{"title":"Visual Identity","description":"\u003cp\u003eAn exploration of identity design.\u003c\/p\u003e","products":[{"product_id":"big-type","title":"Big Type: Graphic Design and Identities with Typographic Emphasis","description":"\u003cp\u003e‘Big Type’ explores graphic design and identity work where the emphasis is on typography.\u003c\/p\u003e\n\u003cp\u003eThe visual landscape in which today’s designers are contributing to is very cluttered and the digital world alone is so vast, that sometimes it feels hard to make your voice heard amongst all the noise. The work on show within this book examines how designers can produce work that stands out and cuts through the noise. It showcases a fascinating direction in graphic design, forged by a collision of technology, typography and trends which is creating new and exciting results.\u003c\/p\u003e\n\u003cp\u003ePacked full of stunning imagery from some of the world’s best graphic design companies, ‘Big Type’ also contains agency interviews and enlightening project descriptions.\u003c\/p\u003e\n\u003cp\u003ePages: 224\u003cbr\u003eDimensions: 190 × 265 mm\u003cbr\u003eFormat: Softcover\u003cbr\u003eLanguage: English\u003cbr\u003eYear: 2022\u003cbr\u003ePublisher: Counter-Print\u003c\/p\u003e","brand":"Counter-Print","offers":[{"title":"Default Title","offer_id":44133221925039,"sku":"CPBG1159","price":5940.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/3853\/9183\/files\/1_c1b29e3e-6b63-4a77-897c-04c0066a97a2.jpg?v=1720285418"},{"product_id":"guidelines-and-standards-for-the-visual-design","title":"Guidelines and Standards for the Visual Design: The Games of the XX Olympiad Munich 1972","description":"\u003cp\u003eAlmost a quarter of a century after the end of National Socialism in Germany, Otl Aicher was commissioned to design the \"cheerful\" Olympic Games in Munich 1972. He systematically and scientifically approached this task and liberated visual communication from national pathos by reducing it to the essential in the Bauhaus sense: the use. The manual, completed in 1967, contains a flexible system of colors, forms and fonts that enabled Aicher's team and partners to \"play freely\" and saved \"unnecessary preparatory work and time-consuming detailed decisions\".\u003c\/p\u003e\n\u003cp\u003eWith the use of this kind of visual grammar more than 100 design areas were developped. They were successfull to create an extraordinary broad impact of the appearance and set new standards for branding and corporate design. Munich 1972 is still regarded as the most successful design project of all the Olympic Games.\u003c\/p\u003e\n\u003cp\u003ePages: 44\u003cbr\u003eDimensions: 225 × 300 mm \/ 8.8 × 11.8”\u003cbr\u003eLanguage: German, English, French, Spanish\u003cbr\u003eBinding: Ring binder\u003cbr\u003eYear: 2019\u003cbr\u003ePublisher: Niggli\u003c\/p\u003e","brand":"Niggli","offers":[{"title":"Default Title","offer_id":44135930069167,"sku":"NIGS168","price":20680.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/3853\/9183\/files\/2_f036af3e-503a-4246-b3be-28d07b5dfbe3.jpg?v=1720344561"},{"product_id":"graphics-for-the-city","title":"Graphics for the city","description":"\u003cp\u003eDuring the 1968\/1969 academic year, graphic designer Albe Steiner worked with graphic arts students in Urbino on a comprehensive project for the town which included a new logo, historic centre signage, and a local newspaper. The project had great symbolic and practical relevance, since it was the first time a design approach already widely implemented at the international level was adopted in Italy, most notably also in a local context. The congress “Graphic design and signage in a historic town centre 1969–2019” took it as a starting point to tackle a series of questions about life in historic centres today. This volume presents the findings and analyses generated by the congress.\u003c\/p\u003e\n\u003cp\u003ePages: 128\u003cbr\u003eDimensions: 160 × 240 mm\u003cbr\u003eBinding: Softcover\u003cbr\u003eLanguage: Italian, English\u003cbr\u003eYear: 2020\u003cbr\u003ePublisher: Corraini Edizioni\u003c\/p\u003e","brand":"Corraini Edizioni","offers":[{"title":"Default Title","offer_id":44135931019439,"sku":"CEGF358","price":5478.