bit more punk rock and vice versa. This
merging of influences is now apparent in the
graphics on boardsthey are no longer regional.
Its rare to find such a strong partnership as
professionals and friends. Why do you think
you work so well together?
We have a tremendous amount of respect for each

other, and when we walk into the studio, we leave
our egos at the door. We have our moments, as I
assume most business partners do, but any differences are settled quickly, and neither of us will hold
a grudge. We both take pride in our work; but work
is not everything. Both of us have families, and
over the years, I suppose we have become family
as well.
SKATE 15
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BOOKS
BY
CATEGORY
arChiteCture, interior
Design & ProDuCt Design
CA
1,000 Ideas by
100 Architects
Sergi Costa Duran and

Mariana R. Eguaras
ISBN: 9781592535736
Item # 158907 AQ
9 x 9 in, 229 x 229 mm
320 pages, PB
1000 color photos
Ct. Qty. 6
$40.00 US/24.99
UK/$49.99 CAN
1,000 Product
Designs
Form, Function,
and Technology from
Around the World
Eric Chan
ISBN: 9781592536382
Item # 192550 AQ
9 x 9 in, 229 x 229 mm
1000 color photos
in EU
Ct. Qty. 6
$40.00 US/25.00
UK/$44.00 CAN
The Architecture
Reference &
Specification Book
Everything Architects
Julia McMorrough
and Dan Wheeler
ISBN: 9781592538485
Item # 210659 AQ
5.46 x 7.83 in, 139 x 199 mm
272 pages, PB
750 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
036-06
036-06
The Architecture Reference & Specification Book
Gr
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CA
CA
CA
Color, Space,
and Style
Deconstructing
Product Design
All the Details Interior

but Can Never Find
Chris Grimley and Mimi Love
ISBN: 9781592532278
Item # 153184 AQ
5.75 x 8.25 in, 145 x 210 mm
288 pages, PB
350 color photos
Rights sold: Korean, Spanish,
Chinese, English language in
SE Asia
Ct. Qty. 10
$30.00 US/19.99
UK/$37.50 CAN
Graphic Design
and Architecture,
A 20th-Century
History
Exploring the Form,

Function, Usability,
Sustainability, and
Commercial Success of
100 Amazing Products
William Lidwell
and Gerry Manacsa
ISBN: 9781592537396
Item # 195028 AQ
8.5 x 10 in, 216 x 254 mm
240 pages, PB
100 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
HC ISBN: 9781592533459
$40.00 US/24.99
UK/$49.99 CAN
Hotel Spaces
Montse Borras
ISBN: 9781592534326
Item # 153067 AQ
9.75 x 10.5 in, 248 x 267 mm
216 pages, HC
300 color photos
Ct. Qty. 6
$40.00 US/27.50
UK/$43.95 CAN
A Guide to Type, Image,

Symbol, and Visual
Storytelling in the
Modern World
Richard Poulin
ISBN: 9781592537792
Item # 199783 AQ
8.5 x 10 in, 216 x 254
272 pages, HC
300 color photos
Ct. Qty. 6
$55.00 US/35.00
UK/$60.00 CAN
THE iMPACT OF iNVENTiON

18791933
ModernisM and The inTernaTional sTyle 19501979
BarBara sTauffacher soloMon and

sea ranch
1966
Lyon, France
At the beginning of the twentieth century, change appeared everywhere. In civilized cultures throughout the world, traditional beliefs
were starting to be overshadowed by emerging new ideas. A flood
of groundbreaking innovations and inventions redefined the architecture and built environment and forever transformed the nowindustrialized modern world.
In the 1870s, the invention of electricity and the incandescent
lightbulb by Thomas Alva Edison (18471931) ultimately enhanced
the way in which people interacted with one another and with the
built environments they lived in. Communication was also dramatically altered in the late nineteenth century by the introduction
of the telephone by Alexander Graham Bell (18471922) and his
assistant, Thomas Watson (18541934).
The development of the first commercially successful internal combustion engine in 1858 by Belgian engineer tienne Lenoir
(18221900) and improvements to the assembly line technique of
mass production by American industrialist Henry Ford (18631947)
in the early 1900s, revolutionized the manner in which people traveled from destination to destination, ultimately allowing them to
sea ranch suPergraPhics

sonoma county, california, usa
Barbara Stauffacher Solomon (b. 1928), Designer
San Francisco, California, USA
explore every corner of the world.

At the beginning of the century, there were approximately
8,000 automobiles in the United States. In 1906, President Theodore Teddy Roosevelt (18581919) initiated American domestic
tourism by encouraging Americans public to take to the road and
See America First. Americans love affair with the new automo-
156
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op art, abstract expressionism, and the International Style. A critical characteristic to the success and brilliance of these supergraphics was
that they moved up building surfaces, around
corners, changing directions, making interior
things contemporary architecture needs more

than a sensitive symbiosis with color, texture,
Moore (19251993) of Moore, Lyndon, Turnbull

& Whitaker and landscape architect Lawrence
Halprin (19162009) in the vernacular style of
spaces appear larger and more engaging.

The art and architectural historian Sibyl
Moholy-Nagy (19031971) summarized Solo-
*The term supergraphics is attributed to C. Ray

Smith (19291988), architectural writer and
critic, who described this new movement in
the rugged coastline of northern California.

Born in San Francisco in 1928, Solomon
initially studied fine art at the San Francisco
mons influence on architecture and the built

environment of this era bestthere are few
architecture as not a decorative device . . . but,

a spatial experimentation.
and shape. There is a joyous element in Miss

Stauffachers art which lifts the spirit, and creates an environmental identity which is usually
lacking in our Miesian heritage.
uniMarK and
The new yorK ciTy suBway sysTeM
178) at the Kunstgewerbeschule in Basel.

Supergraphics was the moniker given initially to an architectural movement in the 1960s
and 1970s that gave architects (and, ultimately,
graphic designers) the creative freedom to
remove solidity, gravity, and even history by
the application and manipulation of building
surfaces. For most design historians, Sea
Ranch represented the pivotal starting point
of this movement; however, a precursor to this
groundbreaking project occurred in 1962 with
Robert Venturis (b. 1925) Grands Restaurant
(1960; see page 183), where he integrated
large-scale, mirror-image, stencil letterforms
to the restaurants interior.
The wall graphics at Sea Ranch were an
obvious and direct extension of the architectural
forms and profiles of the building architecture,
as well as reflective of Solomons rigorous,
modernist education at Basel. They transformed
the interior spaces with fundamental graphic
design elementsbold stripes, geometric
forms, vibrant primary colors, and truncated
New and revolutionary explorations in art and architecture

around the world also inevitably influenced graphic design in the
(Ray)
letterforms with obvious visual references to

influential art movements of the timepop art,
for Sea Ranch, a residential community in

Sonoma County, California. Sea Ranch, noted
for its distinctive contemporary architecture of
simple timber-frame structures clad in wood
siding and shingles, was designed by Charles
Art Institute before traveling to Switzerland to

study with renowned modernist graphic design
and teacher Armin Hofmann (b. 1920; see page
bile and their desire to be mobile and explore the open road grew,
and with it came the development of the countrys city, state, and
federal road systems; service stations, motor courts, and motels.
036-063_28810.indd 38
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Barbara Stauffacher Solomon pioneered the

use of Supergraphics* in 1966 with her work
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The PosTwar world 19502000
Paris, France
Hector Guimard (18671942), Architect
1966
new york city transit authority
graPhics standards
new york, new york, usa
Unimark International (est. 1965), Designers
New York, New York, USA
After completing his architectural studies in

Milan and Venice in 1960, Massimo Vignelli
(b. 1931) moved to the United States. In 1965,
Vignelli became cofounder and design director
of Unimark International, at the time, one of the
largest graphic design consulting firms in the
world, with more than 400 employees in fortyeight offices worldwide.
Unimark was created by Vignelli and
Ralph Eckerstrom (19241996), former design
director of Container Corporation of America
(CCA). The pair had first met in Chicago in 1958

while Vignelli was teaching at the Institute of
Design at the Illinois Institute of Technology on
a Moholy-Nagy Fellowship. Both men shared a
similar design philosophy and were determined
to bridge the gap between American marketing principles and European modernist graphic
design. Unimarks philosophy was based on a
disciplined and systemized approach for creating effective and rational mass visual communications for their clients; solutions that provided
the means by which an individual could implement any aspect of a graphic program in an
efficient and effective manner. During the 1960s
and 1970s, Unimark and Vignelli designed many
of the worlds most recognizable corporate
identities and public information systems for
clients such as American Airlines, Ford Motor
Company, Knoll International, and the New York
City Transit Authority.
In 1966, Unimark was asked to design comprehensive graphic standards for the New York
City subway systemthe oldest and largest
complex networks of mass transit in the world.
The system was originally formed in 1940,
when the citys three independent railway lines
mergedthe Interborough Rapid Transit (IRT;
see page 52), the BrooklynManhattan Transit
(BMT), and the Independent (IND). The current
III
Paris Metro Entrances, 1898
continued on page 158
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Graphic Design and Architecture, A 20th-Century History
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2
BOOKS
BY
CATEGORY
arChiteCture, interior
Design & ProDuCt Design
CA
The Industrial Design

Reference &
Specification Book
Everything Industrial
Everyday
Dan Cuffaro and
Isaac Zaksenberg
ISBN: 9781592538478
Item # 210664 AQ
5.46 x 7.83 in, 139 x 199 mm
264 pages, PB
300 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
CA
Inside Out
A Visual Tour of Outdoor

Kitchens, Garden Living
Rooms, and More
Daniela Santos Quartino
ISBN: 9781592535064
Item # 153355 AQ
6.5 x 7 in, 165 x 178 mm
304 pages, HC
500 color photos
Ct. Qty. 20
$19.99 US/12.99
UK/$24.99 CAN
The Interior Design

Reference &
Specification Book
Everything Interior
Everyday
Chris Grimley, Mimi Love,
and Linda OShea
ISBN: 9781592538492
Item # 210660 AQ
5.46 x 7.83 in, 139 x 199 mm
288 pages, PB
600 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
CA
Materials, Structures,
and Standards
54
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All the Details Architects

Need to Know But Can
Never Find
Julia McMorrough
ISBN: 9781592531936
Item # 153182 AQ
5.75 x 8.25 in, 145 x 210 mm
264 pages, PB
350 color photos
Ct. Qty. 10
$30.00 US/16.99
UK/$42.00 CAN
(RAY) (Text)
Sustainable
Environments
Yenna Chan
ISBN: 9781592535040
Item # 153303 AQ
9 x 11 in, 229 x 280 mm
192 pages, PB
400 color photos
Ct. Qty. 10
$25.00 US/17.99
UK/$27.50 CAN
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1,000 Ideas by 100

Fashion Designers
Carolina Cerimedo
ISBN: 9781592535729
Item # 158947 AQ
9 x 9 in, 229 x 229 mm
320 pages, PB
1000 color photos
Ct. Qty. 6
$40.00 US/24.99
UK/$49.99 CAN
CA
Essential Fashion
Illustration
Maite Lafuente
ISBN: 9781592532537
Item # 153124 AQ
8.5 x 10 in, 216 x 254 mm
192 pages, PB
250 color photos
Ct. Qty. 10
$35.00 US/27.50
UK/$48.00 CAN
Atlas of Fashion
Designers
Laura Eceiza
ISBN: 9781592536610
Item # 192553 AQ
9 x 11 in, 229 x 279 mm
600 pages, PB
1000 color photos
Ct. Qty. 6
$30.00 US/19.99
UK/$33.00 CAN
CA
Essential Fashion
Illustration: Color
and Medium
Estel Vilaseca
ISBN: 9781592534302
Item # 153132 AQ
8.5 x 10 in, 216 x 254 mm
192 pages, PB
250 color photos
Ct. Qty. 10
$35.00 US/19.99
UK/$38.95 CAN
Contemporary
Fashion Illustration
Techniques
Naoki Watanabe
ISBN: 9781592535569
Item # 153319 AQ
7.87 x 10 in, 200 x 254 mm
128 pages, PB
500 color photos
Rights sold: German
Ct. Qty. 40
$22.99 US/14.99
UK/$23.95 CAN
BOOKS
BY
CATEGORY
Fashion Design
CA
Essential Fashion
Illustration: Digital
Loreto Binvignat Streeter

