"This is the official catalogue of Typojanchi 2011: Seoul International Typography Biennale, held for 16 days in the fall of 2011 at the Seoul Arts Center. Spanning 776 pages, the catalogue showcases a stunning collection of graphic design works from East Asian designers active worldwide, including posters, book designs, typefaces, branding, exhibition designs, video titles, and characters, all emphasizing the imaginative possibilities of typography. It features works by 100 emerging designers who participated in the main exhibition, including pieces not displayed at the event. Each work is accompanied by bilingual (Korean and English) explanations of the design intent and personal philosophies of the designers. The catalogue also honors eight legendary East Asian designers who have left a lasting impact on typography and design history, such as the late Choi Jung-ho, Jung Byung-gyu, and Xu Bing, known for his groundbreaking type art, and Lü Jingren, a pioneer of book design. Their works, special contributions, and personal reflections—on their journey as designers and current challenges—offer rare insights not found in the exhibition itself. Additionally, the book includes documentation of off-site programs, such as forums by An Sang-soo, Won Yoo-hong, and Mitsuo Katsui on the history and issues of East Asian typography, as well as workshops led by Minoru Niijima and Pan Jin. These supplementary lectures and programs provide a comprehensive look at the past, present, and future of East Asian typography, making this catalogue an invaluable resource for typographers, graphic designers, and design enthusiasts alike."

"VeryGraphic. Polish Designers of the 20th Century, published by Culture.pl and edited by Jacek Mrowczyk, is a compilation of information on contemporary graphic design which is unprecedented in its scope. The book was published in English in order to present the immense and diverse legacy of Polish graphic designers to the world. Although it has a very rich history, Polish graphic design remains little known abroad. Polish applied design is much more than just the internationally acclaimed poster school. Naturally, the Polish poster is covered in VeryGraphic, but the publication also includes lesser known achievements of artists in the field of applied graphic design: books, magazines and covers, typography and lettering, information design, identification signs and packaging. The publication provides a chronological description of the work of over 60 of the most prominent and interesting Polish designers. It is divided into the three periods which were the most dynamic and productive for the selected artists. The turning points chosen by the editor are the end of World War II and the year 1980, which was marked by the signing of the August Agreements and the birth of Solidarity in Poland."

"This exciting new history of graphic design explores its evolution from the late 19th century to the present day. Organized chronologically, the book illuminates the dynamic relationship between design and manufacturing as well as the roles of technology, social change, and commercial forces on the course of design history. The layout of each chapter reflects the unique style of the period it describes, and some 450 illustrations throughout the volume provide a visual record of more than one hundred years of creative achievement in the field. Under the influence of William Morris and the Arts and Crafts movement in the late 19th century, a new era began for design arts. Fueled by popular Art Nouveau advertising, the work of graphic designers became central in the growing consumer goods economy. This book traces the emergence of varied modernist design styles in the early 20th century and then examines the wartime politicization of regional styles through American government patronage and revolutionary Soviet ideas. Richly contextualized chapters chronicle the history of the Bauhaus and the rise of the International Style, followed by the postmodern movement of the 1970s and '80s. After highlighting recent developments in graphic design around the globe, the author discusses the impact of inexpensive, powerful design software and the challenges facing designers now."

A tear-off calendar for 2025 by Dutch graphic designer Karel Martens. For each day of the year, Martens has created a unique arrangement, originally constructed using his signature method of printing letterpress monoprints from found metal forms, and then digitized to comprise 365 compositions in total. Every day is a new day!

Un tricot sur une couverture, un losange, des cercles, une ouverture blanche, l’alternance de pages vierges et imprimées en pleine page. Des visages, profils aux lignes noires. Des fils. Des partitions, tout cela se répète deux pages sur quatre.