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/3853\/9183\/files\/1_794aa1bb-4be7-4d0a-ac79-aacbac64bb73.jpg?v=1720344714"},{"product_id":"flexible-visual-systems","title":"Flexible Visual Systems","description":"\u003cp\u003eFlexible Visual Systems is the design manual for contemporary visual identities. It teaches you a variety of approaches on how to design flexible systems, adjustable to any aesthetic or project in need of an identifiable visual language. The book is divided into three parts. The first part is a richly illustrated theoretic introduction explaining the past, present and future of flexible systems. The second part is a hands-on, almost purely visual, description of how to design flexible systems on form, starting with a circle, triangle, square, pentagon and hexagon. The third part explains how transformation processes can become flexible systems for visual identities. To learn how to design flexible systems is not just learning another craft, it is going to change the way you think and work entirely. It is an approach on how to design.\u003c\/p\u003e\n\u003cp\u003ePages: 320\u003cbr\u003eDimensions: 210 x 250 mm\u003cbr\u003eFormat: Softcover\u003cbr\u003eLanguage: English\u003cbr\u003eYear: 2021\u003cbr\u003ePublisher: Slanted Publishers\u003c\/p\u003e","brand":"Slanted Publishers","offers":[{"title":"Default Title","offer_id":44135932723375,"sku":"SPFV923","price":8580.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/3853\/9183\/files\/1_1516f3c7-8cc5-4f5e-b124-6f461e752afb.jpg?v=1720344935"},{"product_id":"design360-102","title":"Design360° no. 102","description":"\u003cp\u003eDesign 360° is an all-round design magazine dedicated to introducing international advanced design concepts, original works, outstanding designers and prestigious design institutes.\u003c\/p\u003e\n\u003cp\u003eIn this issue, it will start with the field of art museums and explores the visual identity of this type of art institution through different sections. Starting from the visual identity of the Stedelijk Museum Amsterdam, the editor dissected its history and sorted out the process of its development and formation. To demonstrate the richness, the editor engages in conversations with four art museums from different regions and positions, discussing how they use avant-garde and innovative visual identity as a branding strategy. Exhibition posters serve as not only the primary means of communication but also a part of their visual identity. Thus, three designers share their perspectives on its role in shaping visual identity. As a supplementary perspective, the Kassel documenta is regarded as a “contrasting” case, illustrating how it constructs its distinctiveness through continually shaping new visual identities. Finally, the editor discussed with five designers who have long served art institutions, serving as a response and summary to the discussions on this type of visual identity. By show casing the exploration stories of the designers who involve in the visual identity of art museums, the editor hopes that more designers can find inspiration in breaking the paradigm of visual identity.\u003c\/p\u003e\n\u003cp\u003eDimensions: 185 × 250 mm\u003cbr\u003eBinding: Softcover\u003cbr\u003eLanguage: Chinese, English\u003cbr\u003eYear: 2023\u003cbr\u003ePublisher: Sandu Publishing\u003c\/p\u003e","brand":"Sandu Publishing","offers":[{"title":"Default Title","offer_id":44135932887215,"sku":"SPDM1038","price":5720.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/3853\/9183\/files\/1_319d592d-2a3d-4274-b78f-a596ac24bfca.jpg?v=1720344973"},{"product_id":"josef-muller-brockmann-pioneer-of-swiss-graphic-design","title":"Josef Müller-Brockmann: Pioneer of Swiss Graphic Design","description":"\u003cp\u003eThis illustrated essay traces the history of one of the leading exponents of Swiss Graphic Design in the 1950s and 1960s. Josef Müller-Brockmann’s posters have become world famous for their ability to convey information with great visual tension, a sense of drama and an extreme economoy of means. He created a body of work in which timeless principles of visual communication are inscribed. 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The American graphic designer had created many trademarks for advertising clients, but IBM was his first foray into the conservative realm of big business communications, as well as a turning point for him. This manual offers an in-depth look at the further evolution of IBM’s house style in the 1970s and ’80s, from logotypes, fonts, numerals, and type specimens, to highly detailed information on imprinting binders, signage, packaging, and related material. 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The original mosaics (dating from as early as 1904), displaying a variety of serif and sans serif letters and decorative elements, were supplemented by signs in terracotta and cut stone. Over the years, enamel signs identifying stations and warning riders not to spit, smoke, or cross the tracks were added to the mix. Efforts to untangle this visual mess began in the mid-1960s, when the city transit authority hired the design firm Unimark International to create a clear and consistent sign system. We can see the results today in the white-on-black signs throughout the subway system, displaying station names, directions, and instructions in crisp Helvetica. This book tells the story of how typographic order triumphed over chaos.