GUIDE TO GRAPHIC DESIGN

GUIDE TO GRAPHIC DESIGN Scott W. Santoro

WITH CONTRIBUTIONS AND EDITING BY JOAN LEVINSON AND MARY GAWLIK

Boston Columbus Indianapolis New York San Francisco Upper Saddle Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montréal Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Dedicated to my sons, Ellis and Lowell Santoro—and to future generations of graphic designers.

Editorial Director: Craig Campanella Senior Manufacturing Manager: Mary Fisher Editor in Chief: Sarah Touborg Senior Operations Specialist: Diane Peirano Acquisitions Editor: Billy Grieco Senior Art Director: Pat Smythe Assistant Editor: David Nitti Interior Design: Scott W. Santoro Editorial Assistant: Laura Carlson Cover Designer: Scott W. Santoro Editor-in-Chief, Development: Rochelle Diogenes Manager, Rights and Permissions: Paul Sarkis Development Editor: Mary Gawlik Manager, Visual Research: Ben Ferrini Media Director: Brian Hyland Project Management: PreMediaGlobal Senior Media Editor: David Alick Printer/Binder: Courier / Kendallville Media Project Manager: Rich Barnes Cover Printer: Courier / Kendallville

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Library of Congress Cataloging-in-Publication Data

Santoro, Scott W. Guide to graphic design / Scott W. Santoro. — 1st ed. pages cm ISBN 978-0-13-230070-4 (pbk.) 1. Graphic arts—Textbooks. 2. Commercial art —Textbooks. I. Title. NC997.S265 2012 741.6—dc23

2012035445 10 9 8 7 6 5 4 3 2 1

ISBN 10: 0-13-230070-2

ISBN 13: 978-0-13-230070-4 BRIEF CONTENTS

XII  Preface Virtual Crit Wall, Dear Reader, and Features

3  Chapter 1 About Graphic Design

35  Chapter 2 A Brief History of Graphic Design

75  Chapter 3 Graphic Design Concepts

103  Chapter 4 Researching a Graphic Design Project

127  Chapter 5 Generating Ideas

151  Chapter 6 The Elements and Principles of Form

181  Chapter 7 Type and

215  Chapter 8 Proportion Systems: Grids and Alignments

239  Chapter 9 Concepts in Action

255  Chapter 10 Visual Coding: Loading Form with Meaning

277  Chapter 11 Interaction and Motion Design

305  Chapter 12 Becoming a Designer Watch Watch the Video on Video the

Chapter 1: Scott W. Santoro Chapter 2: Steven Heller Chapter 3: George Tscherny myartslab.com

Chapter 4: Somi Kim Chapter 5: Luba Lukova Chapter 6: Paul Sahre

Chapter 7: Paul Shaw Chapter 8: Barbara Glauber Chapter 9: Hillman Curtis

Chapter 10: Greenblatt-Wexler Chapter 11: Agnieszka Gasparska Chapter 12: Scott Stowell

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the Plate; Some Thoughts on Graphic Design Design Graphic on Thoughts Some Plate; the Graphic Design’sGraphic Heritage EXERCISES AND PROJECTS AND EXERCISES terms Key In Perspective Hoyt by Randall worklist: Design Graphic of Process Bolts and Nuts The Influencesin Graphic Design speakout: speakout: Being a Graphic Designer Deck by Barry speakout: Worthington by Michael Objectives Chapter by Maya Drozdz by Maya Nikitas Kali by myartslab.com Video: Advertising Design Advertising Design Collateral Design Interaction The Graphic Design Process Design Graphic The Design Package Design Identity and Brand Motion Design Environmental Design Design Corporate The ExpandingField ofDesign The Coining ofthe Term Voice and Vision Voice and Graphic DesignCategories Components of a Successful Design Solution Design aSuccessful of Components Public the and Personal the Addressing Information Design Signage Design Design Jacket Book Publication Design with Katherine McCoy Katherine with

by Warren Lehrer by Warren Emptying the Spoon, Enlarging Enlarging Spoon, the Emptying The Name Game Game Name The

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TABLE OF CONTENTS

Table of Graphic Design Concepts Design Graphic 99 98 97 89 85 84 83 80 76 design. of strong blocks building the as them for using methods and ideas develop to ways explore will students Then, other. the to lead how one can as well as concepts and ideas between difference the learn will Students form. and of concept integration of cohesive importance the emphasizing solution, avisual to ideas design bring designers which in ways explores chapter This