ISBN: 9781592536320
Item # 191718 AQ
8.5 x 10 in, 216 x 254 mm
192 pages, PB w/CD
300 color photos
Ct. Qty. 10
$35.00 US/25.00
UK/$39.00 CAN
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BY
CATEGORY
Fashion Design
CA
Fashion Design,
Referenced
56
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A Visual Guide to the

History, Language,
and Practice of Fashion
Alicia Kennedy, Emily Banis
Stoehrer, and Jay Calderin
ISBN: 9781592536771
Item # 193940 AQ
8.5 x 10 in, 216 x 254 mm
416 pages, HC
750 color photos
Ct. Qty. 6
$55.00 US/35.00
UK/$60.00 CAN
CA
Essential Fashion
Illustration: Men
Chidy Wayne
ISBN: 9781592535057
Item # 153133 AQ
8.5 x 10 in, 216 x 254 mm
192 pages, PB
750 color photos
Ct. Qty. 10
$35.00 US/19.99
UK/$39.00 CAN
CA
Fashion Details
1,000 Ideas from

Neckline to Waistline,
Pockets to Pleats
Macarena San Martin
ISBN: 9781592537167
Item # 193869 AQ
9 x 11.5 in, 229 x 292 mm
384 pages, PB
1000 color photos
Rights sold: Hungarian,
Italian, Chinese, English
language in Taiwan
Ct. Qty. 10
$40.00 US/27.50
UK/$44.00 CAN
(RAY) (Text)
CA
Fashion Design
Essentials
CA
100 Principles of Fashion

Design
Jay Calderin
ISBN: 9781592538270
Item # 200347 AQ
8.5 x 10 in, 216 x 254 mm
208 pages, PB
200 color photos
Ct. Qty. 10
$29.99 US/20.00
UK/$32.99 CAN
HC ISBN: 9781592537013
$40.00 US/27.50
UK/$44.00 CAN
The Fashion Design

Reference &
Specification Book
Everything Fashion
Everyday
Jay Calderin and
Laura Volpintesta
ISBN: 9781592538508
Item # 210661 AQ
5.46 x 7.83 in, 139 x 199 mm
288 pages, PB
400 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
CA
Techniques
A Super Reference Book

for Beginners
Zeshu Takamura
ISBN: 9781592537952
Item # 199803 AQ
8.5 x 11 in, 216 x 279 mm
224 pages, PB
500 color photos
Ct. Qty. 20
$27.99 US/18.99
UK/$29.99 CAN
Field Guide: How to

be a Fashion
Designer
Marcarena San Martin
ISBN: 9781592534913
Item # 153206 AQ
6.75 x 9 in, 171 x 229 mm
192 pages, PB
400 color photos
Rights sold: German,
in Asia
Ct. Qty. 10
$30.00 US/18.99
UK/$37.50 CAN
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CA
CA
Form, Fit, and

Fashion
All the Details Fashion

But Can Never Find
Jay Calderin
ISBN: 9781592535415
Item # 158909 AQ
5.75 x 8.25 in, 145 x 210 mm
288 pages, Vinyl
500 color photos
Rights sold: German, Chinese
Ct. Qty. 10
$30.00 US/18.99
UK/$37.50 CAN
226
Dissemination
The Poetry of Fashion

Design
A Celebration of the
Worlds Most Interesting
Fashion Designers
Paz Diman
ISBN: 9781592537150
Item # 193873 AQ
7 x 10 in, 178 x 254 mm
384 pages, PB
2000 color photos
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
Presentation
Beyond
Dissemination
What is Fashion
Design?
Gurmit Matharu
ISBN: 9782888930082
Item # 153443 AQ
7 x 9 in, 178 x 229 mm
256 pages, PB
200 color photos
North American rights only
Ct. Qty. 20
$30.00 US/25.00
UK/$33.00 CAN
Presentation
Beyond
227
Theatre of Fashion: McQueen
Photo by Eric Ryan, Getty Images.

Photo by Eric Ryan, Getty Images.
Alexander McQueen pushed the fashion show beyond extravagant fantasy into the realm of conceptual and performance art. In one groundbreaking show after another, he splattered his models with blood and
dirt, surrounded them with fire, drenched them with rain, sent them
through water, over a bed of nails, into wind tunnels, and soaring above
the audience, had them escort wolves down the catwalk, iceskate in a
snowy landscape, and wage battle around a giant chessboard.
For one collection in 2001, beautiful madhouse figures inhabited a
two-way mirrored box out of which suddenly emerged a tableau vivant
of a Joel-Peter Witkins moth-covered nude; for another in 2009, twisted
blow-up dolls circumnavigated a blackened scrapyard of props from
past shows.
Photo by firstVIEW.
Photo by firstVIEW.
The discomforting narratives of McQueens dramatic mise-en-scnes,

balanced against the exquisiteness of his clothing, challenged as much
as enthralled his audience. One particularly evocative show, in 2004,
reenacted Sydney Pollacks They Shoot Horses, Don't They?, a film set
against a Depression-era dance marathon. Relentlessly circling the
dance floor, couples shimmied, strutted, raced, staggered, and finally
collapsed in exhaustion. Never one to water down the raw emotion of
his productions, McQueen tantalized with what fashion might have to
say about the human condition.
TopTop
Alexander
Alexander
McQueen,
McQueen,
Fall/Winter
Fall/Winter
2006/07
2006/07
Middle
Middle
Fall/Winter
Fall/Winter
2009/10
2009/10
Above
Above
Spring/
Spring/
Summer
Summer
1999
1999
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Photo by Victor Boyko, Getty Images.

Photo by Victor Boyko, Getty Images.
Photo by Dominique Charriau, WireImage.

Photo by Dominique Charriau, WireImage.
The technical wizardry that McQueen brought to his stagecraft created

indelible images: Shalom Harlow spinning in a white strapless trapeze
dress, slowly spray painted by robotic guns; Kate Mosss holographic
figure in floating organza materializing within a pyramidal structure;
the other-worldly creatures of Platos Atlantis quietly parading past the
camera tracks that streamed them live online.
Spring/Summer 2010
001-416_29436.indd 227
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Fashion Design, Referenced
024-059_30084.indd 57
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Left Alexander McQueen,
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ROCKPORT
BOOKS
BY
SERIES
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3
1,000 Bags, Tags &
Labels
Distinctive Designs for

Every Industry
Kiki Eldridge
ISBN: 9781592531837
Item # 153042 AQ
9 x 9 in, 229 x 229 mm
320 pages, PB
1000 color photos
language in Japan, Russia,
Asia excluding Japan and
India, Germany, Austria,
Switzerland, EU
Ct. Qty. 6
$40.00 US/27.50
UK/$56.00 CAN
1,000 Ideas by 100

Architects
Sergi Costa Duran and
Mariana R. Eguaras
ISBN: 9781592535736
Item # 158907 AQ
9 x 9 in, 229 x 229 mm
320 pages, PB
1000 color photos
Ct. Qty. 6
$40.00 US/24.99
UK/$49.99 CAN
1,000 Bags, Tags &

Labels (mini)
Distinctive Design for

Every Industry
Kiki Eldridge
ISBN: 9781592535330
Item # 153360 AQ
6 x 6 in, 152 x 152 mm
440 pages, PB
1000 color photos
in Japan
Ct. Qty. 20
$19.99 US/12.99
UK/$21.95 CAN
1,000 Ideas by 100

Fashion Designers
Carolina Cerimedo
ISBN: 9781592535729
Item # 158947 AQ
9 x 9 in, 229 x 229 mm
320 pages, PB
1000 color photos
Ct. Qty. 6
$40.00 US/24.99
UK/$49.99 CAN
1,000 Icons, Symbols, and Pictograms

(mini)
Visual Communication
for Every Language
Blackcoffee Design
ISBN: 9781592535323
Item # 153359 AQ
6 x 6 in, 152 x 152 mm
432 pages, PB
1000 color photos
Ct. Qty. 20
$19.99 US/12.99
UK/$21.95 CAN
1,000 Ideas by 100

Graphic Designers
Matteo Cossu
ISBN: 9781592535743
Item # 158906 AQ
9 x 9 in, 229 x 229 mm
320 pages, PB
1000 color photos
Ct. Qty. 6
$40.00 US/24.99
UK/$49.99 CAN
BOOKS
BY
SERIES
1,000 SERIES
1,000 Ideas by 100

Manga Artists
Cristian Campos
ISBN: 9781592537143
Item # 193871 AQ
9 x 9 in, 229 x 229 mm
1000 color photos
Ct. Qty. 10
$24.99 US/16.99
UK/$27.99 CAN
61
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BOOKS
BY
SERIES
1,000 Ideas for

Graffiti and Street Art
Murals, Tags, and More
from Artists Around
the World
Cristian Campos
ISBN: 9781592536580
Item # 192529 AQ
9 x 9 in, 229 x 229 mm
1000 color photos
in EU
Ct. Qty. 6
$40.00 US/25.00
UK/$44.00 CAN
1,000 SERIES
0193
0193
1,000 Indie Posters
1,000 More Greetings
1,000 Music Graphics

(mini)
1,000 Package
Designs (mini)
John Foster
ISBN: 9781592536566
Item # 192530 AQ
9 x 9 in, 229 x 229 mm
1000 color photos
Ct. Qty. 6
$40.00 US/25.00
UK/$44.00 CAN
Creative Correspondence
for All Occasions
Aesthetic Movement
ISBN: 9781592536405
Item # 192548 AQ
9 x 9 in, 229 x 229 mm
1000 color photos
in Japan, EU, Taiwan, Asia
Ct. Qty. 6
$40.00 US/25.00
UK/$44.00 CAN
0194
0193
0193Pariz
ParizOne.
One.Lisbon,
Lisbon,Portugal
Portugal/ 0194
/ 0194Pos.
Pos.Muri,
Muri,Switzerland
Switzerland
70 1,000 ideas for graffiti and street art
Letters and Tags 71
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(09-21088)
(09-21088)Job:03-17895
Job:03-17895Title:RP-1000
Title:RP-1000Ideas
IdeasFor
ForGraffiti
Graffiti&&Street
Street
Art
Art
(Ray) Text
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(Ray) Text
1,000 Ideas for Graffiti and Street Art
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A compilation of
packaging, posters, and
other sound solutions
Stoltz Design
ISBN: 9781592536634
Item # 192549 AQ
6 x 6 in, 152 x 152 mm
440 pages, PB
1000 color photos
in Japan
Ct. Qty. 20
$19.99 US/12.99
UK/$21.99 CAN
to Packing It In
Grip
ISBN: 9781592537051
Item # 193872 AQ
6 x 6 in, 152 x 152 mm
440 pages, PB
1000 color photos
in Japan
Ct. Qty. 20
$19.99 US/12.99
UK/$21.99 CAN
3/12/13 9:06 AM
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2
1,000 Product
Designs
Form, Function, and

Technology from Around
the World
Eric Chan
ISBN: 9781592536382
Item # 192550 AQ
9 x 9 in, 229 x 229 mm
1000 color photos
in EU
Ct. Qty. 6
$40.00 US/25.00
UK/$44.00 CAN
1,000 Retail Graphics
1,000 Restaurant,
Bar, and Cafe
Graphics
From Signage to Logos

and Everything in Between
Luke Herriott
ISBN: 9781592533329
Item # 153058 AQ
9 x 9 in, 229 x 229 mm
320 pages, PB
1000 color photos
in Japan, Russia, EU, Taiwan,
China, Switzerland
Ct. Qty. 6
$40.00 US/27.50
UK/$50.00 CAN
From Signage to Logos and