\u003c\/p\u003e\n\u003cp\u003eThe process didn't go smoothly or quickly. At one point New York Times architecture writer Paul Goldberger declared that the signs were so confusing one almost wished that they weren't there at all. 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Blending eastern and western influences, Schmid honed his skills and put them into practice in the fields of editorial design, packaging of ethical drugs and the visual identity of brands such as Pocari Sweat sports drink (Otsuka Pharmaceutical), Maquillage (Shiseido) and IPSA. He also produced publications, such as the famous journal “Typographic Reflections.”\u003c\/p\u003e\n\u003cp\u003e“Helmut Schmid Typography” explores the typographer’s oeuvre in its entirety. The book’s generous design allows each image to breathe, and the accompanying texts narrate Schmid’s life and career in an informative and pleasant manner. 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Inspiration was found in the traditional Japanese kimono and the initial application of the original material had a significant impact on the final design. The shape of the letter A moves from right to left in a repetitive way, guided by a grid, which makes the structured shape dynamic. The grid and the movement are integrated into the kimono by using an enlarged and evolved tufting technique. Thanks to the two contrasting sides of the original blanket and the unique tufting method, the outside has a different color and structure than the inside, allowing the kimono to be worn inside out as well. KD26 A is exclusive in both design and edition. The kimono is a result of extensive research into form, materials and systems. Experiment is of great importance as it allows KD26 to push boundaries.\u003c\/p\u003e\n\u003cp\u003eKD26 is a creative studio by Korinna van Balkom (1989) and Daan Rietbergen (1988). Van Balkom collaborates with various designers and artists to create limited edition fashion pieces, while Rietbergen specializes in timeless typographic systems that are brought to life in various ways. KD26 takes a critical look at the contemporary fashion industry, where mass production and environmental pollution are the norm. 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The pair’s projects incorporate memory—of the environment, living things, objects, time, history, color, glyphs—in all its infinite variety so as to “spread,” or expand, creative possibilities. Their impressive portfolio includes art direction and design for the key visuals marking the tenth anniversary of the National Art Center, Tokyo, and brand design for the Tsubame Sanjo Factory Festival, a major factory-tour event in Niigata Prefecture.\u003c\/p\u003e\n\u003cp\u003eNow, in commemoration of Spread’s fifteenth anniversary, comes a book that presents these and other works along with the philosophies that guided their creation.\u003c\/p\u003e\n\u003cp\u003eSpread by Spread showcases a spectrum of the team’s commissioned and self-initiated projects. The former includes the installation Roppongi Color Canyon, the spatial-design tape Haru Stuck-on Design, and CD packaging design for the Japanese rock band Sotaisei Riron; the latter, Life Stripe, in which bands of color visually represent people’s daily routines. Also presented are writings by architect Tsuyoshi Tane, architect\/designer Masayo Ave, and buyer\/curator Yu Yamada, who offer their own perspectives on the team’s work.\u003c\/p\u003e\n\u003cp\u003eSpread is a creative design team established by Haruna Yamada and Hirokazu Kobayashi. Employing color as their primary medium for creating distinctive conceptual works, the pair undertakes many projects in graphic and product design and provides art direction and design for major exhibitions; a primary emphasis is striving to inspire positive social change. Past honors include Red Dot Design Awards, an iF Design Award, D\u0026amp;AD Awards, German Design Awards, Pentawards, Design for Asia Awards, Good Design Awards, a Japan Package Design Award, and Yomiuri Advertising Awards.\u003c\/p\u003e\n\u003cp\u003ePages: 168\u003cbr\u003eDimensions: 211 x 297 mm\u003cbr\u003eFormat: Hardcover\u003cbr\u003eLanguage: English, Japanese\u003cbr\u003eYear: 2021\u003cbr\u003ePublisher: Seigensha\u003c\/p\u003e","brand":"青幻舎","offers":[{"title":"Default Title","offer_id":44135987577007,"sku":"SGSS890","price":6050.