99 99 90 82 95 79 92 75 75 86 87 78 78

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Polish Poster Design: Design: Poster Polish Translating into Concepts Forms Where Your Buckets Down Cast andCadence Subaudition Logicaland Game A Unique Macbeth George Tscherny

by Jacek Mrowczyk by Jacek Graphic Design Design Graphic by Martin Woodtli Martin by by Doug Kisor Doug by

107 104 104 wisely. research for using practices best including discussed, are research for good needed tools basic the All matter. subject and audience, clients, their about of knowing importance the learn will Students skills. problem-solving and analysis focused howapply to explains chapter This context. aclear within doing are they what understand and content ingful mean with projects their infuse can students research, Through process. design the to vital is research Proper Project Design aGraphic Researching 124 123 122 120 119 118 117 116 115 114 112 108 103 125 124 124 104 106 105 120 121 121 110 118 114 112 111

    

by Michele Washington by Michele speakout: Godin by Seth excerpt: Gathering Information Objectives Chapter EXERCISES AND PROJECTS PROJECTS AND EXERCISES Terms Key In Perspective The Saturation speakout: Techniques for Research Visualizing Collie by Kareem worklist: speakout: theDefining Problem speakout: Cleaning Manual speakout: Zack by Jeff worklist: excerpt: Project, Design vignette: designer myartslab.com Video: Preparing the Design Brief Design the Preparing Questions Right the Asking Audience and Subject, Client, The Word TechniquesWord Charts Positioning Boards Mood Design of Interests Overlapping the Considering Groups Focus and Research Observational Research Individual Doing Mirror Rear-View Design’s Using World Research and Actual Virtual Conducting Using Deconstruction to Define aProblem to Define Deconstruction Using

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The of The Writing Value Daily Research Research Daily Corporation Chrysler The Getting There Intervention Design Researching a Project Researching Package Design Research with Somi Kim Somi with by Katherine McCoy by Katherine Somi Kim Somi by Gary Larson by Gary Researching a Graphic aGraphic Researching by Anna Gerber by Anna by Kjell Reigstad by Kjell by Tina Park by Tina

- vii viii ontents Ta Generating Ideas Generating 146 143 141 140 139 134 132 130 129 128 commonplace. the beyond process one's thinking for expanding tips including presented, are ideas recording and exploring for ideas Many chance. or accidents from benefitting word play, and montaging, sketching, as such techniques of adiscussion with process creative the to approach applied and active an brings chapter This or random. abstract being as perceived frequently is Creativity

128 142 127 147 147 147 146 136 138 129 137 131

Key Terms Key In Perspective Banham by Stephen speakout: Refreshing Your Vision Montage a Graphic design process: the in steps from Benefitting Playful Accidents Carroll by Lewis excerpt: Generating Montaged Ideas Goslin by Charles speakout: worklist: Word Random Technique The design process: the in steps Form, to vignette: designer excerpt: ThinkingDesign worklist: Ideas Generating Actively aMaking Creative Work Environment Objectives Chapter EXERCISES AND PROJECTS PROJECTS AND EXERCISES myartslab.com Video: Associating Words with Ideas with Words Associating Obvious the beyond Thinking Brainstorming Creating Sketches Thumbnail with Luba Lukova Luba with

Through theLooking-Glass A Psychological Tip A Psychological

The Character of Accidents Character The Ideas Visualizing On Helpful Questions to Expand Expand to Questions Helpful Poster Design

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Creating

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Rhythm Direction Contrast Unity Proportion 

Line Dominance

Depth with April Greiman April with vignette: designer Compositional Elements Form and Function Objectives Chapter worklist: EXERCISES AND PROJECTS PROJECTS AND EXERCISES Terms Key In Perspective Brendler by Matthias speakout: Compositional Principles Lange Gusty by speakout: myartslab.com Video: Pattern and Texture Texture and Pattern Shape Psychological Effects of Color Temperature Color Systems Color

Make without Knowing About Rudolf Arnheim Compositional Exploration Paul Sahre Form is Content, Content, is Form GUIDE TO GRAPHIC DESIGN