Everything for In-Store
JGA
ISBN: 9781592533367
Item # 153059 AQ
9 x 9 in, 229 x 229 mm
320 pages, PB
1000 color photos
in Japan, EU, Russia, China,
Taiwan, Hong Kong
Ct. Qty. 6
$40.00 US/27.50
UK/$50.00 CAN
0431
Pollen Design
USA
0437
aruliden / Johan Liden
USA
0432
aruliden / Johan
Liden, Emilie Baltz
USA
0438
Hangar Design Group
Italy
0433
Will Carey Studio for
Design / Will Carey,
Shun Ishikawa
UK
0439
Smart Design
USA
0434
Pollen Design
USA
0435
CORQUE
Portugal
0440
albooto / Sebastian
Stoddart, Simon
Scott-Harden
UK
0436
Karim Rashid
USA
0441
Sid Ramnarace
USA
1000 PRODUCT DESIGNS
EAT
136
137
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3
BOOKS
BY
SERIES
ANNUALS
45th Publication
Design Annual
46th Publication
Design Annual
47th Publication
Design Annual
One Show Design,

Volume 5
One Show Design,

Volume 6
One Show,
Volume 32
Designers
ISBN: 9781592536696
Item # 192546 AQ
9 x 12 in, 229 x 305 mm
336 pages, POB
1000 color photos
Ct. Qty. 6
$60.00 US/40.00
UK/$65.00 CAN
The One Club

ISBN: 9780929837505
Item # 195021 AQ
9 x 12 in, 229 x 305 mm
304 pages, HC
1000 color photos
Ct. Qty. 6
$49.95 US/35.00
UK/$54.95 CAN
Designers
ISBN: 9781592537501
Item # 195027 AQ
9 x 12 in, 229 x 305 mm
336 pages, POB
1000 color photos
Ct. Qty. 6
$60.00 US/40.00
UK/$65.00 CAN
The One Club

ISBN: 9780929837543
Item # 200349 AQ
9 x 12 in, 229 x 305 mm
220 pages, HC
1000 color photos
Ct. Qty. 6
$49.95 US/35.00
UK/$54.95 CAN
Designers
ISBN: 9781592538225
Item # 200342 AQ
9 x 12 in, 229 x 305 mm
336 pages, POB
1000 color photos
Ct. Qty. 6
$65.00 US/40.00
UK/$72.00 CAN
To Steal is Genius
The One Club
ISBN: 9780929837444
Item # 192568 AQ
9 x 12 in, 229 x 305 mm
448 pages, HC
1600 color photos
Rights: All rights available
Ct. Qty. 6
$69.95 US/45.00
UK/$76.95 CAN
64
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The One Club

ISBN: 9780929837499
Item # 195023 AQ
9 x 12 in, 229 x 305 mm
416 pages, HC
1600 color photos
Ct. Qty. 6
$74.99 US/50.00
UK/$82.50 CAN
One Show,
Volume 34
One Show Boxed Set,

2012 Awards
The One Club

ISBN: 9780929837536
Item # 200348 AQ
9 x 12 in, 229 x 305 mm
528 pages, HC
1600 color photos
Ct. Qty. 6
$74.99 US/50.00
UK/$82.50 CAN
The One Club

ISBN: 9780929837567
Item # 200351 AQ
9 x 12 in, 229 x 305 mm
928 pages, Slipcased
3800 color photos
Ct. Qty. 2
$155.00 US/105.00
UK/$170.00 CAN
Design travel/food/Still life/Story Merit

ONe ShOw INteractIve | Volume 14
g
4
One Show,
Volume 33
ONe ShOw INteractIve
248
244
245
246
246
248
(Ray)
One Show
Interactive,
Volume XIV
The One Club

ISBN: 9780929837512
Item # 195022 AQ
9 x 12 in, 229 x 305 mm
304 pages, PB
1200 color photos
Ct. Qty. 6
$49.95 US/35.00
UK/$54.95 CAN
One Show
Interactive,
Volume XV
The One Club

ISBN: 9780929837550
Item # 200350 AQ
9 x 12 in, 229 x 305 mm
304 pages, HC
1200 color photos
Ct. Qty. 6
$49.95 US/35.00
UK/$54.95 CAN
249
247
247
the New york times Magazine

247
DeSiGN DireCtor Arem Duplessis art DireCtor Gail Bichler

DePuty art DireCtor Caleb Bennett DeSiGNerS
Caleb Bennett, Sara Cwynar, Drea Zlanabitnig, Gail Bichler,
Hilary Greenbaum, Arem Duplessis, Rami Moghadam
illuStratorS Sarah King, Denis Carrier, Chelsea Cardinal,
Wayne Thiebaud DireCtor of PhotoGraPhy Kathy Ryan
PhotoGraPherS Gail Albert Halaban, Marcus Nilsson,
Paul Hosefros, Gabrielle Plucknette, Niepcs House Museum,
Buena Vista/Photofest, Jens Mortensen, Victor Schrager
aSSoCiate Photo eDitor Luise Stauss eDitor-iN-Chief
Hugo Lindgren PubliSher The New York Times Company
iSSue October 2, 2011 CateGory Design: Feature: Travel/
Food/Still Life (story)
246
244
everyday With rachael ray Magazine

Creative DireCtor Jill Armus art DireCtor Chalkley
Calderwood DireCtor of PhotoGraPhy Kim Gouggnheim
PhotoGraPher James Wojcik haND letteriNG Elliot Stokes
eDitor-iN-Chief Liz Vaccariello PubliSher Meredith
iSSue August 2011 CateGory Design: Feature:
Travel/Food/Still Life (story)
lotuS Magazine
245
Greenpeace Magazin 5.11

art DireCtorS Jurgen Kaffer, Bettina Rosenow
DireCtor of PhotoGraPhy Kerstin Leesch PhotoGraPher
Cedric Widmer PubliSher Greenpeace Media GmbH
iSSue September/October 2011 CateGory Design: Feature:
Travel/Food/Still Life (story)
Creative DireCtor Anton Ioukhnovets DeSiGNer

Anton Ioukhnovets Photo eDitorS Andreas Wellnitz,
Lou Ulla Brunk PhotoGraPher Tom Schierlitz
exeCutive eDitor Markus Ebner StuDio Ioukhnovets Design
eDitor-iN-Chief Christian Kaemmerling PubliSher LOTUS
Cars, INC ClieNt LOTUS Cars, INC. iSSue Spring 2011
CateGory Design: Feature: Travel/Food/Still Life (story)
248
249
real Simple
real Simple
Creative DireCtor Janet Froelich DeSiGN DireCtor

Cybele Grandjean art DireCtor Abbey Kuster-Prokell
DeSiGNer Joele Cuyler DireCtor of PhotoGraPhy
Casey Tierney Photo eDitor Lauren Epstein PhotoGraPher
Sang An PubliSher Time Inc. iSSue July 2011 CateGory
Design: Feature: Travel/Food/Still Life (story)
Creative DireCtor Janet Froelich DeSiGN DireCtor

Cybele Grandjean art DireCtor Abbey Kuster-Prokell
DeSiGNer Cybele Grandjean DireCtor of PhotoGraPhy
Casey Tierney Photo eDitor Lauren Epstein PhotoGraPher
Christopher Baker PubliSher Time Inc. iSSue May 2011
CateGory Design: Feature: Travel/Food/Still Life (story)
132
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65
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BOOKS
BY
SERIES
BEST OF SERIES
The Best of Business

Card Design 9
Rule29
ISBN: 9781592537907
Item # 199798 AQ
9 x 11 in, 229 x 279 mm
240 pages, PB
800 color photos
Rights sold: Hungarian
Ct. Qty. 10
$30.00 US/20.00
UK/$33.00 CAN

Design 11
Kiki Eldridge
ISBN: 9781592538263
Item # 200346 AQ
9.25 x 11.25 in, 235 x 286 mm
224 pages, PB
450 color photos
in Japan
Ct. Qty. 10
$35.00 US/22.50
UK/$39.00 CAN
The Best of
Cover Design
Books, Magazines,
Catalogs, and More
Altitude Associates
ISBN: 9781592536894
Item # 193886 AQ
9 x 11 in, 229 x 279 mm
224 pages, HC
300 color photos
Ct. Qty. 6
$45.00 US/30.00
UK/$49.99 CAN
66
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Design 12
Public
ISBN: 9781592538331
Item # 210576 AQ
9 x 11 in, 229 x 279 mm
224 pages, HC
300 color photos
Ct. Qty. 6
$45.00 US/30.00
UK/$49.99 CAN
The Best of
Letterhead &
Logo Design
The Best of the Best

of Brochure Design:
Volume II
Jason Godfrey, Willoughby

Design Group, Wilson Harvey,
and Cheryl Cullen
ISBN: 9781592537921
Item # 199800 AQ
9.25 x 11.25 in, 235 x 286 mm
352 pages, PB
800 color photos
in EU
Ct. Qty. 20
$19.99 US/14.99
UK/$21.99 CAN
The Best of
News Design 31
Mine Design, Top Studio

Design, Stoltz Design, and
Sayles Graphic Design
ISBN: 9781592537914
Item # 199799 AQ
9.25 x 11.25 in, 235 x 286 mm
352 pages, PB
800 color photos
in EU
Ct. Qty. 20
$19.99 US/14.99
UK/$21.99 CAN

ISBN: 9781592536672
Item # 192555 AQ
9 x 12 in, 229 x 305 mm
272 pages, HC
800 color photos
Ct. Qty. 6
$60.00 US/40.00
UK/$65.00 CAN
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6
thE NEW york tiMES
Al bAyAN
New York, N.Y.

Sam Manchester, Illustrator; Wayne Kamidoi, Art Director;
Tom Bodkin, Design Director
Al bAyAN
AWArd of ExcEllENcE
Dubai, United Arab Emirates

Luis Chumpitaz, Information Graphic Director; Liz Ramos Prado, Information Graphic Editor;
German Fernandez, Information Graphic Editor; Karina Aricoche, Information Graphic Researcher; Asma Ali, Translator
gulf NEWS

News Design Page(s)

Sports/Broadsheet 175,000 and Over

Douglas Okasaki, Senior Designer; Ramachandra Babu, Senior Illustrator; Dwyn Ronald Trazo, Senior Infographist
Luis Vasquez, Senior Infographist; Alaric Gomes, Reporter; Miguel Angel Gomez, Design Director;
Mohammed Al Mezel, M.E.; Abdul Hamid Ahmad, Editor-in-Chief
AWArd of ExcEllENcE
News Design Page(s)

Sports/Broadsheet 50,000-174,999
AWArd of ExcEllENcE
News Design Page(s)

AWArd of ExcEllENcE
News Design Page(s)

The Best of
News Design 33

ISBN: 9781592538232
Item # 200343 AQ
9.25 x 12.25 in, 235 x 311 mm
272 pages, HC
800 color photos
Ct. Qty. 6
$65.00 US/40.00
UK/$72.00 CAN
Al bAyAN

Luis Chumpitaz, Information Graphic Director;
Liz Ramos Prado, Information Graphic Editor;
German Fernandez, Information Graphic Editor;
Karina Aricoche, Information Graphic Researcher;
Asma Ali, Translator
AWArd of ExcEllENcE
News Design Page(s)

oMAhA World-hErAld
Omaha, Neb.
Tim Parks, Deputy News & Presentation Editor; Thad Livingston, Sports Editor;
Matt Haney, Artist; Dave Elsesser, News & Presentation Editor
Al bAyAN
AWArd of ExcEllENcE

News Design Page(s)

AWArd of ExcEllENcE
News Design Page(s)

Al ShAbibA
Muscat, Oman
Essa Mohammed Al Zedjali, Chairman; Ahmed Essa Al Zedjali, Editor-in-Chief; Adonis Durado,
Design Director; Antonio Farach, Graphic Editor; Marcelo Duhalde, Infographic Designer;
Lucille Umali, Illustrator; Majid Al-Wahebi, Designer
AWArd of ExcEllENcE
News Design Page(s)

Sports/Broadsheet 49,999 and Under
114 | The Best of News Design | 33
news 115
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Politiken Copenhagen, Denmark

