A grid well used makes all the difference between a flat layout, and one that has real flair and visual appeal. This practical book gives designers of all levels the inspiration and know-how to create great layouts. Exemplary designs are overprinted with their underlying grid, and detailed captions discuss how the designers have utilized the grid to provide structure, and add movement, flexibility, and impact to their design. 
Crammed with ideas for different ways of using space, type, and images, Grids also explores innovative ideas for navigational devices and information design. Details of measurements and specs allow designers to apply, adapt, and refine the elements shown to create their own unique and dynamic layouts. This is a truly indispensable reference book for all students and practitioners of graphic design.

Grids: Creative Solutions for Graphic Design

Arts & Photography

Roberts, Lucienne

History & Criticism

wiley

Comprising over 200 objects including hard-hitting posters, illuminated pharmacy signs and digital teaching aids, 'Can Graphic Design Save Your Life?' considers the role of graphic design in constructing and communicating healthcare messages around the world, and shows how graphic design has been used to persuade, to inform and to empower.

Can Graphic Design Save Your Life?

Schrauwen, Sarah

Wright, Rebecca (eds.)

GraphicDesign&

Consider this simple conundrum: is it possible to be a bad good designer or a good bad designer for that matter? If the answer is yes then which is preferable and what does this reveal about the relationship between ethics and design practice? Good: An Introduction to Ethics in Graphic Design seeks to answer these questions. Graphic design is in ethical flux. Good comes at a time of growing disenchantment with style-led design solutions and the pursuit of self-expression alone and yet vacuous design judgements are still made without any real analysis of the criteria used. The terms good and bad are repeatedly applied without qualification whilst the relationship between personal and professional ethics is far too contentious to do any more than give cursory consideration. Despite recent manifestos and themed publications on design for good graphic designers have yet to examine what such terms really mean: in a time of relativism it has been far too divisive to do so. Good takes philosophy as its starting point but is not a philosophy book. It seeks to marry abstract ideas with practical application, removing some of the mystique that surrounds philosophy and highlighting its relevance for us all. Designers are people. This book seeks to engage designers in a debate about their profession and in an analysis of their value and worth. The decisions we make define us, in our ethical choices we reveal who we are.

GOOD: an Introduction to Ethics in Graphic Design (Required Reading Range)

Graphic Design

Bloomsbury Visual Arts

This thought-provoking and practical book for graphic designers and students explores creative practice in graphic design. The book looks at the essential elements of the creative process through a series of in-depth studies of a range of real-life graphic design projectsfrom the art direction of a magazine issue and the development of a logo, to the design of a poster, a font and a signage system. In each case, the designers are interviewed and their working process documented in detail.

Design Diaries: Creative Process in Graphic Design

Wright, Rebecca

Laurence King Publishing

The Designer And The Grid

The driving force behind almost all graphic design is the grid. This book concentrates on the principles, showing designs both with and without underlying grids. The authors take a look at the precision of the digital grid and the effect of CAD/CAM technologies.

The Designer and the Grid

Thrift, Julia

Rotovision

The Designer and the Grid reveals the key to the hidden driving force behind almost all graphic design: the grid. The book begins by reviewing its ubiquity in a cultural context before concentrating on the principles of the grid within graphic design. Case studies and interviews then explore what the grid means to leading contemporary graphic designers. Essays by an architect, a musicologist, a screenwriter and a Web designer deal with the grid as a universal idea; a step-by-step look at the mathematical precision of QuarkXPress reveals the digital grid. Provocatively, the book closes with a discussion of the implications for grid-bound design of the new CAD/CAM technologies. Do they spell the end of the grid as we know it? The Designer and the Grid is richly illustrated, with paired visuals showing designs both with and without their underlying grids. The favourite grids of top designers, including Simon Esterson, Vaughan Oliver, Ellen Upton and Muller & Hesse are also featured in thi

Grids (2eme ed.) /anglais

Reference

Includes a series of illustrated interviews with designers such as Ken Garland, Wim Crouwel, Milton Glaser, Karl Gerstner and Rosmarie Tissi, each of whom place their work in historical and personal contexts as they reflect on their formative years and long careers. This title is rich in anecdotes and observations, as influential designers speak honestly about what it was like to make design history.

Drip Dry Shirts: The Evolution of the Graphic Designer

Fairchild Books

Visual Communication: From Theory to Practice explores how cultural theory can be applied to the real-world practice of graphic design. Theories are presented and then discussed by designers such as Neville Brody, Michael Bierut, Erik Spiekermann and Joan Farrer. 
Issues such as mass culture, political design and semiotics are all debated, making this a unique companion to theory and culture modules on any undergraduate degree course in graphic design. Visual Communication helps students to develop sound critical judgment and informed strategies for the conception of new ideas that accurately reflect the current zeitgeist.

Visual Communication: From Theory to Practice

Baldwin, Jonathan

AVA Publishing

Consider this simple conundrum: is it possible to be a bad good designer or a good bad designer for that matter? If the answer is yes then which is preferable and what does this reveal about the relationship between ethics and design practice? Good: An Introduction to Ethics in Graphic Design seeks to answer these questions. 
Graphic design is in ethical flux. Good comes at a time of growing disenchantment with style-led design solutions and the pursuit of self-expression alone and yet vacuous design judgements are still made without any real analysis of the criteria used. The terms good and bad are repeatedly applied without qualification whilst the relationship between personal and professional ethics is far too contentious to do any more than give cursory consideration. Despite recent manifestos and themed publications on design for good graphic designers have yet to examine what such terms really mean: in a time of relativism it has been far too divisive to do so. 
Good takes philosophy as its starting point but is not a philosophy book. It seeks to marry abstract ideas with practical application, removing some of the mystique that surrounds philosophy and highlighting its relevance for us all. Designers are people. This book seeks to engage designers in a debate about their profession and in an analysis of their value and worth. The decisions we make define us, in our ethical choices we reveal who we are.

GOOD: an Introduction to Ethics in Graphic Design: Ethics of Graphic Design (Required Reading Range)

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