Bøger af Adrian Shaughnessy

Suitable for independent-minded graphic designers, this title addresses the concerns of young designers who want to earn a living by doing expressive and meaningful work and avoid becoming a hired drone working on soulless projects. It offers advice on how to establish your design career and suggestions for running a successful business.

Five years in the making, Pentagram: Living by Design is an in-depth survey of the group from its beginnings in 1970s London to its current status as one of the powerhouses of international design.

A follow-up to two highly successful monographs (1988 and 1994) on the work of the most important British designer of his generation, showcasing projects from the past twenty-five years of his career. Ever since defining the look of the 1980s music scene as art director of The Face, Neville Brody has been one of the most consistently innovative and shape-shifting graphic designers of the past fifty years. Since his second monograph was published in 1994, he has produced a body of editorial, typographic, information and interface design of unparalleled boldness and sophistication for global clients that include Samsung, Shiseido, Coca-Cola, the UK's Channel 4 and Dom Perignon. The Graphic Language of Neville Brody 3 brings twenty-five years of work together in thematic sections that address the key fields of his vibrant design projects, including typographic experimentation, information graphics, cultural subversion and design systems. Richly illustrated, each project is explored in detail, revealing the work that has defined Brody's recent career across six chapters, from major brands to magazine editorials and features, revealing how Brody's design language has evolved since the 1990s. Many young designers working today, digital natives included, may not yet have been exposed to Brody's design genius at a time when the originality of work from the 1980s and 1990s across many creative disciplines is finding a new generation of fans. This inspirational volume will be essential reading for anyone interested in the evolution of graphic design over the past three decades.

The first major monograph on the legendary American typographer and graphic designer Herb Lubalin.

Matt Pyke, founder and creative director of Universal Everything, calls his studio a ¿digital art and design collective¿. And after 15 years of revolutionary work in the digital realm, UE has its first book ¿ What is Universal Everything? Working closely with Pyke, the Spin design team of Tony Brook and Claudia Klat have designed a book that successfully brings Universal Everything¿s vivid on-screen work to the printed page. The book is printed using a unique salmon pink fluoro colour that has been specially created and mixed for the project. What is Universal Everything? examines 24 of the studiös most exciting projects, from work for clients such as Microsoft, Hyundai and MTV, through to projects for Radiohead and the Science Museum in London. For each piece of work, Pyke collaborates with a pool of international creative talent from his base in Sheffield in the north of England. The book also focuses on several of UE¿s self-initiated projects that keep the studio pushing forward. These speculative explorations, says Pyke, are concerned with ¿trying to invent the future before we get there¿. The book also includes two essays and extensive interviews throughout, 90 pages of Pyke¿s hand-drawn sketches, as well as detailed listings of the studiös numerous sources of inspiration ¿ from music to literature; from places to food. In keeping with the book¿s high production values, nearly all the work featured in the book has been re-rendered at high res, allowing the full majesty of Universal Everything¿s screen-based work to be captured on the printed page. Furthermore, every cover of What is Universal Everything? is unique: a different tipped-in image graces the cover of each edition. As Pyke notes: ¿We developed software to generate random combinations of shapes, colours and sizes with collision detection. Thousands of unique graphic compositions have been generated.... Everyone will own a one-off.¿

This book is a near facsimile of the one-off, leather-bound `sketchbook¿ that Lance Wyman made to catalogue his design process for the creation of a logo and graphic identity for the 1976 USA Bicentennial celebrations to mark the creation of the USA as an independent republic. This is a record of the creative process that Wyman went through to arrive at a refined and workable solution. It is rare for designers to reveal so much of their inner workings, and even rarer for it to be documented with this degree of thoroughness ¿ but Lance Wyman is no ordinary designer. The work was done in Mexico in 1970 ¿ Wyman had gone there to design the graphics for the Mexico 68 Olympics. But in 1971 he returned to the USA, and to a design scene that was markedly different from the one he had left. For a start, he had acquired a stellar reputation. One year after Wyman¿s return to New York, Richard M Nixon, the 37th president of the USA, instigated Federal Design Improvement Program, a far ranging initiative aimed at producing better design for government funded projects. Wyman was to work on numerous projects that came from this, some of them amongst the most celebrated of his career: National Zoo (1975), Washington Mall (1975), Minnesota Zoo (1979). But before working on any of these large-scale civic projects, he took part in a competition to design the graphics for the Bicentennial celebrations. As can be seen in the pages of this book, Wyman approached the task with his customary mix of graphic rigor and visual ingenuity. In an opening interview with Adrian Shaunghnessy, Wyman explains the genesis of the project, the reasons why it was never implemented and discusses the importance of process in any designer¿s work. `There is a role for this book to show process, to show how a concept is the first step, and how an idea is refined over time. It¿s a process. It¿s not instant.¿ Lance Wyman

Letraset: The DIY Typography Revolution is the first comprehensive history of Letraset, the rubdown lettering system that revolutionised typographic expression. The book tells the Letraset story from its early days as a difficult-to-use wet system, to its glory years as the first truly democratic alternative to professional typesetting. The book also looks at Letraset¿s present-day revival amongst a new set of admirers who recognise the typographic excellence of the system¿s typefaces. The book comes with a gatefold Letraset timeline. It has an introduction by Malcolm Garrett, and features in-depth interviews with Mr Bingo, Erik Brandt, Aaron Marcus, David Quay, Dan Rhatigan, Freda Sack, Andy Stevens and Jon Wozencroft. Essays by Colin Brignall, Dave Farey and Mike Daines ¿ all key members of the Letraset team ¿ provide expert insight into the rise of Letraset as a typographic and commercial powerhouse. A central essay by Adrian Shaughnessy examines the typographic and cultural impact of the system. The book¿s design is by the Spin team of Tony Brook and Claudia Klat. It uses many rare specimens from Letraset¿s past ¿ catalogues, press ads, mailers, storage units, and of course, sheets of classic Letraset typefaces.

Shaughnessy combines practical advice with philosophical guidance to help young professionals embark on their careers in graphic design.