Type and Typography Proportion Systems: Grids and Alignments Developing a deep understanding of typography is Structural harmony helps to make a composition work essential for the design student. Type is the essence of visually and conceptually. This chapter demystifies how almost any graphic design project. This chapter includes to build a proportion system into a design. It explains a discussion of the finer points of type use, modular and grid structures, proportion, balance, design, and type as a graphic image. Students will learn layouts, and sizing. These components are all practical about the history of type as well as how to use type as a elements of design that enable designers to express tool and as an element within the broader context of their ideas more clearly and vividly. a complete design. myartslab.com Video: Barbara Glauber myartslab.com Video: Paul Shaw 215 Chapter Objectives 181 Chapter Objectives 216 Defining a Grid 181 Speaking with Type 217 Developing Modular Grids 183 Historical Type 219 Developing Modular Patterns 184 worklist: Eighteenth, Nineteenth, and Early 220 Typographic Grids Twentieth Century Typefaces 222 designer vignette: Understanding Grids 184 Type Classifications and Alignments, with Willi Kunz 186 Typeface Anatomy 224 Grid System Research 186 Components 225 Pages and Spreads 186 Stress 226 Text Columns 187 Optical Considerations 229 Website Grids 188 Typeface Families and 230 Freestyle Alignments 189 speakout: Amazon Brand Identity 231 speakout: On Constraints by Khoi Vinh 190 designer vignette: The Importance of 232 Exploiting the Grid Typography, with Philippe Apeloig 233 The Golden Ratio 192 Typeface Fonts 234 Paper Formats 192 Type Size 234 Paper-Fold Formats 193 Analytic Typography 235 The Rule of Thirds 194 speakout: Typographic Narrative 236 In Perspective by Joshua Ray Stephens 195 Readable Texture 236 Key Terms 195 Letter Spacing 236 EXERCISES AND PROJECTS 197 speakout: Casual or Spontaneous Writing by Paul Shaw 198 198 Spacing 199 Text Alignment 201 Metaphoric Typography 203 Vernacular Inspiration 205 Recontextualizing Type 206 speakout: Designing a Typeface by Jonathan Hoefler 209 Type in the Third Dimension 211 In Perspective 211 Key Terms 211 EXERCISES AND PROJECTS

TABLE OF CONTENTS ix e of Contents Concepts in Action Visual Coding: Loading Form with Meaning In this chapter, well-known designers discuss their This chapter explains how form can be loaded with projects as case studies, revealing their own meaning. In other words, the way something looks has conceptual approaches and their successes in the meaning, and that meaning will make a design more problem-solving activity of graphic design. Looking effective to the viewer. The main focus here is to help to the work of others is one of the best ways of students become aware of how a viewer perceives a learning a new art. These designers have much to design. The chapter explores semiotics, gestalt theory, teach about their creative processes and studio and symbols. In addition, imagery, color, and form are practice. loaded with meaning that is unique to every culture. myartslab.com Video: Hillman Curtis The discussion covers ways that one can use these coded meanings when designing to carry messages 239 Chapter Objectives and bring a greater depth to every project. 240 designer vignette: The Process of myartslab.com Video: Greenblatt-Wexler Developing a Concept, with Michael Bierut 255 Chapter Objectives 242 Concepts Inspired by a Subject’s Location 256 Visual Codes Do Send Messages 242 Poster for Monadnock Paper by George Tscherny 258 Tools for Visual Coding 243 Times Square Alliance Identity by Alan Dye 259 Typographic Coding 244 Bond No. 9 New York by Laurice Rahmé 259 Color Coding 245 Analytic-Based Concepts 260 worklist: Meaningful Color 245 Creating a Framework by Andrew Blauvelt 261 Codes and Contexts 246  Japan Society 100 Years Website Design 262 designer vignette: The Value of Visual by Agnieszka Gasparska Codes, with Kim Kiser 247 Using Research as a Conceptual Approach 264 Coded Treatments in Advertising 247 Brown University Friedman Study Center 264 Gestalt Perception Signage System by Scott Stowell 265 Design Using Gestalt Perception 248 Throwing Apples at the Sun by Elliot Peter Earls 266 speakout: A Summary of Gestalt Concepts 249 Bringing a Bigger Idea to a Concept by Kim Kiser 249 Iconoclasts Title Design by Greg Hahn 267 Semiotics 250 Vitra Workspirit 10: Net ‘n’ Nest by COMA 267 Syntactics 251 On Student Assignments, with Barbara Glauber 268 Semantics 252 speakout: Conceptual Healing 268 Pragmatics by Louise Sandhaus 268 Icon, Index, and Symbol 253 excerpt: on Conceptual Art 269 Icon by Sol LeWitt 269 Index 253 In Perspective 269 Symbol 253 EXERCISES AND PROJECTS 269 Visually Coded Identities 270 speakout: CARE Logo by Michael Thibodeau 271 Logo Application 272 worklist: Visual Identity 272 The Psychedelic Language 273 Why Create Meaning in a Design 274 In Perspective 274 Key Terms Table of Conte Table 274 EXERCISES AND PROJECTS