Politiken
6/26/12 5:08 PM
6/26/12 4:57 PM
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Politiken Copenhagen, Denmark
politikeN, el seguNDo periDico

matiNal eN circulaciN De
DiNamarca, tiene una larga historia de
excelencia y de una lectora intensamente
leal. su misin es generar compromiso
entre la gente comn y corriente y los
asuntos de la sociedad.
Copenhagen, Denmark
Circulation 100,000
politikeN, DeNmarks secoNDlargest morNiNg NeWspaper,

has a long history of excellence and an
intensely loyal readership. its mission
is to engage ordinary people in societal
issues.
publicado hace 127 aos, este diario lanz

un rediseo en diciembre de 2011 para
atraer a lectores de forma fresca y moderna,
con los objetivos de una mejorada
navegacin y una mayor usabilidad. s que
lo ha logrado.
published for 127 years, politiken

launched a redesign in December
2011 to appeal to readers in a fresh
and modern way, with the goals of
improved navigation and usability. it
has succeeded.
esta fresca aproximacin es evidente en

la pgina que envolvi el diario el primer
da de su rediseo. Dibujada a mano por
uno de los ilustradores del peridico para
guiar a los lectores sobre los cambios, esa
pgina juguetona inmediatamente fij el
tono del nuevo look; sofisticado, tentador,
atrevido y arriesgado. cada portada o tapa
tiene un enfoque o solucin visual fuera
de lo comn, desde el fotoperiodismo
documental hasta la caricatura. se presta
atencin a las decisiones tipogrficas
hasta el mnimo detalle. una bsqueda de
lecturabilidad ptima espacio blanco extra
encima y debajo de los ttulos, y el texto y
las alternativas de artculo principal, es
evidencia de que se privilegia al lector. la
simplicidad del estilo para nombrar los
autores de los artculos y de las firmas de
las columnas de opinin da un toque al
elegante rostro del diario.
The fresh approach is evident in the

wrap page that appeared the first day
of the redesign. hand-drawn by one of
the papers illustrators to guide readers
through the papers changes, this
whimsical page immediately set the
tone for the new look: sophisticated,
enticing, bold, risky.
each front page has an atypical
visual approach or solution from
documentary photojournalism to
caricature. great attention has been
given to type decisions, even down
to the smallest detail. a quest for
optimum readability extra white
space above and below headlines, and
the body text and leading choices is
evidence that the reader comes first.
The simplicity of the byline styles and
columnist sigs adds to the papers
elegant visage.
politken se enorgullece del espacio que da

a las pginas de opinin como una de sus
herramientas de compromiso social. las
pginas tienen muchos puntos de entrada
e ilustraciones provocativas. el color se usa
para que los lectores puedan navegar por
los artculos y las columnas.
politiken prides itself on the space

given to opinion pages as one of the
papers social engagement tools. The
pages are full of multiple entry points
and provocative illustrative work, and
color is used to move readers through
stories and columns.
el recorte y la edicin de las fotografas

estn hechas con consideracin, y los
diseadores usan todo el ancho de la
pgina para dar impacto. a menudo,
dimos vuelta la pgina y nos encontramos
con agrupaciones de fotos o ilustraciones
inesperadas y encantadoras, tal como se ve
en un artculo sobre un joven emprendedor
que debi recomenzar su carrera despus
de una enfermedad.
There is thoughtfulness to the cropping

and editing of photographs, with
designers using the full width of pages
for impact. oftentimes, we turned
pages to find an unexpected and
delightful grouping of photographs or
illustrations, as seen in a story about a
young entrepreneur who had to restart
a career after an illness.
politiken es un modelo del poder de

la consistencia visual a lo largo de un
peridico. ya haba ganado en esta
categora de la competencia y nuevamente
merece formar parte de lo mejor del
mundo.
politiken is a model for the power

of visual consistency throughout a
newspaper. a previous winner in this
category, politiken again deservedly
joins the ranks of Worlds Best.
Worlds best-designed 27
26 | The Best of News Design | 33
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BOOKS
BY
SERIES
Design: Paper
DESIGN: SERIES
68
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Design: Portfolio
Alluring Paper Design
Public School
ISBN: 9781592537716
Item # 195056 AQ
8 x 10 in, 203 x 254 mm
1000 color photos
in Asia
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
Self Promotion at its Best

Craig Welsh
ISBN: 9781592538409
Item # 210770 AQ
8 x 11 in, 203 x 280
500 color photos
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
DESIGN: PAPER
14
I DENTI T Y
15
DUO
Canada
Judith Augustin
Germany
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Design: Paper
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Design: Type
Alluring Type Designs
Paul Burgess
ISBN: 9781592537983
Item # 199806 AQ
8 x 10 in, 203 x 254 mm
500 color photos
in Asia
Ct. Qty. 6
$45.00 US/30.00
UK/$49.99 CAN
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CA
Design Elements

Timothy Samara
ISBN: 9781592532612
Item # 153185 AQ
8 x 10 in, 203 x 254 mm
300 color photos
Rights sold: Russian, Spanish,
Italian, Japanese, Czech,
German, Korean, Chinese,
Portuguese, English language
in Asia excluding Japan, India,
Korea
Ct. Qty. 10
$30.00 US/19.99
UK/$37.50 CAN
CA
CA
Design Elements,
Color Fundamentals
Design Elements,
Form & Space

Aaris Sherin
ISBN: 9781592537198
Item # 193939 AQ
8 x 10 in, 203 x 254 mm
300 color photos
Ct. Qty. 20
$24.99 US/16.99
UK/$27.99 CAN

for Understanding
Structure and Design
Dennis Puhalla
ISBN: 9781592537006
Item # 193875 AQ
8 x 10 in, 203 x 254 mm
300 color photos
Rights sold: Korean
Ct. Qty. 20
$24.99 US/16.99
UK/$27.99 CAN
Display
Subhead, Body, Caption
24 point and up
L to r
Subhead
Display, Body, Caption
14 to 24 point
L to r
24 pt Minion
Design Elements,
Typography
Fundamentals

Typography Affects
Design
Kristin Cullen
ISBN: 9781592537679
Item # 195050 AQ
8 x 10 in, 203 x 254 mm
300 color photos
Ct. Qty. 20
$24.99 US/16.99
UK/$27.99 CAN
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CA
Design Elements,
Using Images to
Create Graphic
Impact

for Effective Image
Solutions in Graphic
Design
Aaris Sherin
ISBN: 9781592538072
Item # 199836 AQ
8 x 10 in, 203 x 254 mm
250 color photos
Ct. Qty. 20
$35.00 US/22.50
UK/$39.00 CAN
(RAY) (Text)
Body
Display, Subhead, Caption
9 to 14 point
L to r
DESIGN ELEmENTS
SERIES
Examine the design of typefaces. Look for legible,

well-proportioned, and acutely crafted characters.
When typeset, words and lines read fluidly. Reliable
typefaces have consistent styles (posture, weight,
and width) to provide for typographic variation and
emphasis. Depending on the quantity and variety
of text, a range of stylesfrom light to bold weights
and condensed to extended widthsadd versatility.
Likewise, ligatures, swash characters, and alternate
glyphs offer diversity. Certain typefaces, including
Minion by Robert Slimbach, have optical styles,
commonly caption, body, subhead, and display.
Optical styles feature subtle adjustments in letterform contrast, proportion, and weight that enhance
appearance at specific point sizes. For example,
if setting type above 24 point, use the display style,
which appears too thin at small sizes. Conversely,
6- to 8-point type size requires caption styles,
which look too heavy at large sizes. Optical styles
represent fine attention to detail. No matter the
type size needed, optimal forms exist. Ample
typefaces offer typographic opportunities.
48 pt Minion
CA
BOOKS
BY
SERIES
In this student project, changes in

point size and weight create variation
and emphasis. The contrast is simple
and effective with just one typeface
Helvetica. Confident type settings
convey the Knoll brand.
kristn agnarsdttir
14 pt Minion
Caption
6 to 8 point
Display, Subhead, Body
L to r
8 pt Minion
Slight adjustments in contrast, proportion,

and weight optimize typefaces used at
specific point sizes. Caption and body styles
designed for comfortable and extended
reading perform well at small sizes. They
are too dense and muddy enlarged. Subhead
and display styles crafted to shine at large
sizes fall short when they are reduced.
Stroke quality is lost. Optical styles maintain typeface legibility and elegance at
all sizes when used as planned.
74
d e s i g n e l e m e n t s Typography Fundamentals
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BOOKS
BY
SERIES
CA
Design Matters
An Essential PrimerBrochures, Logos,

Packaging, Portfolios
Capsule, Michelle Taute, and
Maura Keller
ISBN: 9781592537389
Item # 195013 AQ
8 x 10 in, 203 x 254 mm
448 pages, PB
900 color photos
Ct. Qty. 10
$40.00 US/27.50
UK/$44.00 CAN
DESIGN mATTERS
SERIES
CA
CA
Design Matters:
Logos 01

Todays Competitive
Market
Capsule
ISBN: 9781592533411
Item # 153316 AQ
8.25 x 10.25 in, 210 x 260 mm
192 pages, PB
220 color photos
Rights sold: Spanish, Russian,
German, Korean
Ct. Qty. 20
$24.99 US/16.99
UK/$29.95 CAN
Design Matters:
Portfolios 01

Todays Competitive
Market
Maura Keller
ISBN: 9781592536023
Item # 191712 AQ
8.25 x 10.25 in, 210 x 260 mm
250 color photos
Rights sold: Korean
Ct. Qty. 20
$24.99 US/16.99
UK/$31.99 CAN
Showcase Showdown
M AK E YO U R P O R T F O L I O R E AL LY S H I N E
architectural prowess of a building.

And for many, using digital elements
can inform, delight, and inspire their
audience like never before.
grow, designers encounter tough

decisions regarding how to best use
the technology available for portfolio
development and self-promotion.
With each new day, technology

brings exciting opportunities for
growth and success. As businesses
PLANNING
IMPLEMENTING
Creative professionals have one thing

in commonthey strive to capture the
attention of their potential audience
through powerful visual messages.
They want to make an impact on
a viewer, to entice them to buy
their product, attend their theatrical
production, or simply marvel at the
PLANNING
IMPLEMENTING
C R E AT I N G
C R E AT I N G
D E S I G N M AT T E R S / / P O R T F O L I O S 0 1
in a beautifully etched
metallic case, this promotional portfolio is
where technology and traditional portfolio
strategies meet. The metallic case contains
a personalized metallic covered notebook,
promotional CD, and a Velcro-enhanced
folder, which includes a series of portfolio
postcards.
D E S I G N M AT T E R S / / P O R T F O L I O S 0 1
Housed
FA c T o r T r E S c o M u N I c A c I o N
When sending email introductions,

Monderer Design attaches a twelve-page
promotional PDF. The PDF presents a mini
portfolio of print, branding, and interactive
design work.
MoNDErEr DESIGN
56
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Title:RP-Design
Matters
Portfolios
Job:11-15877/15287
Title:RP-Design
Matters
Portfolios
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CA
Digital Design
Essentials
100 Ways to Better

Desktop, Web, and
Mobile Interfaces
Rajesh Lal
ISBN: 9781592538034
Item # 199825 AQ
8.5 x 10, 216 x 254 mm
208 pages, HC
200 color photos
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
CA
Layout Essentials

Using Grids
Beth Tondreau
ISBN: 9781592537075
Item # 193879 AQ
8.5 x 10 in, 216 x 254 mm
208 pages, PB
250 color photos
Rights sold: Spanish, Portuguese, Japanese, Korean,
German, Dutch, French,
Chinese
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
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060-079_30084.indd 71
CA
Essential Elements
for Brand Identity
100 Principles for

Designing Logos and
Building Brands
and Curt Wozniak
ISBN: 9781592537938
Item # 199801 AQ
8.5 x 10 in, 216 x 254 mm
208 pages, PB
300 color photos
language in Asia, French,
Italian
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
CA
Creating Packages
Sarah Roncarelli and
Candace Ellicott
ISBN: 9781592536030
Item # 191716 AQ
8.5 x 10 in, 216 x 254 mm
208 pages, HC
250 color photos
Korean, Chinese
Ct. Qty. 6
$40.00 US/25.00
UK/$50.00 CAN
(RAY) (Text)
CA
Fashion Design
Essentials
100 Principles of Fashion

Design
Jay Calderin
ISBN: 9781592538270
Item # 200347 AQ
8.5 x 10 in, 216 x 254 mm
208 pages, PB
200 color photos
Ct. Qty. 10
$29.99 US/20.00
UK/$32.99 CAN
HC ISBN: 9781592537013
$40.00 US/27.50
UK/$44.00 CAN
BOOKS
BY
SERIES
ESSENTIALS SERIES
CA
Typography
Essentials

