"Business is global; people are different; communication means survival" - Henry Steiner. The credo of Hong Kong-based designer Henry Steiner articulates the international character of the visual communications business. Thriving on an interplay of ideas from culture to culture, country to country, some of the most dynamic work today is produced by companies for cultures outside their own. This book examines the challenges and rewards experienced by communications professionals in working beyond the constraints of their own culture. Examples by some of the world's most successful graphic designers and advertising agencies are shown in colour along with their creator's insights and solutions. Among the international contributors are Saul Bass, Ken Cato, Alan Fletcher, Milton Glaser, Eiko Ishioka, Tibor Kalman and Clement Mok. Henry Steiner is director of the Hong Kong company Graphic Communication Ltd. His work has had a major impact on design in the Pacific and has recieved worldwide recognition. This book provides an overview and visual portrait of his work in an introductory essay which establishes the framework for the exploration.
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Book Description
Editorial Reviews
From Library Journal
Although we are constantly bombarded by attention-grabbing ads, it is probably safe to say that most people give very little thought to how these ads came to be. Amid the numerous journals and yearbooks that offer some answers by documenting award-winning graphic design projects, this book is unique in that it examines the output of dozens of graphic designers working for clients outside of their own culture. International designer Steiner and photographer Haas offer insights that are often as perceptive as they are interesting. The diverse clientele included ranges from corporations wanting to spruce up their images to governments in need of designs for postage stamps and currency. In addition to using more than 300 full-color photographs, the authors examine the marketing problems encountered by each designer and the strategies used for selling the client's product, offer advice on observing customs in foreign countries, and include a directory of the featured graphic design firms. A useful addition to most art libraries as well as business libraries catering to the advertising market.
Margarete Gross, Chicago P.L.
Copyright 1995 Reed Business Information, Inc.
Margarete Gross, Chicago P.L.
Copyright 1995 Reed Business Information, Inc.
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Most Helpful Customer Reviews
1 of 1 people found the following review helpful:
3.0 out of 5 stars
Very Mixed (and Somewhat Dated) Overview,
By A. Ross (Washington, DC) - See all my reviews (VINE VOICE) (HALL OF FAME REVIEWER) (TOP 500 REVIEWER) (REAL NAME)
This review is from: Cross-Cultural Design: Communicating in the Global Marketplace (Hardcover)
The ten years that have passed since this book's publication has seen a marked increase in globalization and a consequent internationalization of tastes and design. And yet the need for culturally specific design is still strong, and will remain so for decades to come. This survey of some forty design houses and individual designers is intended to provide concrete examples of projects undertaken outside the designers' "home" culture, explaining the challenges and solutions that lie in such work. In the first fifty pages, American-born and Hong Kong-based designer Henry Steiner provides an overview some of the elements of cross-cultural design, drawing on examples of his own work in the areas of iconography, typography, symbolism, and so forth. The next 150 pages are examples provided by the various designers, with accompanying text. This results in a very mixed bag, some of the text is very cryptic or too brief to be of any insight. Others provide a much better insight into the creative process, the hurdles encountered, and the paths leading to solutions. Alan Taylor's fifteen pages on redesigning identities for Indian, Malaysian, Thai, and Singapore airlines are very well-written and insightful. Another excellent entry is five pages on Pentagram's overhaul of the Mandarin/Oriental Hotels identity. A few of the entries show preliminary designs and sketches leading to the ultimate solution, examples that are of great interest to working designers. Erik Spiekermann's four pages on creating a stamp series for the Dutch postal system is very nice, as is the Duffy Group's spread on a logo for a German bank, and KARO's three pages on a logo for Canadian Airlines. These tend to be the exception however, as many of the examples simply aren't discussed very well and don't have much to offer. Most disappointing are the 18 fairly useless pages on the Japanese designer Eiko, who is best known for set design. Ultimately the book is moderately interesting if you're a graphic designer, what's perhaps most interesting about it is how poorly the mid-80s to mid-90s design work has held up over time.
0 of 2 people found the following review helpful:
4.0 out of 5 stars
Design and Globalization,
This review is from: Cross-Cultural Design: Communicating in the Global Marketplace (Hardcover)
In today's international marketplace designers cannot fashion their work to fit the cultural tastes of a particular country. The imagery, the color palette and the typographical arrangement must have global recognition. The authors of Cross-Cultural design have blazed the trail by presenting cogent examples of their craft that are lucid in concept, owe no allegiance to any nationality and have universal appeal.
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