x GUIDE TO GRAPHIC DESIGN TABLE OF CONTENTS

Tab Interaction and Motion Design Motion and Interaction 295 294 293 292 291 290 290 288 288 286 286 286 286 284 282 282 280 279 278 277 it. with do can they things amazing the about and learn software available the with familiar become must designers Active advances. technology as rapidly growing is design of field This user. for the experiences interactive create to sound and time, motion, with merge unity and , contrast, as such Elements realms. broader into expand thinking of conceptual possibilities the where sound, and motion, interaction, of areas multimedia new relatively explores chapter This  300 Terms Key 300 Perspective In 300 297 297 296 296 283 278 278                   

The Realm Expanding of Graphic Design The Design of Sound by Kelli Miller speakout: Storytelling Digital worklist: Anatomy Website Architecture: Interactive excerpt: with Hillman Curtis Design, Motion and Interaction of vignette: designer speakout: Objectives Chapter EXERCISES AND PROJECTS AND EXERCISES Credo,” of Music: Future “The excerpt: Designing for a Virtual Space Space aVirtual for Designing Interaction andInteraction Motion Concepts myartslab.com Video: Music Sound Effects Type Motion in a Motion Design Storyboarding a WebsiteWireframing Web Pages Third-Level and Second- First-Level—Home Page Website Navigation Motion Design Concepts Concepts Interaction Media Electronic of Overlap The Motion Design Design Interaction Voice-Over Narration

Silence: Lectures andSilence: Lectures Writings, Models Models

Storyboarding Pointers Website Principles Creating a Website by Charles Eames by Charles Agnieszka Gasparska The Convergence Convergence The by John Cage Cage by John by Justin Bakse by Justin

312 310 308 307 306 306 305 path. career on that continue to how and adesigner as oneself how present to learn to goal: The chapter. this in discussed are website and book asample as such materials promotional creating and interviewing, portfolio, a together putting field, design graphic the in started of getting issues Practical aDesigner Becoming 320 314 326 326 326 325 324 324 322 321 320 320 318 318 317 316 310 The The 318 313 311 313 Interviewing

      Terms Key Perspective In         

Personal Website and Design Blog The Business of Design Design and the Fine Arts Design and Technology Two Semesters (P.S.) Two Semesters excerpt: worklist: Presentation worklist: Design Graphic in aJob Getting Objectives Chapter speakouts field: from the vignette: designer Birdsall by Connie speakout EXERCISES AND PROJECTS AND EXERCISES Goslin by Charles excerpt: worklist: Valicenti Rick with vignette: designer McNerney, Maccaux, Collie, Kareem Zolotarev, by Alex Personal Style worklist: Adams Sean with myartslab.com Video: Creating a Graphic Design Portfolio Design aGraphic Creating Résumé and Cover Letter Your Voice in Advertising Design Your Voice Advertising in Environment aGroup within Designing Sustainability Environmental Design Ethics Your Practice Own Starting You in Your in Work Survival Techniques Techniques Survival

The Cheese Monkeys, A Novel in A Novel Monkeys, Cheese The Never Give Up. Never Give In Give Up. Never Give Never : Design CollaborationDesign

Trust Your Instincts YourTrust Instincts Graphic Design Portfolio Projects Portfolio Design Graphic Portfolio Design Graphic Advertising Design Parameters Design Advertising Sustainability by Chakaras Johnson, Johnson, by Chakaras An Information Gap The Design Language Design The Scott Stowell by Chip Kidd by Chip Point of View, of Point Personal Style,

by Noble Cumming by Noble by Matthew by Matthew

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xi

PREFACE

VIRTUAL CRIT WALL

Follow Guide to Graphic Design on Instagram @guide2graphicdesign to see some of the best student work currently on the critique wall in Scott Santoro’s classroom, plus his encounters with great graphic design in his hometown of New York City. Join the design conversation by using the hashtag #mycritwall to submit your own work, your class’s critique wall, or examples of great design in your neighborhood.

