By Michael Beirut, William Drenttel, Steven Heller
The pinnacle writing on modern concerns in design--in one volume
* vast names: Milton Glaser, Maud Lavin, Ellen Lupton, extra * comprises essays from blogs and net journals * vital for college kids, execs, a person drawn to pop culture
This ultimate installment in an acclaimed sequence bargains astute--and controversial--discussions on modern photograph layout from 2001 to 2005. The essays the following takes inventory of the image layout writing released in specialist and general-interest layout magazines, in addition to in blogs and net journals. participants contain Milton Glaser, Maud Lavin, Ellen Lupton, Victor Margolin, Mr. Keedy, David Jury, Alice Twemlow, Jessica Helfand, Michael Dooley, Nick Curry, Emily King, and extra. those famous designers examine layout as popular culture, layout as paintings, politics, aesthetics, social accountability, typography, the way forward for design--a wide-ranging and thought-provoking mixture of principles and knowledge. scholars, starting picture designers, or even veterans looking clean point of view will take pleasure in this assortment. final within the sequence that helped release the design-criticism movement--and that pioneered anthologizing very important graphic-design criticism--this quantity may be the so much provocative of all.
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Extra resources for Looking Closer 5: Critical Writings on Graphic Design
We may play the text, but it is also playing us. I This essay is revised and excerpted from Ellen Lupton, Thinking with Type (New York: Princeton Architectural Press, 2004). qxd 12/1/06 11:35 AM Page 24 24 looking clo se r 5 Graphic designers can use theories of user interaction to revisit some of our basic assumptions about visual communication. Why, for example, are readers on the Web less patient than readers of print? Yet HCI studies conducted in the late 1980s proved that crisp black text on a white background can be read just as efficiently from a screen as from a printed page.
Too much attention to these graphical properties could get ridiculous—tending towards a dictionary of equivalents in which Neuland + Ezra Pound + wide spacing = fascism through a reductive literalism. With just a little prompting, most readers will admit a begrudging preference for one face or another or admit to the inflecting effect of graphic styles on semantic value. A sample display of posters, type samples, or graphic instances makes clear that such graphical codes affect our reading. Contrasts of early twentieth century journals display marked differences meant to signal appeal to different audiences.
Rob: I suspect that Default Systems arose from a kind of shame that plagued designers after accusations that their work had become overly self-indulgent in the face of the limitless possibilities of desktop publishing and a certain version of postmodernity. This notion finds its first theoretical articulation in the summer of 1995, when Dutch critic Carel Kuitenbrouwer wrote in Eye of “The New Sobriety” creeping into work of young Dutch designers at that time. Rudy: Can you describe some of the features and characteristics of this type of Default Systems design?