Graphic design has broadened its reach dramatically over the past decade, expanding from a specialized profession to a widely deployed skill. The rise of user-generated content, new methods of publishing and systems of distribution, and the wide dissemination of creative software have opened up new opportunities for design. More designers are becoming producers--authors, publishers, instigators and entrepreneurs--actively employing their creative skills as makers of content and shapers of experiences. Featuring work produced since 2000, Graphic Design: Now in Production explores the worlds of design-driven magazines, newspapers, books and posters; the entrepreneurial spirit of designer-produced goods; the renaissance in digital typeface design; the storytelling potential of film and television titling sequences; and the transformation of raw data into compelling information narratives. The catalogue features important original essays by leading designers that tackle themes such as the changing roles of reading and writing within the context of new technologies and self-publishing; the nature of design labor and production, from blue-collar handcraft and making to white-collar design thinking and strategy; and the impact and influence design programs and schools have had on shaping the direction of contemporary graphic design. Co-organized by Walker Art Center and Cooper-Hewitt National Design Museum, Graphic Design: Now in Production is conceived as a visual compendium in the spirit of the Whole Earth Catalogue. It features posters, info graphics, fonts, books, magazines, film titles, logos and more, interspersed with a variety of small texts delving into specific project details, excerpted artists' statements, interviews and published manifestos, technical details, and new and old technologies and tools.
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Perhaps more than anyone else, graphic designers have influenced, and been influenced by, changes to how we receive, understand and communicate information at the turn of the millenium. In the process, the boundaries of what they do have blurred and shifted. Curated by Andrew Blauvelt, the design director and curator of Minneapolis's Walker Art Center, and Ellen Lupton, the senior curator of contemporary design at the Cooper-Hewitt, National Design Museum, 'Graphic Design: Now in Production' takes stock of the profession in a time of change. (Susan Szenasy Metropolis 20120601)
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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:Paperback|Amazon Verified Purchase
One of the best books about graphic design on the last 10 o 20 years. A very good balance between text and images and also and interesting object for his format, paper and so on....if you love graphic design this book must be in your bookshelf
By Jill
Format:Paperback
I went to the exhibition at The Hammer Museum and it was around 50 bucks so, I came home and looked it up and found it on Amazon. I'm really happy I got it, very informative and fun to read. Great little collection of graphic design from the past 10 years. You should definitely check it out.
3 of 5 people found the following review helpful
By Robin Benson
Format:Paperback
The title is based on a touring exhibition of print design originally held at the Minneapolis based Walker Art Museum. The 224 pages are really in two parts: twenty essays by various industry commentators, educators and designers which are in self-contained pages and I found some of these quite thought provoking, especially the one by Michael Rock and the three from Ellen Lupton. Perhaps it's unfortunate that several essays fall short of their allotted page space and columns are just left empty at the end.
The second part is where I think it all comes unstuck. These are the image pages that follow each essay. They have hundreds of printed examples crowbarred into each page (it's meant to follow the style of a Paris salon of decades ago) with their captions set in five point and chunky blocks of copy set in 6.5 on 8 point type. These text blocks, some of which contain hundreds of words, have no paragraphs instead a pilcrow is used to tell the reader where a new par starts. There is no common line-length throughout the book for these blocks of tiny type, it just slots into whatever space is available and amazingly lots of them are set sideways (page 206 has six lines over 10.5 inches). To expect readers to put up with this is a nonsense in a book on communication.
Perhaps a clue to this sloppy editorial can be found on the colophon page part of which says: 'This premodern style of arrangement, which attempts to impose an order and sensibility on an often incoherent assemblage of objects, speaks to our contemporary condition of information overload in an increasingly fragmented search-based culture'. As an attempt I think it fails dismally.
If only the contents of this book had been presented in a format based on visual clarity and ease of reading it would have got five stars from me. If graphic design interests you I think Graphic Design, Referenced: A Visual Guide to the Language, Applications, and History of Graphic Design does a much better job than 'Graphic design: Now in production'.
>>>LOOK AT SOME INSIDE PAGES by clicking 'customer images' under the cover.
The second part is where I think it all comes unstuck. These are the image pages that follow each essay. They have hundreds of printed examples crowbarred into each page (it's meant to follow the style of a Paris salon of decades ago) with their captions set in five point and chunky blocks of copy set in 6.5 on 8 point type. These text blocks, some of which contain hundreds of words, have no paragraphs instead a pilcrow is used to tell the reader where a new par starts. There is no common line-length throughout the book for these blocks of tiny type, it just slots into whatever space is available and amazingly lots of them are set sideways (page 206 has six lines over 10.5 inches). To expect readers to put up with this is a nonsense in a book on communication.
Perhaps a clue to this sloppy editorial can be found on the colophon page part of which says: 'This premodern style of arrangement, which attempts to impose an order and sensibility on an often incoherent assemblage of objects, speaks to our contemporary condition of information overload in an increasingly fragmented search-based culture'. As an attempt I think it fails dismally.
If only the contents of this book had been presented in a format based on visual clarity and ease of reading it would have got five stars from me. If graphic design interests you I think Graphic Design, Referenced: A Visual Guide to the Language, Applications, and History of Graphic Design does a much better job than 'Graphic design: Now in production'.
>>>LOOK AT SOME INSIDE PAGES by clicking 'customer images' under the cover.
Most Recent Customer Reviews
4.0 out of 5 stars
Not a typical design book, will probably annoy the elderly and strict...
This is a work that crams in the last 10 years of graphic design history and is supposed to emulate the Whole Earth Catalog "cram as much information as you can in each spread"... Read more
Published 6 months ago by J. P. LARSON
5.0 out of 5 stars
Extremely useful
I bought it for my MA dissertation, since it's an exhibition catalogue about the last ten years in graphic design. Read more
Published 6 months ago by Ester
5.0 out of 5 stars
Good
This book is really nice. There are lots of information about graphic design trend and sequence. It is going to be great help to understand recent concepion of art and graphic... Read more
Published 17 months ago by Jan
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