xii GUIDE TO GRAPHIC DESIGN DEAR READER

Years ago I took a week-long workshop with famed graphic designer Paul Rand. I was in such awe of Rand that when he assigned his first project I felt creatively immobilized. He came over to give me a one-on-one desk critique, but I had nothing to show him, confessing that I didn’t know where to begin. Rand looked me straight in the eyes, put his hand under my chin, and with a thick Brooklynese accent said, “Think.” Guide to Graphic Design emphasizes what Rand stated so genuinely—that no matter what the context or problem, one starts any graphic design project by thinking. This fundamental is why graphic design is so “cool” (sorry, I just don’t know how else to say it). There’s hardly a better job than one that pays you to think (to go through an intellectual process) and then to play (to work ideas out in aesthetically inventive ways). As my mentor Charlie Goslin used to say, “An idea is the hat rack that everything hangs on.” My own design practice and simultaneous teaching is based on this approach. The result is an integration of meaning and form. It’s the way to go. The eclectic spirit of Guide to Graphic Design is no accident. Designers throughout the book have contributed short essays on their work styles, their studio habits, and their inspirations. Each designer offers a new perspective and approach to possible working methods. At the same time, they all show a passion for design and communication. Guide to Graphic Design is supplemented by videos of talented graphic designers—in other words, great thinkers (see myartslab.com). Every student who reads this book has the same core talent that they began with. Do something with your talent as these designers did; learn the mecha- nisms used to convey information, integrate ideas and form into full concepts, but most important, learn how to think like a graphic designer. When you do, the identities you create for companies and organizations will define your own personal identity. You will care more about the work you make, and that care will make your work better.

ABOUT THE AUTHOR

Scott W. Santoro is principal of Worksight, a graphic diverse audiences: an annual report for the Brooklyn design studio in New York City. He holds graphic Public Library; a series of brand logos for Steelcase design degrees from Pratt Institute (BFA) and Cran- Furniture; an alumni magazine for Purchase College; brook Academy of Art (MFA). He is also an adjunct a book jacket and interior design for The Sea Around professor of graphic design at Pratt Institute in Brook- Us, Rachel Carson’s environmental classic; a website lyn, New York. As an active speaker on graphic design, design and maintenance for a New Jersey textile man- he has lectured around the world including Australia ufacturer—Absecon Mills; and now, with Guide to and the Czech Republic. Scott has served as vice presi- Graphic Design, a textbook for college students. The dent of the New York Chapter of the American Insti- studio has won awards from the AIGA, NY Bookbind- tute of Design (AIGA) and as a national screening ers Guild, and Print Magazine, and was a grant recipi- committee member for the Fulbright program. ent for Sappi Paper’s annual Ideas that Matter program

Photo: Ripps Photo: Robert A. Worksight has been a noticeable entity within the that brings design to charitable organizations. design community for more than twenty years and is well known for its “design for the everyday” approach to graphic communication. Its work connects with

DEAR READER xiii FEATURES OF THE BOOK

Why study graphic design—after all, isn’t it just moving type and image around the page?

Guide to Graphic Design presents design as a layered and evolving profession. Each feature of the book is focused on that principle and seeks to guide students toward a successful and fulfilling career as a graphic designer. To do this, it highlights step-by-step design processes and how to build good work habits. It illustrates and supports each chapter with work from top design firms and design school programs. It guides and motivates students with thoughts from AIGA Medalists Katherine McCoy, Steven Heller, April Greiman, Michael Bierut, Rick Valicenti, and many others. All of these features are meant to inspire, encourage, and steer students through the contents of this book. Specifically, each chapter contains:

• Designer Vignettes feature interviews from well-known designers intended to inspire students and pique their interest in the material being discussed.

• Chapter Objectives list key learning goals that readers can work to achieve in each chapter.

• In Practice provides tips that offer a real-world perspective to the specific design problems being discussed.

• Steps in the Design Process gives readers step-by-step instructions on how to approach solving a specific design task.

• Worklist offers sets of checkpoints and practicalities that students can use throughout the design process.

