Modern graphic design has existed for more than a hundred years. In an exciting history of evolution, the discipline has evolved and established itself worldwide. The fact that we can trace this development in detail today is largely thanks to archives and collections that preserve posters, logos, book covers, design manuals, and small printed matter. The natural short-lived nature of many of these media, the ever-changing visual zeitgeist, and the fact that graphic design is always a reflection of contemporary history make its history incredibly appealing.

“A5/10: Collecting Graphic Design” presents ten specialized graphic design archives and collections from all over the world—from traditional institutions to private initiatives. Curators and collectors show favorite exhibits and highlights from their collections, tell the stories behind the arti- facts, and report on their work in in-depth interviews. The book presents collections and archives from Berlin, Buenos Aires, Milan, Paris, San Francisco, and Tokyo. An appendix features more than 60 other international collections in brief.

Featured Collections:
Graphic Design Documentation Center of Aiap · Milan, Italy / Canada Modern · Mono, Ontario, Canada / DNP Graphic Design Archives · Tokyo, Japan / IDA Foundation · Buenos Aires, Argentina / Sammlung Grafikdesign Kunstbibliothek, Staatliche Museen zu Berlin · Berlin, Germany / Letterform Archive · San Francisco, USA / Rochester Institute of Technology · Rochester, New York, USA / Serge Ricco · Paris, France / Swiss Graphic Design Foundation · Winterthur, Switzerland / A5 Sammlung · Düsseldorf, Germany

Made in URSS : Design et Graphisme 1950-1989" révèle une vision fascinante, pleine de charme et peu connue de la vie quotidienne en Union soviétique à travers la reproduction de 350 objets et documents. Tous sont issus de la collection unique du Musée du design de Moscou qui œuvre pour la préservation de l'héritage du design russe. Des jouets aux articles de maison et de mode aux affiches de films en passant par l'électronique et les produits vantant la course à l'espace, chaque objet témoigne du quotidien sous le régime communiste. Ces créations fonctionnelles, kitsch, politisées et souvent avant-gardistes offrent une incursion captivante au coeur de cette période méconnue.

A collectible volume for graphic designers and creative entrepreneurs, this book edited by Maximage is dedicated to Color Library, one of the most discussed projects in the field of graphic design of the last few years. An investigation into color reproduction and printing, Color Library is a tool for artists, designers, photographers, and printers. It aims to widen the possibilities of color printing, and reflects on our contemporary perception of color as it is shaped by the recent developments in print production. Color Library was created within the Workflow research project (R&D) about printing technologies at ECAL. A project led by Maximage and supported by the HES-SO.

Extra Bold is the inclusive, practical, and informative career handbook for designers that we've all been waiting for. Written collaboratively by a diverse team of authors, the book opens with critical essays that rethink design principles and practices through theories of feminism, anti-racism, inclusion, and nonbinary thinking. Extra Bold features interviews, essays, typefaces, and projects from dozens of contributors with a variety of racial and ethnic backgrounds, abilities, gender identities, and positions of economic and social privilege. The book adds new voices to the dominant design canon.

Part textbook and part comic book, zine, manifesto, survival guide, and self-help manual, Extra Bold is filled with stories and ideas that don't show up in other career books or design overviews. Both pragmatic and inquisitive, the book explores power structures and how to navigate them. Interviews showcase people at different stages of their careers, and biographical sketches explore individuals marginalized by sexism, racism, and ableism. Jennifer Tobias's original, handcrafted illustrations bring warmth, happiness, humor, and narrative depth. Extra Bold is the design career manual for everyone.

Note from the editor:

So you want to publish a magazine? Start here!

This guide shows you how to take your concept from idea to proper publication, step by step. It covers all the nuts and bolts of indie magazine publishing, from budgeting and distribution to design and print. Inspirational and informative, this book gives you the behind-the-scenes information you need to take your idea all the way to print, and beyond. It’s a must-have for anyone who loves magazines or dreams of starting their own.

Note de l'éditeur:

«Moins, c’est plus». Jamais ce mantra minimaliste a-t-il eu autant de force qu’à notre époque saturée d’images, de produits et de consommation. Alors que l’âge d’or de l’ornementation et de la surenchère graphique semble passé, de nombreux designers graphiques se tournent vers une esthétique simplifiée.

Stuart Tolley a sélectionné 150 projets au design minimaliste, incarnant l’épure, la sobriété, la géométrie simple… Il les compile dans cet ouvrage, et explique la démarche de leurs créateurs, les techniques de production employées, les messages transmis dans ces visuels.