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/3853\/9183\/files\/1_2_da6880bc-98d1-4f74-b7d5-1cedaf7c3556.jpg?v=1720347922"},{"product_id":"spread-by-spread-ld-dark-blue","title":"SPREAD by SPREAD Limited Edition（Dark Blue）","description":"\u003cp\u003eThe creative design team Spread is known for colorful and striking works that fuse techniques of landscape design and graphic design. The pair’s projects incorporate memory—of the environment, living things, objects, time, history, color, glyphs—in all its infinite variety so as to “spread,” or expand, creative possibilities. Their impressive portfolio includes art direction and design for the key visuals marking the tenth anniversary of the National Art Center, Tokyo, and brand design for the Tsubame Sanjo Factory Festival, a major factory-tour event in Niigata Prefecture.\u003c\/p\u003e\n\u003cp\u003eNow, in commemoration of Spread’s fifteenth anniversary, comes a book that presents these and other works along with the philosophies that guided their creation.\u003c\/p\u003e\n\u003cp\u003eSpread by Spread showcases a spectrum of the team’s commissioned and self-initiated projects. The former includes the installation Roppongi Color Canyon, the spatial-design tape Haru Stuck-on Design, and CD packaging design for the Japanese rock band Sotaisei Riron; the latter, Life Stripe, in which bands of color visually represent people’s daily routines. Also presented are writings by architect Tsuyoshi Tane, architect\/designer Masayo Ave, and buyer\/curator Yu Yamada, who offer their own perspectives on the team’s work.\u003c\/p\u003e\n\u003cp\u003eSpread is a creative design team established by Haruna Yamada and Hirokazu Kobayashi. Employing color as their primary medium for creating distinctive conceptual works, the pair undertakes many projects in graphic and product design and provides art direction and design for major exhibitions; a primary emphasis is striving to inspire positive social change. Past honors include Red Dot Design Awards, an iF Design Award, D\u0026amp;AD Awards, German Design Awards, Pentawards, Design for Asia Awards, Good Design Awards, a Japan Package Design Award, and Yomiuri Advertising Awards.\u003c\/p\u003e\n\u003cp\u003ePages: 168\u003cbr\u003eDimensions: 211 x 297 mm\u003cbr\u003eFormat: Hardcover\u003cbr\u003eLanguage: English, Japanese\u003cbr\u003eYear: 2021\u003cbr\u003ePublisher: Seigensha\u003c\/p\u003e","brand":"青幻舎","offers":[{"title":"Default Title","offer_id":44135987839151,"sku":"SGSS891","price":6050.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/3853\/9183\/files\/1_3_90c8fb9c-b323-4f3a-b937-70af34d08bb8.jpg?v=1720347935"},{"product_id":"the-graphic-language-of-neville-brody-3","title":"The Graphic Language of Neville Brody 3","description":"\u003cp\u003eNeville Brody’s work sits at the intersections between graphic design, communication design and graphic art, pushing boundaries and blurring lines between them as he fuses influences from art, design, fashion, music, low and high cultures. Brody has been one of the most consistently innovative and shapeshifting graphic designers of the past fifty years. He has produced a body of commercial work covering editorial, brand identity, typography, systems, information and interface design of unparalleled boldness and sophistication for global clients that include Shiseido, Coca-Cola, Samsung, Nikon, LVMH, Nike and Dom Perignon, and UK clients such as the BBC, Channel 4, Tate Modern and The Times. The Graphic Language of Neville Brody 3 also captures a body of one-off creative works and site-specific collaborations that are motivated by creativity, political and cultural viewpoints, provocation, and expression.\u003c\/p\u003e\n\u003cp\u003eThe Graphic Language of Neville Brody 3 brings almost thirty years of work together in thematic sections that address the key fields of his vibrant design projects, including typographic experimentation, cultural subversion, and design systems. Richly illustrated, each project is explored in detail, revealing the work that has defined Brody’s recent practice across six chapters, from major brands to magazine editorials and features, revealing how Brody’s design language has been informed, evolved and remarkably stayed true to key themes and ideas throughout his career to date. Brody has produced a rich, dynamic and surprising body of new work that will attract a new generation of designers and art directors.\u003c\/p\u003e\n\u003cp\u003ePages: 352\u003cbr\u003eDimensions: 250 × 302 mm\u003cbr\u003eFormat: Softcover\u003cbr\u003eLanguage: English\u003cbr\u003eYear: 2023\u003cbr\u003ePublisher: Thames \u0026amp; Hudson\u003c\/p\u003e","brand":"Thames \u0026 Hudson","offers":[{"title":"Default Title","offer_id":44135988592815,"sku":"THTG947","price":13530.