• Speakout features personal accounts and experiences from designers and educators, intended to expose students to unique and varied perspectives on the field of graphic design.

xiv GUIDE TO GRAPHIC DESIGN EXERCISES AND PROJECTS

With each exercise and project students will get better at making decisions and understanding the connection between an idea and its execution. Any book on graphic design should be considered as nothing more than a guide to an exciting and unique field that continually focuses on solving communication problems with creative and skillful solutions. With mindful reflection, research, and practice, each student can start designing, turning his or her creative thoughts into forms that communicate and developing a graphic design career. Each chapter presents quick, in-class exercises and longer, more complicated projects. Suc- cessful solutions to these practice opportunities will be determined by the level of commitment a student brings to them. The idea is for students to practice creating effective designs by:

• keeping up with currents events and culture, which can influence their effectiveness as a designer,

• using the design skills they have learned,

• reflecting on the design work of others, and

• researching history, issues, and expectations related to a project.

A great portfolio of intelligent work goes a long way. The text encourages students to approach these exercises and projects as potential pieces for their portfolios, watching for breakthrough points in their work—times when they really took a chance and did something out of the ordinary—and then adding that work to an evolving portfolio. Students will get the best results and opportunities to practice professional skills if they approach their work as if they were “on the job”:

1 Complete the assignment (expected of professionals).

2 Do all necessary research (required for creative, professional approaches).

3 Make preliminary sketches (allows exploration and refinement).

4 Follow the specifications in each design brief (good practice for meeting a client’s expectations).

5 Consider your audience (required for a design to be effective).

6 Choose imagery that is symbolic and evocative of your message (pushes practice in research to reach an effective solution).

7 Try to provoke a thoughtful response from the viewer (combines research with design knowledge).

8 Use typography to enhance your design (pushes practice using an important tool in a sophisticated way).

9 Make every presentation neat and clean (good professional practice that enhances a portfolio).

10 Meet all deadlines given by your instructor (another opportunity to practice a professional expectation).

EXERCISES AND PROJECTS xv MYARTSLAB

This program will provide a better teaching and learning experience for you and your students. Here’s how: The new MyArtsLab delivers proven results in helping individual students succeed. Its auto- matically graded assessments, personalized study plan, and interactive eText provide engaging experiences that personalize, stimulate, and measure learning for each student. And, it comes from a trusted partner with educational expertise and a deep commitment to helping students, instruc- tors, and departments achieve their goals. The Pearson eText lets students access their textbook anytime, anywhere, and any way they want, including downloading the text to an iPad®. • A personalized study plan—written by Dahn Hiuni, a graphic design instructor at SUNY Old Westbury—for each student promotes critical-thinking skills. Assessment tied to the book enables both instructors and students to track progress and get immediate feedback. • Closer Look tours—interactive walkthroughs featuring the author’s narration—offer in- depth looks at designs from the text, enabling students to zoom in on details they couldn’t otherwise see. • 12 Designer Profile videos, recorded by the late Hillman Curtis, are intimate portraits of designers in their studios talking about their approaches, ideas, and love for the field of graphic design. • Chapter Audio, read by Scott W. Santoro, allows students to listen to the entire text—a key feature for allowing design students to focus on each example. • MediaShare—a new digital drop box and portfolio tool—can help students submit their work to instructors and facilitate online peer critiques. • Henry Sayre’s Writing About Art 6th edition is now available online in its entirety as an eText within MyArtsLab. This straightforward guide prepares students to describe, interpret, and write about works of art and design in meaningful and lasting terms. This skill strengthens their ability to support their own design work, too.

xvi GUIDE TO GRAPHIC DESIGN VIDEO SERIES

This special interview series, filmed by the late Hillman Curtis, introduces students to twelve work- ing graphic designers. Each designer is a featured voice in the book, contributing their work and thoughts in a Designer Vignette within each chapter. These short films are an intimate look into the daily life of each designer as they offer their thoughts, guidance, and passion for the field of graphic design. Featuring designers both established and new, young and old, and from all walks of life and areas of the world, this series will be a revealing perspective for students who want to understand the life of a designer. Each video is accessible through each chapter of your Pearson eText.