Des écrits découpés, des cubes, des plans, des avions, des vies. Des archives qui se déclinent, un fond gris, un quadrillage. Un index situe les recherches d’Anna Meschiari au centre de documentation Bob Calle, Carré d’Art - Musée d’art contemporain de Nîmes. Le livre accompagne une exposition et pourquoi pas d’autres? Les projets d’Anna Meschiari naissent du dialogue intrinsèque existant entre image et texte et c’est ici l’aspect flottant des contenus visuels qui l’intéresse. Pendant des semaines l’artiste explore le fonds documentaire sur le thème du tapis volant que Michel Leiris décrit dans Fibrilles (La règle du jeu, III – 1966) comme une « table de travail ».

Des ensembles de codes, des images repliées, choisies et découpées laissant apparaître de nouvelles traces sur les pages. L’idée conceptuelle qui accompagne l’ouvrage est un état de recherche, d’échantillonnage. Une recherche sur les plis, les usages et les formes. Son titre nous renvoie à un lieu utopique du savoir et à un espace nomade. Riche d’une vaste iconographie picturale à travers les âges, le tapis volant représente un véhicule de pensée magique, symbolique en tant que monde en soi, espace en suspension hors du reste du monde, sorte d’hétérotopie selon le concept défini par Michel Foucault. Prendre des notes visuelles, et constituer un ouvrage pour y revenir, des références. Le lieu de l’archive est le livre et ses formes. Documents et images recadrées perdent leurs premières fonctions, en retraçant de nouvelles idées, une lecture personnelle, faisant œuvre page après page.

From images of Vladimir Lenin promising “Land to the peasants!” to those of Mao Zedong declaring the Cultural Revolution, communist regimes have relied on powerful—and often beautifully wrought—artwork to ensure the successes of their revolutions. Because of their ease of distribution, posters in particular have figured as central vehicles of propaganda in nearly every communist nation. In this book, Mary Ginsberg offers the first truly global survey of the history and variety of communist poster art.

Müller-Brockmann’s book aimed to solve the graphic designer’s problem of finding the appropriate contemporary form. It became a standard work that still serves as a historic practical guide well beyond the boundaries of Switzerland. This edition is an unabbreviated reconstruction of the original edition of 1961, as a hardcover with jacket. It includes the additions made by Josef Müller-Brockmann himself for the paperback edition of 1983.
In the first part, the path from illustrative to functional graphic design is traced, as well as the meaning of design elements, their use and effect in every area of advertising: business printed matter, advertisements, brochures, books, posters, and exhibitions. The middle section of the book contains fundamental thoughts concerning the work of the graphic designer. The chapter “Science and Visual Communication” covers the area of semiotics and communications research. In the last part, the systematic education of the graphic designer is presented by means of a comprehensive documentation. Thus, the book offers graphic designers a valuable survey of the fundamental tasks of design.

What do we need to design a type revival? Looking beyond the limits of a definition, this book will help you understand what a revival is, how to analyse a historical model and how to approach the design from a contemporary perspective. The authors, experienced designers and educators, provide reflections and processes for designing a historical type – such as the roman cut by Francesco Griffo for the De Aetna (1496). They show insights on a method, with illustrated examples to support the work of both designers and scholars, and offer a modus operandi which can be applied to any project.

La typographie est désormais à la portée de tous. Ce sont les informations qui l'on permis : les matériels sont abordables, les logiciels faciles d'accès. Mais la création graphique, pour être pertinente, demande d'autres connaissances. La machine ne saurait, en effet, remplir d'autre rôle que celui d'exécutant. Qu'est-ce qu'une lettre, comment est-elle constituée, quel rapport entretient-elle avec sa voisine ? Comment adopter un bon format pour une affiche, un catalogue ou un livre, et comment, à l'intérieur, concevoir de belles marges ? Qu'est-ce que la lisibilité ? Quelle est l'origine de tel caractère, dans quel contexte culturel, économique est-il né ? Autant de questions auxquelles cet ouvrage à l'ambition de répondre afin de donner aux nouveaux acteurs de l'informatique graphique, professionnels ou amateurs, les connaissances nécessaires à l'optimisation de leur travail.