Working with Type
Ina Saltz
ISBN: 9781592537402
Item # 195003 AQ
8.5 x 10 in, 216 x 254 mm
208 pages, PB
300 color photos
Rights sold: German,
Portuguese, Korean, Czech,
Chinese
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
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BOOKS
BY
SERIES
FAShION ILLUSTRATION
SERIES
CA
Contemporary
Techniques
Naoki Watanabe
ISBN: 9781592535569
Item # 153319 AQ
7.87 x 10 in, 200 x 254 mm
128 pages, PB
500 color photos
Rights sold: German
Ct. Qty. 40
$22.99 US/14.99
UK/$23.95 CAN
CA
Essential Fashion
Illustration: Digital
Loreto Binvignat Streeter

ISBN: 9781592536320
Item # 191718 AQ
8.5 x 10 in, 216 x 254 mm
192 pages, PB w/CD
300 color photos
Ct. Qty. 10
$35.00 US/25.00
UK/$39.00 CAN
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CA
Essential Fashion
Illustration
Maite Lafuente
ISBN: 9781592532537
Item # 153124 AQ
8.5 x 10 in, 216 x 254 mm
192 pages, PB
250 color photos
Ct. Qty. 10
$35.00 US/27.50
UK/$48.00 CAN
CA
Essential Fashion
Illustration: Men
Chidy Wayne
ISBN: 9781592535057
Item # 153133 AQ
8.5 x 10 in, 216 x 254 mm
192 pages, PB
750 color photos
Ct. Qty. 10
$35.00 US/19.99
UK/$39.00 CAN
CA
Essential Fashion
Illustration: Color
and Medium
Estel Vilaseca
ISBN: 9781592534302
Item # 153132 AQ
8.5 x 10 in, 216 x 254 mm
192 pages, PB
250 color photos
Ct. Qty. 10
$35.00 US/19.99
UK/$38.95 CAN
CA
Techniques
A Super Reference Book

for Beginners
Zeshu Takamura
ISBN: 9781592537952
Item # 199803 AQ
8.5 x 11 in, 216 x 279 mm
224 pages, PB
500 color photos
Ct. Qty. 20
$27.99 US/18.99
UK/$29.99 CAN
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3
Letterhead & Logo
Design 9
MINE
ISBN: 9781592533893
Item # 153196 AQ
9 x 11 in, 229 x 279 mm
240 pages, PB
500 color photos
Ct. Qty. 10
$30.00 US/19.99
UK/$41.95 CAN
Letterhead & Logo

Design 10
Sussner Design
ISBN: 9781592535798
Item # 158910 AQ
9 x 11 in, 229 x 279 mm
240 pages, PB
800 color photos
Rights sold: Spanish, English
language in Russia, EU, Switzerland, Norway
Ct. Qty. 10
$30.00 US/0.00
UK/$37.50 CAN
BOOKS
BY
SERIES
Letterhead & Logo

Design 11
Design Army
ISBN: 9781592537617
Item # 195029 AQ
9 x 11 in, 229 x 279 mm
240 pages, PB
350 color photos
in Japan, Germany, Austria,
Switzerland
Ct. Qty. 10
$30.00 US/20.00
UK/$33.00 CAN
HC ISBN: 9781592535347
$45.00 US/27.50
UK/$56.00 CAN
DESIGN FIRM
Letterhead & Logo

design series
DESIGN FIRM
Korn Design
Chen Design
Associates
ART DIRECTORS
Denise Korn
Javier Cortes
ART DIRECTORS
Joshua C. Chen
Laurie Carrigan
DESIGNERS
Melissa Wehrman
Ben Whitla
DESIGNER
Max Spector
CLIENT
CLIENT
Sage Restaurant
Group
Yoshis Jazz Club &

Japanese Restaurant
Letterhead & Logo

Design 12
Oxide Design Co.
ISBN: 9781592537174
Item # 193942 AQ
9 x 11 in, 229 x 279 mm
240 pages, HC
350 color photos
Ct. Qty. 6
$45.00 US/30.00
UK/$49.99 CAN
148
HANDCRAFTED
LETTERHEAD & LOGO DESIGN 11
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BOOKS
BY
SERIES
LOGOLOUNGE SERIES
LogoLounge (mini)
2,000 International
Designers
Bill Gardner
ISBN: 9781592532247
Item # 153349 AQ
5.62 x 6.38 in, 143 x 162 mm
356 pages, PB
2000 color photos
language in Japan, EU, Switzerland, Indian Subcontinent,
Sri Lanka, Pakistan, Russia,
Hungary
Ct. Qty. 20
$19.99 US/12.99
UK/$27.95 CAN
LogoLounge 4 (mini)
LogoLounge 5
LogoLounge 6
2000 International
Designers
Bill Gardner
ISBN: 9781592535101
Item # 153358 AQ
5.62 x 6.38 in, 143 x 162 mm
376 pages, PB
2050 color photos
in Japan, EU
Ct. Qty. 20
$19.99 US/12.99
UK/$21.95 CAN
2,000 International Identities by Leading Designers

Bill Gardner
ISBN: 9781592537358
Item # 194983 AQ
9 x 11 in, 229 x 279 mm
192 pages, PB
2200 color photos
in Japan, Russia
Ct. Qty. 10
$30.00 US/20.00
UK/$33.00 CAN
HC ISBN: 9781592535279
$50.00 US/34.99
UK/$55.00 CAN
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LogoLounge 3 (mini)
(RAY) (Text)
2000 International
Designers
Bill Gardner
ISBN: 9781592536689
Item # 192561 AQ
5.62 x 6.38 in, 143 x 162 mm
376 pages, PB
2000 color photos
Ct. Qty. 20
$19.99 US/0.00
UK/$21.99 CAN
2,000 International
Designers
Bill Gardner
ISBN: 9781592538249
Item # 200344 AQ
9 x 11 in, 229 x 279 mm
192 pages, PB
2000 color photos
in Taiwan, EU
Ct. Qty. 10
$35.00 US/22.50
UK/$39.00 CAN
HC ISBN: 9781592536184
$50.00 US/35.00
UK/$55.00 CAN
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LogoLounge 7
3,000 Shapes and

Symbols Logos
Bill Gardner
ISBN: 9781592536900
Item # 193880 AQ
7.25 x 9 in, 184 x 229 mm
296 pages, POB
3000 color photos
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
3,000 Initials & Crest

Logos
Bill Gardner
ISBN: 9781592535675
Item # 158937 AQ
7.25 x 9 in, 184 x 229 mm
296 pages, HC
3000 color photos
Ct. Qty. 6
$40.00 US/24.99
UK/$49.99 CAN
LogoLounge Master
Library, Volume 4
3000 Type and

Calligraphy Logos
Bill Gardner
ISBN: 9781592537648
Item # 195053 AQ
7.25 x 9 in, 184 x 229 mm
296 pages, POB
3000 color photos
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
D = Design Firm
3A
138
C = Client
D = Design Firm
1A D Odney C MBTs 1B D Jerron Ames C Arteis 1C D R&R Partners C MGM/Mirage 1D D Odney

2A D Roy Smith Design C Grizedale Lodge 2B D Roy Smith Design C Grizedale Lodge 2C D bigoodis C Deerta 2D D Donation Design C Als Wine
D Alphabet Arm Design C Josh McFadden 3B D Joseph Blalock C Trophy Hunting Systems 3C D Steve DeCusatis Design C JEG 3D D RawRender C wdo advertsing agency
4A D Wissam Shawkat Design 4B D GeniusLogo C Mustangs 4C D Emilio Correa C Arteis, Inc. 4D D Dwayne Design C Murray State College
5A D Elixir Design C Vaguely Noble Horse-Keeping 5B D Pixonal C Stallion 5C D Communication Agency C Kidko 5D D Hirschmann Design C Tim Trapp
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LogoLounge 7
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060-079_30084.indd 75
LogoLounge Master
Library, Volume 3
LogoLounge Master
Library, Volume 1
2,000 International
Designers
Bill Gardner and Anne Hellman
ISBN: 9781592537273
Item # 199819 AQ
9 x 11 in, 229 x 279 mm
192 pages, HC
2000 color photos
in Taiwan, Czech, Chinese
Ct. Qty. 6
$50.00 US/35.00
UK/$55.00 CAN
5A
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C = Client
1A D Little Box Of Ideas C Zia Choudhary 1B D Impact Visual Communications C Mooberry Winery 1C D Rudy Hurtado Global Branding C Siga La Vaca Restaurant 1D D Sabingrafik, Inc. C ECOV
2A D Oronoz Brandesign C Toreto 2B D Diaconu Felix Ionut 2C D R&R Partners C Airwave 2D D Odney C Bull Run Honey
3A D 144design C Minot Minotauros 3B D SGNL Studio C Cycle Prophet 3C D Jerron Ames C Moovers 3D D Design Laurels C 4 Steer Ranch and Kennels
4A D Ruport C RAMO group of companies 4B D Haller Design 4C D HebelerGraphics C Buffalo Books and More.com 4D D Sabingrafik, Inc. C Andaz Hotel, Shanghai
D El Paso, Galeria de Comunicacion C MASCOMPANY 5B D Joseph Blalock C Texas Early Hearing Detection and Intervention 5C D Rudy Hurtado Global Branding C WildSmart 5D D pandabanda C pandabanda design
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BOOKS
BY
SERIES
REFERENCE &
SPECIFICATION BOOK
SERIES
CA
The Architecture
Reference &
Specification Book
Julia McMorrough and
Dan Wheeler
ISBN: 9781592538485
Item # 210659 AQ
5.46 x 7.83 in, 139 x 199 mm
272 pages, PB
750 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
CA

Reference &
Specification Book
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Everyday
Dan Cuffaro and
Isaac Zaksenberg
ISBN: 9781592538478
Item # 210664 AQ
5.46 x 7.83 in, 139 x 199 mm
264 pages, PB
300 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
(RAY) (Text)
CA
CA
The Fashion Design

Reference &
Specification Book
Everything Fashion
Everyday
Jay Calderin and
Laura Volpintesta
ISBN: 9781592538508
Item # 210661 AQ
5.46 x 7.83 in, 139 x 199 mm
288 pages, PB
400 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
The Graphic Design

Reference &
Specification Book
Poppy Evans
ISBN: 9781592538515
Item # 210655 AQ
5.46 x 7.83 in, 139 x 199 mm
336 pages, PB
400 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
CA
The Interior Design

Reference &
Specification Book
Everything Interior
Everyday
Chris Grimley, Mimi Love,
and Linda OShea
ISBN: 9781592538492
Item # 210660 AQ
5.46 x 7.83 in, 139 x 199 mm
288 pages, PB
600 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
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CA
Color Design
Workbook
A Real World Guide to

Using Color in Graphic
Design
AdamsMorioka
ISBN: 9781592534333
Item # 153299 AQ
9 x 9 in, 229 x 229 mm
240 pages, PB
350 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$27.50 CAN
CA
Logo Design
Workbook
A Hands-On Guide to
Creating Logos
Sean Adams and
Noreen Morioka
ISBN: 9781592532346
Item # 153283 AQ
9 x 9 in, 229 x 229 mm
240 pages, PB
500 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$35.00 CAN
060-079_30084.indd 77
060-079_30084.indd 77
CA
Information Design
Workbook
Graphic Approaches,
Solutions, and Inspiration
+ 30 Case Studies
Kim Baer
ISBN: 9781592536276
Item # 191707 AQ
9 x 9 in, 229 x 229 mm
240 pages, PB
500 color photos
Ct. Qty. 20
$20.00 US/14.99
UK/$25.00 CAN
CA
Package Design
Workbook
The Art and Science of