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/3853\/9183\/files\/1_ab56d58c-b0a2-4ec1-903d-457ecee94e3e.jpg?v=1720347980"},{"product_id":"the-vignelli-canon","title":"The Vignelli Canon","description":"\u003cp\u003eIn “The Vignelli Canon” the late Italian designer Massimo Vignelli distilled his influential design philosophy into a concise, handheld guide to good design. The book lays out fundamental principles such as simplicity and discipline, which guided Vignelli’s work across graphic, product, signage and corporate design. Highly regarded as a timeless resource for students and practitioners alike, it remains a classic introduction to modernist design thinking.\u003c\/p\u003e\n\u003cp\u003eThe book is structured into two parts: the “intangibles” cover conceptual ideas such as semantics, coherence and appropriateness, while the “tangibles” focus on practical elements like grids, typography, color and layout. Illustrated with numerous examples from Vignelli’s own projects, the volume conveys his belief that good design transcends style, rooted instead in logic, purpose and clarity of communication.\u003c\/p\u003e\n\u003cp\u003ePages: 112\u003cbr\u003eDimensions: 148 × 210 mm\u003cbr\u003eLanguage: English\u003cbr\u003eBinding: Softcover\u003cbr\u003eYear: 2010\u003cbr\u003ePublisher: Lars Müller Publishers\u003c\/p\u003e","brand":"Lars Müller Publishers","offers":[{"title":"Default Title","offer_id":44135995605167,"sku":"LMTV156","price":5170.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/3853\/9183\/files\/1_e09bec85-d821-44fb-8903-5e48dc0757a7.jpg?v=1720348288"},{"product_id":"unimark-international","title":"Unimark International","description":"\u003cp\u003eFor years, the signs in the New York City subway system were a bewildering hodge-podge of lettering styles, sizes, shapes, materials, colors, and messages. 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The famous Italian designer Massimo Vignelli allows us a glimpse of his understanding of good design in this book, its rules and criteria. He uses numerous examples to convey applications in practice — from product design via signaletics and graphic design to Corporate Design. 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But more than ever before, the circumstances warrant a broad education and require us to think beyond the confines of our own profession.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis manual responds to the current situation in order to reconcile the discipline’s societal relevance with professional practice. Using examples and implementable suggestions, the authors worked out what really matters in visual communication today. They describe the interlinking of a wide range of fields along with their far-reaching consequences and take a close look at the current challenges. In addition, they examine the criteria that make up good design in great detail. The theme that runs through the entire book is as follows: Communication design is always the result of the mindset of the people who operate within it. 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Simple and playful or sophisticated and current, mascots are fun characters that manage to put a smile on your face and simultaneously stand for something – injecting meaning and playfulness into a brand and creating a lasting impression.\u003c\/p\u003e\n\u003cp\u003ePages: 176\u003cbr\u003eDimensions: 185 × 245 mm\u003cbr\u003eFormat: Softcover\u003cbr\u003eLanguage: English\u003cbr\u003eYear: 2022\u003cbr\u003ePublisher: Counter-Print\u003c\/p\u003e","brand":"Counter-Print","offers":[{"title":"Default Title","offer_id":44685385826479,"sku":"CPMM1337","price":5720.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/3853\/9183\/files\/1_1bcc3a27-9db9-46e4-80cf-c2f33a4e4231.jpg?v=1733375680"},{"product_id":"optic","title":"Optic: Optical effects in graphic design","description":"\u003cp\u003eSome art forms have had more of an impact on the language of graphic design than others, but not many have helped contribute the same dynamism, energy and vitality as Op Art. Graphic designers today are rediscovering the optical art of the 1960s with delight, revelling in its experimentation and unexpected outcomes. 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Balancing between playful writing, using the voice of AI persona Steve, and rigorous academic inquiry, she offers a replicable conceptual framework that advances methodology and practice in graphic design, integrating AI and machine learning. 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