Du packaging à l’affiche, de la pochette de disque à la maquette de magazine, tous les champs du design graphique imprimé sont représentés dans cette sélection.

«Min» est également ponctué par des interviews de créateurs emblématiques du minimalisme contemporain, et par des essais sur l’histoire, la sociologie et la portée du courant minimaliste.

Artificial Intelligence (A.I.) has become—besides being an over-hyped buzzword across industries (that the design world is no exception to)—a reality. We debate about the impacts of A.I. and its subsets, machine and deep learning, and consider everything from virtual to augmented realities, and how these technologies may change our lives, jobs, and social relationships altogether.

We live in times where decisions about what we want are no longer under our control. While we believe to be free (at least in our western world), algorithms dictate our lives, hopes, and dreams. We are the parents and children, gods and slaves of the technology we invented: although it’s a masterpiece, there is a great dependence. If “algorithms will liberate themselves entirely from us,” Peter Weibel proposes, dystopian science fictions may help us clarify what we desire and do not want.

At Slanted, we are “hands on.” We love the human spark, provoke happy accidents (scratches and glitches), explore edges, and consistently enter unknown terrain. So yes, although this is a printed issue, it could very well have been transported to a neural chip. And we definitely figured out some ways to bring the issue to another dimension: A unique motif by Crosslucid has been printed for each cover of the entire edition—the aesthetics between portrait, still life, and expressionist topography, alien to our comprehension of what is human, natural, artificial, and digital.

More than ever this issue made us adventurers: looking with doubtful eyes at this new world of computation, numbers, and transhumanism, where (OMG!) machines are in many areas smarter than us and, occasionally, even encoded with higher ethical and moral standards than we will ever have.

Alongside the issue, a limited Special Edition has been released, a high-quality and 100% recycled bag by LOQI with a design by artist Sofia Crespo.

The impact of Artificial Intelligence on design and how these technologies can change our lives in one comprehensive publication!

Note from the editor:

This book gives the first comprehensive account of the development of the 'Swiss' style. Originating in Russia, Germany, and The Netherlands in the 1920s, stimulated by the artistic avant-garde and alongside the International Style in architecture, Modernist graphic design and typography found a firm foothold in Switzerland before and after the Second World War.

By the 1950s, Switzerland had developed a uniquely clear graphic language, which matched the country's reputation for efficiency and precision. Evident not just in posters but in advertisements, brochures and books, 'Neue Grafik' or 'Swiss' style, as it became known, was respected internationally for its formal discipline: simple methods that could make poster dramatic and give an order and elegance to typographic design. Sharing the disciplines of Swiss Concrete art, designers organized images and text into geometrical grids. With sans-serif typefaces such as Helvetica and Universe, these were chief components of the Swiss style which spread across the world. Its influence is still seen today, recognizable in corporate publicity and highway signs from Amsterdam to Tokyo and from London to Los Angeles.

Illustrated with over 700 images ‒many of them unfamiliar‒ this book sets out the chief characteristics of Swiss graphic design and explain why it looks as it does. Richar Hollis gives a rich and fascinating account of this key period in graphic design history, setting the stylistic developments into the social and cultural context of the times.

The largest unique collection of printed memorabilia from the punk and post-punk movements.

Andrew Krivine began collecting punk memorabilia in 1977 when punk exploded onto the scene. Since then, Andrew has amassed one of the world's largest collection of punk graphic design and memorabilia.

This book features a carefully curated selection of over 650 posters, club flyers, record covers and adverts from the collection. Together they represent the prime years of punk which changed the world of graphic design forever with its do-it-yourself aesthetics.

The artworks are put into context by graphic design experts, academics and commentators. Among them former art director of New York Times Steven Heller, reader in graphic design at the London College of Communication Dr Russ Bestley, graphic design writer Rick Poynor, designer Malcolm Garrett and Pulitzer Prize-winning editor Michael Wilde. The book spans the growth and evolution of punk on both sides of the Atlantic including The Clash, The Buzzocks, Iggy Pop and The Stooges, Television, The Ramones, Patti Smith, Talking Heads, Devo, Blondie, Flying Lizards, Public Image Ltd, The Only Ones, The Slits, New Order, REM and Joy Division.

A collectable item itself, the book is beautifully produced with front and back cover artwork by Malcolm Garrett and Peter Saville, the designers behind some of punk s most memorable album covers. Arguably the most essential and final work on the graphic design revolution within the punk and post-punk movements of the UK and America, Too fast to live too young to die will appeal to punk fans and graphic designers alike.

Part of Andrew's collection is currently touring the world as the "Too fast to live too young to die" exhibition and has been on display at the Museum of Arts and Design in New York among other museums.