Successful Packaging
Steven DuPuis and John Silva
ISBN: 9781592537082
Item # 193882 AQ
9 x 9 in, 229 x 229 mm
240 pages, PB
450 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
(RAY) (Text)
CA
Layout Workbook
Building Pages in Graphic
Design
Kristin Cullen
ISBN: 9781592533527
Item # 153293 AQ
9 x 9 in, 229 x 229 mm
240 pages, PB
500 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$29.95 CAN
BOOKS
BY
SERIES
WORKBOOK SERIES
CA
Typography
Workbook
Using Type in Graphic
Design
Timothy Samara
ISBN: 9781592533015
Item # 153289 AQ
9 x 9 in, 229 x 229 mm
240 pages, PB
500 color photos
Rights sold: Portuguese
Ct. Qty. 10
$25.00 US/16.99
UK/$33.00 CAN
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NEW
SPRING
2013
TITLES
CA
The Architecture
Reference &
Specification Book
Julia McMorrough and
Dan Wheeler
ISBN: 9781592538485
Item # 210659 AQ
5.46 x 7.83 in, 139 x 199 mm
272 pages, PB
750 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
CA
Digital Design
Essentials
78
060-079_30084.indd 78
060-079_30084.indd 78
100 Ways to Better

Desktop, Web, and
Mobile Interfaces
Rajesh Lal
ISBN: 9781592538034
Item # 199825 AQ
8.5 x 10, 216 x 254 mm
208 pages, HC
200 color photos
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
CA
Essential Elements
for Brand Identity
100 Principles for

Designing Logos and
Building Brands
and Curt Wozniak
ISBN: 9781592537938
Item # 199801 AQ
8.5 x 10 in, 216 x 254 mm
208 pages, PB
300 color photos
language in Asia
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
(RAY) (Text)

Design 12
Public
ISBN: 9781592538331
Item # 210576 AQ
9 x 11 in, 229 x 279 mm
224 pages, HC
300 color photos
Ct. Qty. 6
$45.00 US/30.00
UK/$49.99 CAN
CA
The Fashion Design

Reference &
Specification Book
Design: Portfolio
Self Promotion at Its Best

Craig Welsh
ISBN: 9781592538409
Item # 210770 AQ
8 x 11 in, 203 x 280
500 color photos
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
CA
Everything Fashion
Everyday
Jay Calderin and
Laura Volpintesta
ISBN: 9781592538508
Item # 210661 AQ
5.46 x 7.83 in, 139 x 199 mm
288 pages, PB
400 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
The Graphic Design

Reference &
Specification Book
Poppy Evans
ISBN: 9781592538515
Item # 210655 AQ
5.46 x 7.83 in, 139 x 199 mm
336 pages, PB
400 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
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NEW
CA

Reference &
Specification Book
Everyday
Dan Cuffaro and
Isaac Zaksenberg
ISBN: 9781592538478
Item # 210664 AQ
5.46 x 7.83 in, 139 x 199 mm
264 pages, PB
300 color photos
Ct. Qty. 10
$25.00 US/16.99
UK/$28.00 CAN
SPRING
2013
TITLES
CA
The Interior Design

Reference &
Specification Book
Everything Interior
Everyday
Chris Grimley, Mimi Love, and
Linda OShea
ISBN: 9781592538492
Item # 210660 AQ
5.46 x 7.83 in, 139 x 199 mm
288 pages, PB
600 color photos
Ct. Qty. 10
$25.00 US/16.99 UK
$28.00 CAN
Logo Creed
The Magic Behind Making

a Great Logo
Bill Gardner
ISBN: 9781592538287
Item # 210275 AQ
8 x 10 in, 203 x 254 mm
500 color photos
Ct. Qty. 6
$40.00 US/27.50
UK/$44.00 CAN
CA
Playing with Type
for Exploring Typographic
Design Principles
Lara McCormick
ISBN: 9781592538171
Item # 211090 AQ
9 x 9 in, 229 x 229 mm
300 Color Photos
Ct. Qty. 10
$40.00 US/25.00
UK/$44.00 CAN
060-079_30084.indd 79
060-079_30084.indd 79
Provoking the question, What is art?
Color: a study of how color in urban environments

can affect type
Designer/Photographer: Gabriel Gonzalez
Designer/Photographer: Samantha Russo
132
playing with type
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playing with context and application
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Index:
30 Essential Typefaces for a
Lifetime 28
41, 64
41, 64
41, 64
100 Habits of Successful
Freelance Designers 48
365 Habits of Successful Graphic
Designers 48
1,000 Bags, Tags & Labels 44, 61
1,000 Bags, Tags & Labels (mini)
44, 61
1,000 Icons, Symbols, and
Pictograms (mini) 61
1,000 Ideas by 100 Architects
52, 61
1,000 Ideas by 100 Fashion
Designers 55, 61
1,000 Ideas by 100 Graphic
Designers 61
1,000 Ideas by 100 Manga Artists
51, 61
1,000 Ideas for Graffiti and Street
Art 51, 62
1,000 Indie Posters 44, 62
1,000 More Greetings 44, 62
1,000 Music Graphics (mini)
44, 62
1,000 Package Designs (mini)
38, 62
1,000 Product Designs 52, 63
1,000 Restaurant, Bar, and Cafe
Graphics 63
1,000 Retail Graphics 63
A
Adams, Sean 36, 77
AdamsMorioka 30, 77
Aesthetic Movement 44, 62
Alexander, Kathie 31
Altitude Associates 12-13, 41, 66
Anatomy of Design, The 49
Anvil 31
Architecture Reference &
Specification Book, The 52, 76,
78
Arrizabalaga, Heidi 31
Atlas of Fashion Designers 55
Atlas of Graphic Designers 49
B
Baer, Kim 46, 77
Berger, Joshua 28, 48
Best of Brochure Design 11, The
12-13, 42, 66
Best of Brochure Design 12, The
12-13, 42, 66, 78
Best of Business Card Design 9,
The 12-13, 42, 66
Best of Cover Design, The 12-13,
41, 66
Best of Letterhead & Logo Design,
The 12-13, 34, 66
Best of News Design 31, The
12-13, 41, 66
Best of News Design 33, The
12-13, 41, 67
Best of the Best of Brochure
Design: Volume II 12-13, 42, 66
Best Practices for Graphic
Designers, Grids and Page
Layouts 40
Blackcoffee Design 61
Borras, Montse 53
Brand Bible 38
Budelmann, Kevin 39, 71, 78
Building Design Portfolios 44
Burgess, Pau 28, 68
Butler, Jill 6-7, 27
C
Calderin, Jay 14-15, 56, 57, 71,
76, 78
Campos, Cristian 51, 61, 62
Capsule 25, 34, 70
Cerimedo, Carolina 55, 61
Chan, Eric 52, 63
Chan, Yenna 54
Color Design Workbook 30, 77
Color Harmony Compendium
16-17, 30
Color, Space, and Style 53
Complete Color Harmony, The
30
Contemporary Fashion Illustration
Techniques 55, 72
Cossu, Matteo 61
Creating Comics! 51
Cuffaro, Dan 54, 76, 79
Cullen, Cheryl 12-13, 42, 66
Cullen, Kristin 25, 28, 40, 69, 77
D
Deconstructing Product Design
53
Design Army 34, 73
Design Elements 10-11, 25, 69
Design Elements, Color
Fundamentals 25, 30, 69
Design Elements, Form & Space

25, 69
Design Elements, Typography
Fundamentals 25, 28, 69
Design Elements, Using Images to
Create Graphic Impact 25, 69
Design Entrepreneur, The 48
Design for Special Events 44
Design Matters 25, 70
Design Matters: Logos 01 34, 70
Design Matters: Portfolios 01
45, 70
Design School 50
Design: Paper 49, 68
Design: Portfolio 45, 68, 78
Design: Type 28, 68
Designers Research Manual, A
46
Digital Design Essentials 25, 71,
78
Diman, Paz 57
Dougher, Sarah 48
Drawing for Graphic Design 26
DuPuis, Steven 39, 77
Duran, Sergi Costa 52, 61
(RAY) (Text)
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Ev
Fa
Fa
Fa
Fa
Fa
Fi
Fi
Fo
Fo
Fo
E
Eceiza, Laura 55
Edwards, Bronwen 39
Eguaras, Mariana R. 52, 61
Eisenman, Sara 44
Eldridge, Kiki 12-13, 42, 44, 61, 66
Ellicott, Candace 39, 71
Essential Elements for Brand
Identity 39, 71, 78
Essential Fashion Illustration
55, 72
Essential Fashion Illustration:
Color and Medium 55, 72
80
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Ga
Go
Go
Go
Gr
Gr
Gr
Gr
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Essential Fashion Illustration:

Digital 55, 72
Essential Fashion Illustration: Men
56, 72
Evans, Poppy 26, 27, 76, 78
Graphic Designers ElectronicMedia Manual, The 20-21, 27

Graphic Designers Essential
Reference 27
Graver, Amy 40
Grimley, Chris 53, 54, 76, 79
Grip 38, 62
F
Fashion Design Essentials 56, 71
Fashion Design Reference &
78
Fashion Design, Referenced
14-15, 56
Fashion Details 56
Fashion Illustration Techniques
56, 72
Field Guide: How to be a Fashion
Designer 56
Fishel, Catharine 8-9, 34, 35, 36,
74, 75
Form, Fit, and Fashion 57
Forms, Folds, and Sizes, Second
Edition 26
Foster, John 44, 45, 62
G
Gardner, Bill 8-9, 34, 35, 36, 74,
75, 79
Godfrey, Jason 12-13, 42, 66
Gomez-Palacio, Bryony 14-15, 27
Gordon, Steve Jr. 48,
Graphic Design and Architecture,
A 20th-Century History 26, 53
Graphic Design Reference &
78
Graphic Design That Works 48
Graphic Design, Referenced
14-15, 27
H
Haber, Karen 51
Haley, Allan 14-15, 29
Hanington, Bruce 6-7, 46
Heller, Steven 29, 46, 48, 49, 50
Hellman, Anne 8-9, 35, 75
Herriott, Luke 63
Holden, Kritina 6-7, 27
Hotel Spaces 53
I
Ilic, Mirko 29, 49
Industrial Design Reference &
79
Information Design Workbook
46, 77
Inside Out 54
Inside the World of Board
Graphics 51
Interactive Design 20-21, 27
Interior Design Reference
& Specification Book, The
54, 76, 79
J
JGA 63
Jura, Ben 40
Keller, Maura 25, 45, 70

Kennedy, Alicia 14-15, 56
Kim, Yang 39, 71, 78
Klimchuk, Marianne 39
Making and Breaking the Grid

18-19, 27, 40
Malamed, Connie 46
Manacsa, Gerry 53
Managing the Design ProcessConcept Development 48
Managing the Design ProcessImplementing Design 48
Marks, Terry 16-17, 30
Martin, Bella 6-7, 46
Martin, Macarena San 56,
Masters of Science Fiction and
Fantasy Art 51
Materials, Structures, and
Standards 54
Matharu, Gurmit 57
McCormick, Lara 28, 79
McMorrough, Julia 52, 54, 76, 78
Mehl, Richard 32
Millman, Debbie 38
MINE Design 12-13, 16-17, 30, 34,
66, 73
Morioka, Noreen 36, 77
L
Lafuente, Maite 55, 72
Lal, Rajesh 25, 71, 78
Language of Graphic Design,
The 27
Layout Essentials 40, 71
Layout Workbook 40, 77
Leonidas, Gerry 14-15, 29
34, 73
34, 73
34, 73
34, 73
Lidwell, William 6-7, 27, 53
Lipavsky, Corin 49
Logo Creed 36, 79
Logo Design Workbook 36, 77
Logo Savvy 36
LogoLounge (mini) 8-9, 34, 74
LogoLounge 3 (mini) 8-9, 35, 74
LogoLounge 4 (mini) 8-9, 35, 74
LogoLounge 5 8-9, 35, 74
LogoLounge Master Library,
Volume 1 8-9, 36, 75
Volume 3 8-9, 36, 75
Volume 4 8-9, 36, 75
Love, Mimi 53, 54, 76, 79
N
Nakamura, Shigeki 32
New Masters of Poster Design
45
New Masters of Poster Design,
Volume 2 45
Nunes, Jason 20-21, 27
O
ODonnell, Timothy 50
OGrady, Jenn Visocky 46
OGrady, Ken Visocky 46
81
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C
One Club, The 64, 65
One Show Boxed Set, 2012
Awards 65
One Show Design, Volume 5
64
One Show Design, Volume 6
64
One Show Interactive, Volume XIV
65
One Show Interactive, Volume XV
65
One Show, Volume 32 64
Origin 16-17, 30
OShea, Linda 54, 77, 79
Oxide Design Co. 34, 73
P
Package Design Workbook 39, 77
Packaging Essentials 39, 71
Pao, Imin 28
Pattern and Palette Sourcebook
31
31
31
Pattern Sourcebook: Around the
World 32
Pattern Sourcebook: Chinese
Style 32
Pattern Sourcebook: Japanese
Style 2 32
Pattern Sourcebook: Nature
32
Playing with Color 32
Playing with Type 28, 79
080-088_30084.indd 82
080-088_30084.indd 82
Poetry of Fashion Design, The