VIDEO SERIES xvii PEARSON CHOICES AND RESOURCES

Give your students choices. Pearson arts titles are available in the following formats to give you and your students more choices—and more ways to save. The CourseSmart eTextbook offers the same content as the printed text in a convenient online format—with highlighting, online search, and printing capabilities. www.coursesmart.com The Books à la Carte edition offers a convenient, three-hole-punched, loose-leaf version of the traditional text at a discounted price—allowing students to take only what they need to class. Books à la Carte editions are available both with and without access to MyArtsLab. Build your own Pearson Custom course material. Work with a dedicated Pearson Custom editor to create your ideal textbook and web mate- rial—publishing your own original content or mixing and matching Pearson content. Contact your Pearson representative to get started.

xviii GUIDE TO GRAPHIC DESIGN ACKNOWLEDGMENTS AND REVIEWS

First and foremost, thank you Billy Grieco, acquisitions editor at Pearson Education who fully understood and supported Guide to Graphic Design. Thank you editors. Without your thorough effort this book would not have been completed: Joan Levinson for tying the text together so elegantly; and Mary Gawlik for making pragmatic changes and comments that refined this book. Thank you to the many design instructors, professionals, and students who submitted their work and added to the many Speakouts, Excerpts, and Worklists. The breadth and depth of ideas from around the world demonstrate how expressive and intellectual graphic design can be. And finally, a thank you to the following professors listed below who have reviewed this book and made their voices heard. Your devotion to teaching and your mentoring of the next generation of graphic designers enriches all our lives.

Trudy Abadie, Savannah College Mary Grassell, Marshall University Jerry Nevins, Albertus Magnus College of Art and Design Jamie Gray, Kansas City Art Institute Laura Osterweis, Framingham State Scott Anderson, Cape Cod Sabrina Habib, University of Florida University Community College Kevin Hagan, University of Louisiana Myung Park, California State University, Stephanie Bacon, Boise State University at Lafayette Sacramento Louis Baker, Savannah College James Haizlett, West Liberty State College Mookesh Patel, Herberger Institute of Art and Design for Design and the Arts Alma Hale, Southwest Minnesota Tobias Brauer, Northern Kentucky State University Dan Paulus, University of Wisconsin- University John Harkins, Savannah College River Falls Michele Bazemore, Prince George of Art and Design Tamara Powell, Louisiana Tech University Leslie Becker, California College Mary Hart, Middlesex Community Mat Rappaport, Columbia College of the Arts College Elizabeth Resnick, Massachusetts College David Begley, University of North Florida Mariah Hausman, University of Miami of Art and Design Zoran Belic, Savannah College Nathaniel Hein, Delta State University of Art and Design Louise Sandhaus, California Institute Merrick Henry, Savannah College of the Arts Tim Birch, KCTCS of Art and Design Adel Shafik, Bakersfield College Sherry Blankenship, Ohio University Pete Herzfeld, Frostburg State University Shawn Simmons, Kent State University Henry Brimmer, Michigan State University Dahn Hiuni, SUNY—Old Westbury Kenneth Smith, Radford University Robyn Brooks, Tunxis Community College Brockett Horne, Maryland Institute Kelly Statum, Lenoir Community College Mike Brown, Northeastern State University College of Art Keith Tam, School of Design, Hong Kong Robert Canger, Brevard Community Jason W. Howell, Oral Roberts University Polytechnic University College Jacqueline Irwin, Cowley College Norman Taber, SUNY Plattsburgh Lloyd Carr, New York City College Claudine Jaenichen, Chapman University of Technology James Thorpe, University of Maryland Courtney Kimball, Central Piedmont Karen Cheng, University of Washington Community College Michael Toti, Manchester Community Eric Chimenti, Chapman University Kathleen Klos, Anne Arundel Community College Randy Clark, South Dakota State College Gwen Wagner-Amos, CSU, Sacraemento University Joel Knueven, Cincinnati State Jonathan Walsh, South Carolina Sharon Covington, Tarrant County David Koeth, Bakersfield College State University College Southeast Cathy Latourelle, Northern Essex Joyce Walsh, Boston University Lori Crawford, Delaware State University Community College Diane Webster, Mercer County Beckham Dossett, University of Houston Joe Litow, SUNY Orange County Community College Community College Thomas Elder, Boise State University David Weintraub, University Bobby Martin, Northeastern State Eve Faulkes, West Virginia University of South Carolina University Ricardo Febre, Humboldt State University Eleanor Willard, Pitt Community College Lynda Mcintyre, University of Vermont Tom Fillebrown, Sierra College Michael Williams, University of Kansas Brenda McManus, Pratt Institute Grace Fowler, Palomar College Jennifer E. Wood, Boise State University Sean McNaughton, S.I. Newhouse School Lynne Fleury, Western Iowa Tech CC of Public Communications Bruce Younger, Monroe Community College David Gilbert, Pellissippi State Jon Mehlferber, North Georgia College Community College & State University Dana Zurzolo, Pepperdine University

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