57
Poulin, Richard 14-15, 26, 27, 29,
53
Pratt, Andy 20-21, 27
Public 12-13, 42, 66, 78
Public School 49, 68
Puhalla, Dennis 25, 69
Stone, Terry Lee 48

Stop, Think, Go, Do 29
Strassburger, Michael 51
Streeter, Loreto Binvignat 55, 72
Sussner Design 34, 73
Sustainable Environments 54
Sutton, Tina 16-17, 30
Takamura, Zeshu 56, 72

Talarico, Lita 48, 50
Taute, Michelle 25, 70
Tondreau, Beth 40, 71
Top Studio Design 12-13, 34, 66
Top, Peleg 44
Tselentis, Jason 14-15, 20-21, 27,
29
Type, Form & Function 29
Typography Essentials 29, 71
Typography Referenced 14-15, 29
Typography Workbook 29, 77
Quartino, Daniela Santos 54
R
Raye, Robynne 51
Rayner, Harvey 31
Really Good Packaging Explained
39
Roncarelli, Sarah 39, 71
Rule29 12-13, 42, 66
W
Wallace, Rob 39
Watanabe, Naoki 55, 72
Wayne, Chidy 56, 72
Welsh, Craig 45, 68, 78
Werner, Sharon 39
What is Fashion Design? 57
Wheeler, Dan 52, 76, 78
Whelan, Bride M 30
Willoughby Design Group 12-13,
42, 66
Wilson Harvey 12-13, 42, 66
WOW Branding 36
Wozniak, Curt 39, 71, 78
Writing and Research for Graphic
Designers 46
Z
Zaksenberg, Isaac 54, 76, 79
S
Saltz, Ina 14-15, 29, 71
Samara, Timothy 10-11, 18-19, 25,
26, 27, 29, 40, 69, 77
Saville, Laurel 48
Sayles Graphic Design 12-13, 34,
66
Seddon, Tony 14-15, 29
Sherin, Aaris 25, 26, 30, 69
Silva, John 39, 77
Sketchbook 50
Society for News Design 12-13, 41,
66, 67
Society of Publication Designers
41, 64
Stanic, Elena 49,
Stoehrer, Emily Banis 14-15, 56
Stoltz Design 12-13, 34, 44, 62,
66
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Ph
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6-7, 46
6-7, 27
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Irv
Ph
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Vilaseca, Estel 55, 72
Visual Language for Designers
46
Vit, Armin 14-15, 27
Volpintesta, Laura 56, 76, 78
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Singapore, Malaysia, Indonesia,

Philippines, Vietnam,
Cambodia, Brunei & Thailand
ALL IMPRINTS
APD Singapore Pte Ltd
Ian Pringle
52 Genting Lane #06-05
Ruby Lane Complex 1
Singapore 349560
Phone: (65) 6749 3551
Fax: (65) 6749 3552
ian@apdsing.com or
th@apdsing.com
United Kingdom and Ireland

ORDERS TO:
Grantham Book Services
Isaac Newton Way
Alma Park Industrial Estate
Grantham,
Lincolnshire NG31 9SD, UK
Phone: +44 (0) 1476 541 080
Fax: +44 (0) 1476 541 061
orders@gbs.tbs-ltd.co.uk
Australia
ALL IMPRINTS
including ROTOVISION
Capricorn Link (Australia) Pty. Ltd.
2 Dowling Place
South Windsor NSW 2756
Phone: +61 0245 601600
Fax: +61 0245 775288
books@capricornlink.com.au
www.capricornlink.com.au
New Zealand
ROCKPORT, QUARRY, FAIR
WINDS, QUIVER, WALTER
FOSTER, CPi
David Bateman Ltd.
30 Tarndale Grove
PO Box 100-242 NSMC Auckland
1330
New Zealand
Phone: (64 9) 415 7664
Fax: (64 9) 415 8892
bateman@bateman.co.nz
New Zealand
MOTORBOOKS, VOYAGEUR,
ZENITH
Bookreps New Zealand Ltd.
P.O. Box 34 989
Birkenhead
Auckland 1330
080-088_30084.indd 84
080-088_30084.indd 84
South Africa, Namibia,

Botswana, Zimbabwe,
Swaziland & Lesotho
ALL IMPRINTS
Real Books
Helena Groeneveld
137 Smit Street Braamfontein,
South Africa
Phone: +011 403-3700
Fax: +011 339-3169
helena.realbook@global.co.za
INTERNATIONAL SALES
REPRESENTATIVES: EXPORTS
SALES ONLY
Canada
ALL IMPRINTS
Canadian Manda Group
165 Dufferin Street Toronto,
Ontario Canada, M6K 3H6
Phone: +1 888 563 8327
Fax: +1 416 516 0917
Orders and Inquiries:
general@mandagroup.com
www.mandagroup.com
South America, Central
America,
Caribbean & Mexico
ALL IMPRINTS
Cranbury International Ethan Atkin
7 Clarendon Ave, Suite 2
Montpelier, VT 05602 USA
Phone: +1 802 223 6565
Fax: +1 802 223 6824
eatkin@cranburyinternational.
com
(RAY) (Text)
Denmark, Finland, Iceland,

Norway & Sweden
ALL IMPRINTS
Angell Eurosales
The Old Whaling House, The Walls
Berwick-upon-Tweed TD15 1HP
United Kingdom
Phone: +44 1289 332934
Fax: +44 1289 332935
gill@angelleurosales.com
Central & Eastern Europe,
Belgium, France, Luxembourg,
Monaco, Netherlands
ALL IMPRINTS
Austria, Germany & Switzerland
ALL IMPRINTS EXCEPT
ROCKPORT
Bill Bailey Publishers
Representatives
16 Devon Square
Newton Abbot, TQ12 2HR
Phone: +44 1626 331079
Fax: +44 1626 331080
info@billbaileypubreps.co.uk
Italy, Greece
ALL IMPRINTS
Penny Padovani Padovani Books
N.A
La Chiesa no.0
52044 Pergo Cortona (AR) Italy
Phone: +39 0575 614338
Fax: +39 0575 614338
penny@padovanibooks.com
Spain, Portugal, Gibraltar
ALL IMPRINTS
Jenny Padovani Padovani Books
Rambla Poblenou 11
Escalera A 4, 2a Barcelona 08005
Spain
Phone: +34 93 2218561
Fax: +34 93 2218561
jenny@padovanibooks.com
China, Taiwan, and Hong Kong
ALL IMPRINTS
Asia Publishers Services
Units B&D, 17F Gee Chang Hong
Centre,
65, Wong Chuk Hang Road,
Aberdeen, Hong Kong
Phone: +1 (852) 2553 9289
edward_summerson@asiapubs.
com.hk
Sub-Saharan Africa
ALL IMPRINTS
Kelvin van Hasselt
Willow House, The Street
Birmingham,
Norfolk NR24 2PY, U.K.
Phone: 44 1263 862724
Fax: 44 1263 862803
kelvin@kvhbooks.co.uk
Japan
ALL IMPRINTS
Tim Burland Sangenjaya 2-38-12
Setagaya Ward,
Tokyo 154-0024 Japan
Phone: +81 (0)3-3424-8977
Fax: +81 (0)3-3424-8977
Mobile: +81 (0)90-1633-6643
tkburland@gmail.com
All other territories please
contact:
Aurum Publishing Group
47-77 White Lion Street
Islington, London N1 9PF
Phone: +44 0207 284 9339
Adrian Greenwood, International
Sales Director
Adrian.greenwood@
aurumpublishinggroup.com
Anne Bowman, Export Sales
Manager
anneb@frances-lincoln.com
B
W
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s
a
o
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i
P
B
P
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s
c
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c
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a
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F
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Ella Camps-Linney, Export Sales

Assistant
ella.camps-linney@quarto.com
Marketing and Educator
Inquiries:
US and Canada
Susan Hershberg
shershberg@quaysidepub.com
UK
Andrew Compton
andrew.compton@quarto.com
Al
50
Sa
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Bu
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Th
Th
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#175 DTP: 216 Page: 84
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4
Bookstores We Recommend:
Green Apple Books
506 Clement Street

San Francisco, CA 94118
415-387-2272
www.greenapplebooks.com
Booksellers,
We admire your commitment
to maintaining a strong
selection of design titles
as part of your core stock
offering. Rockport would like
to support your efforts and
invite you to participate in our
Premier Customer Program.
Bookstores joining Rockports
Premier Customer Program
receive benefits such as
special terms, customized
collateral material, featured
placement on RockPaperInk.
com, promotion through
our social media channels,
and inclusion in our annual
catalog.
For more information, please
contact your Rockport sales
rep.
US
Alexander Book Company
50 Second Street
415-495-2992
www.alexanderbook.com
Builders Booksource
1817 Fourth Street

Berkeley, CA 94710
510-845-6874
www.buildersbooksource.com
The FIDM Store
The Fashion Institute of Design &

Merchandising
919 South Grand Avenue
Los Angeles, CA 90015
213-624-1200
thefidmstore.com
080-088_30084.indd 85
080-088_30084.indd 85
Hennessey + Ingalls
(multiple locations)
214 Wilshire Blvd.
Santa Monica, CA 90401
310-458-9074
www.hennesseyingalls.com
Kinokuniya Bookstore
Ex Libris Bookstore
MoMA Design and Book

Store
228 Martin Luther King Blvd.

Savannah, GA 31401
912-525-7550
www.bkstr.com
The Art Institute of Chicago

Museum Shop
111 South Michigan Avenue
Chicago, IL 60603
855-301-9612
www.artinstituteshop.org
Brookline Booksmith
279 Harvard Street

Brookline, MA 02446
617-566-6660
www.brooklinebooksmith.com
292 Main Street

Cambridge, MA 02142
617-253-5249
web.mit.edu/bookstore
The Museum Store at

SFMOMA
151 Third Street

415-357-4035
museumstore.sfmoma.org
Vromans Bookstore
695 E. Colorado Blvd.

Pasadena, CA 91101
626-449-5320
www.vromansbookstore.com
William Stout Books
804 Montgomery Street

415-391-6757
www.stoutbooks.com
Tattered Cover Book Store

2526 East Colfax Avenue
Denver, CO 80206
303-322-7727
www.tatteredcover.com
(RAY) (Text)
MIT Press Bookstore
Powells Books
Fashion Design Books
250 West 27th Street

New York, NY 10001
212-633-9646
www.fashiondesignbooks.com
1073 Avenue of the Americas
New York, NY 10018
212-869-1700
www.kinokuniya.com
52 Prince Street
New York, NY 10012
212-274-1160
mcnallyjackson.com
31 Third Avenue
New York, NY 10003
212-260-7853
www.stmarksbookshop.com
828 Broadway
New York, NY 10003
212-473-1452
www.strandbooks.com
82 Needham Street
Newton Highlands, MA 02461
617-964-7440
www.nebookfair.com
McNally Jackson Books
St. Marks Bookshop
Strand Book Store
New England Mobile

Book Fair
Rizzoli Bookstore
31 West 57th Street

New York, NY 10019
212-759-2424
www.rizzoliusa.com/bookstore
1581 Webster Street
415-567-7625
www.kinokuniya.com
123 Onizuka Street
Los Angeles, CA 90012
213-687-4480
www.kinokuniya.com
11 West 53rd Street

New York, NY 10019
212-708-9700
www.momastore.org
1005 W. Burnside
Portland, OR 97209
503-228-4651
www.powells.com
AIA Bookstore and

Design Center
1218 Arch Street

Philadelphia, PA 19107
215-569-3188
www.aiabookstore.com
Carnegie Mellon University

Bookstore
5032 Forbes Avenue
Pittsburgh, PA 15213
412-268-2966
bookstore.web.cmu.edu
RISD Store
30 North Main Street

Providence, RI 02903
401-454-6464
www.risdstore.com
85
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#175 DTP: 216 Page: 85
Bookstores Cont.
A Book For All Seasons
703 Highway 2
Leavenworth, WA 98826
509-548-1451
www.abookforallseasons.
indiebound.com
The Elliott Bay Book

Company
1521 Tenth Avenue

Seattle, WA 98122
206-624-6600
www.elliottbaybook.com
Peter Miller Books

1930 First Avenue
Seattle, WA 98101
206-441-4114
www.petermiller.com
CANADA
McNally Robinson
Booksellers
1120 Grant Avenue

Winnipeg, MB R3M 2A6
800-561-1833
www.mcnallyrobinson.com
The Montreal Museum

of Fine Arts Bookstore
1390 Sherbrooke Street West

Montreal, QC H3G 2T9
514-285-2000
www.mbam.qc.ca/en/boutique
Oscars Art Books
1533 Broadway W.
Vancouver, BC V6J 1W6
604-731-0553
www.oscarsartbookstore.com
Swipe Design
401 Richmond Street West

Toronto, ON M5V 3A8
416-363-1332
www.swipe.com
University of Alberta
Bookstore
Student Union Building

Edmonton, AB T6G 2J7
780-492-4215
www.bookstore.ualberta.ca
University of Manitoba
Bookstore
FRANCE
Librairie Artazart
Librairie Eyrolles
AUSTRALIA
170 Boulevard Saint-Germain

Paris 75006
+33 (0)1 45 48 35 85
Metropolis Bookshop
252 Swanston Street

Melbourne 3000
03 9663 2015
www.metropolisbookshop.com.au
BELGIUM
Copyright Bookshop
Jakobijnenstr 8 B
Ghent 9000
+32 (0)9 223 57 94
www.copyrightbookshop.be
FINLAND
Keski-Tln Paperikauppa
Oy
Ruusulankatu 18
Helsinki 00250
(09) 490 086
www.paperikauppa.fi
Sternstrae 4
Hamburg 20357
040 40185110
www.codobuch.de
Librairie La Hune
Librairie Leks
19 Rue Pierre Lescot

Paris 75001
+33 (0)1 40 26 21 83
Bo
Vi
M
+3
ww
Kopp Fachbuch und

Medienversand GmbH
Martin-Luther-King-Strasse 2b
Hanau 63452
045 075 6181
www.koppmedien.de
JA
Ao
(m
Co
B2
5Sh
03
ww
Admiralittsstrae 71-72
Hamburg 20459
040 373196
www.sautter-lackmann.de
Bcherbogen
Savignyplatz GmbH
Stadtbahnbogen 593
Berlin 10623
030 31 86 95 11
www.buecherbogen.com
soda. Internationale
Magazine und Bcher
Buchhandlung L. Werner
GmbH
Residenzstrasse 18
Mnchen 80333
089 226 979
www.buchhandlung-werner.de
Kleiner Schloplatz 11
Stuttgart 70173
0711 292 509
www.limacher.de
IT
Sautter + Lackmann
GERMANY
Buchhandlung Rita
Limacher GmbH
(m
Ka
Jl.
Ja
62
pe
Cohen+Dobernigg
Buchhandel
61 Boulevard Saint-Germain
Paris 75005
+33 (0)1 44 41 11 74
www.eyrolles.com
80 Albert Street
Brisbane 4000
07 3221 1368
www.foliobooks.com.au
Pe
Ehrenstrae 4
Kln 50672
0221 20 59 6-0
www.buchhandlung-waltherkoenig.de
83 Quai de Valmy
Paris 75010
+33 (0)1 40 40 24 00
www.artazart.com/fr
140 University Centre, Fort Garry

Campus
Winnipeg, MB R3T 2N2
204-474-8321
www.umanitoba.ca/bookstore
Folio Books
IN
Buchhandlung Walther
Knig
Rumfordstrasse 3
Mnchen 80469
0049 89 20 24 53 53
www.sodabooks.com
To
5Sh
03
ww
HOLLAND
Ju
American Book Center

Spui 12
Amsterdam 1012 XA
+31 (0)20 625 55 37
www.abc.nl
(m
2To
03
ww
HUNGARY
Ts
6M
03
st
Alexandra Knyveshz
7th West Square

Budapest 1055
(06-1) 428-7077
www.alexandrakonyveshaz.hu
080-088_30084.indd 86
080-088_30084.indd 86
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INDONESIA
PHILIPPINES
SPAIN
UK
Periplus Bookshop
Fully Booked/Bibliarch/
Sketchbooks
Graphic Book
Artwords Bookshop
Kawasan Industri Pulogadung
Jl. Rawa Geiam Iv No. 9
Jakarta 13930
62-21646821088
periplus.co.id
ITALY
Books Import S.R.L.
Via Achille Maiocchi, 11
Milan 20129
+39 02 29400478
www.booksimport.it
JAPAN
Aoyama Book Center
Cosmos Aoyama Garden Floor
B2F
5-53-67 Jingu-mae
Shibuya-ku, Tokyo
03-5485-5511
www.aoyamabc.co.jp
Design Books
Tokyo Design Center
5-25-19 Higashi-Gotanda
Shinagawa-ku, Tokyo
03-3445-1341
www.design-center.co.jp
Junkudo Bookstore
2-15-5 Minami-ikebukuro
Toshima-ku, Tokyo
03-5956-6111
www.junkudo.co.jp
Tsutaya Tokyo Roppongi
6-11-1 Roppongi Hills Keyakizaka

Minato, Tokyo
03-5775-1515
store.tsutaya.co.jp
080-088_30084.indd 87
080-088_30084.indd 87
Bldg 6, Bonifacio High Street
Bonifacio Global City,
Taguig City 1634
632-858-7000
www.fullybookedonline.com
PHILIPPINES
National Book Store
Quad Alpha Centrum Building
125 Pioneer St.
Mandaluyong City 1550
632-631-8061
www.nationalbookstore.com
POLAND
Top Mark Centre
Ul. Emilii Plater 4
Warsaw
+48 22 428 3014
www.tmc.com.pl
SINGAPORE AND
AUSTRALIA,
INDONESIA, JAPAN,
MALAYSIA, TAIWAN,
THAILAND, UAE
www.kinokuniya.com.sg
SINGAPORE AND CHINA,

HONG KONG, TAIWAN
Page One
www.pageonegroup.com
(RAY) (Text)
Shoreditch
69 Rivington Street
London EC2A 3AY
+44 (0) 20 7729 2000
www.artwords.co.uk
C/ Booksellers, 3
Madrid 28004
34 91 521 0019
www.graphicbook.com
La Central del Raval

C/ Elisabets, 6
Barcelona 08001
00 34 902 884 990
www.lacentral.com
Blackwells Art and

Poster Shop
27 Broad Street
Oxford OX1 3BS
+44 (0) 1865 333641
www.bookshop.blackwell.co.uk
Laie CCCB
C/ Montalegre, 5
Barcelona 08001
93 481 38 86
www.laie.es/cccb
Castor + Pollux
165 Kings Road Arches, Lower

Promenade
Brighton BN1 1NB
+44 (0) 1273 773776
www.castorandpollux.co.uk
Llibreria Medios
C/ Valldonzella, 7
Barcelona 08001
934 12 33 88
Design Museum Shop
28 Shad Thames
London SE1 2YD
+44 (0) 207 940 8775
www.designmuseumshop.com
a Rhei
C/ Hernn Corts, 7
Madrid 28004
34 91 319 89 02
www.panta-rhei.es
Foyles (multiple locations)

113-119 Charing Cross Road
London WC2H 0EB
+44 (0) 20 7437 5660
www.foyles.co.uk
SWEDEN
Magma Books
Akademibokhandeln,
Vasagatan
117-119 Clerkenwell Road
London EC1R 5BY
+44 (0) 20 7242 9503
www.magmabooks.com
26-30 Centrum
Stockholm
+46 31 60 96 80
www.akademibokhandeln.se
Tate Modern
THAILAND
Asia Books Co., Ltd
65/66, 65/70 Chamnan Phenjati
Business Center
Rama 9 Road, 7th Floor
Huaykwang, Bangkok 10320
(662) 715-9000
www.asiabooks.com
Bankside
London SE1 9TG
+44 (0) 20 7401 5167
www.tate.org.uk/shop
87
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#175 DTP: 216 Page: 87
Design Associations:
American Institute of
Architects (AIA)
www.aia.org
American Institute of Graphic
Arts (AIGA)
www.aiga.org
Art Directors Club (ADC)
www.adcglobal.org
Association of Registered
Graphic Designers of Ontario
(RGD Ontario)
www.rgdontario.com
Association Typographique
Internationale (ATypI)
www.atypi.org
D&AD
www.dandad.org
Design Council
www.designcouncil.org.uk
Fashion Group International
www.fgi.org
Industrial Designers Society
of America (IDSA)
www.idsa.org
International Council
of Societies of Industrial
Design (Icsid)
www.icsid.org
International Society
of Typographic
Designers (ISTD)
www.istd.org.uk
The One Club
www.oneclub.org
Society for Environmental
Graphic Design (SEGD)
www.segd.org
Society for News Design (SND)
www.snd.org
Society of Graphic Designers
of Canada (GDC)
www.gdc.net
Designers (SPD)
www.spd.org
Type Directors Club (TDC)
www.tdc.org
International Council
of Graphic Design
Associations (Icograda)
www.icograda.org
88
080-088_30084.indd 88
080-088_30084.indd 88
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#175 DTP: 216 Page: 88
ROCKPORT
publishers
Rockport Publishers
100 Cummings Center, Suite 406-L
Beverly, MA 01915
www.rockpub.com
2013
THE
COMPLETE
DESIGN LIST
ISBN-13: 978-1-59253-900-0
Item # 213531
Cover_30084.indd 1-2
(RAY)
Job: 03-30084 Title: RP-Backlist Graphic Design 3/11/13

Catalog 2:01 PM
#175 DTP: 216 Page: Cover

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ROCKPORT

Job: 03-30084 Title: RP-Backlist Graphic Design 3/11/13

Designed for those fanatical

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog

BEST SELLING TITLES

Universal Principles of Design

1,000 Series ................................... 61-63

LogoLounge Series .............................8-9

Color & Pattern Design....................30-33

Best of Series .................................66-67

Design Elements ..............................10-11

Logos & Identity ..............................34-37

Best of Series ..................................12-13

Packaging & Branding .....................38-39

Design Elements Series........................69

Graphic Design, Referenced,

Grids & Layout .....................................40

Design Matters Series ..........................70

Publication Design Reference ............... 41

Essentials Series .................................. 71

Color Harmony Compendium ..........16-17

Corporate Communications ............42-43

Making and Breaking the Grid ..........18-19

Portfolios & Promotions ..................44-45

The Graphic Designers

Research & Information

Fashion Illustration Series ....................72

General Design & Creativity.............49-50

SPRING 2013 TITLES ..................78-79

= These titles are recommended by the publisher for course adoption

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog

Most Advanced Yet Acceptable

The act of copying properties of familiar objects,

Mimicry is an effective strategy to

Functional mimicry is defined as making a design work like something else.

The Mimic Octopus is capable of both

Universal Principles of Design

: Provision_Universal Principles Of Design

Also known as MAYA.

The traditional four-legged upholstered

The Aeron chair, introduced in 1992,

The Variable Balans was introduced

See also Affordance, Anthromorphic Form, Baby-Face Bias, Convergence,

The Sony AIBO mimics many key

A method for determining the most commercially viable

Surface mimicry is common in the

: Provision_Universal Principles Of Design

Universal Principles of Design

: Provision_Universal Principles Of Design

Most Advanced Yet Acceptable

: Provision_Universal Principles Of Design

Job: 03-30084 Title: RP-Backlist Graphic Design Catalog

Crowdsourcing occurs when an undefined, large group of people

1. The term Crowdsourcing is a

business word outsourcing. Jeff Howe

quantity of data from real people in less time.

coined it in The rise of Crowdsourcing, a

2. Kittur, Aniket, ed H. Chi, and Bongwon Suh,

Using crowdsourcing, frog's frogmob invites

Human Computation. university of maryland

Universal Methods of Design

courtesy of frog, frogmob.frogdesign.com