A follow-up to two highly successful monographs (1988 and 1994) on
the work of the most important British designer of his generation,
showcasing projects from the past twenty-five years of his career.
Ever since defining the look of the 1980s music scene as art
director of the Face, Neville Brody has been one of the most
consistently innovative and shape-shifting graphic designers of the
past fifty years. Since his second monograph was published in 1994,
he has produced a body of editorial, typographic, information and
interface design of unparalleled boldness and sophistication for
global clients that include Samsung, Shiseido, Coca-Cola, the UK's
Channel 4 and Dom Perignon.The Graphic Language of Neville Brody 3
brings twenty-five years of work together in thematic sections that
address the key fields of his vibrant design projects, including
typographic experimentation, information graphics, cultural
subversion and design systems. Richly illustrated, each project is
explored in detail, revealing the work that has defined Brody's
recent career across six chapters, from major brands to magazine
editorials and features, revealing how Brody's design language has
evolved since the 1990s. Many young designers working today,
digital natives included, may not yet have been exposed to Brody's
design genius at a time when the originality of work from the 1980s
and 1990s across many creative disciplines is finding a new
generation of fans.This inspirational volume will be essential
reading for anyone interested in the evolution of graphic design
over the past three decades.
V roce 1997 zažil Richard Bartlett posun ve vnímání, který dal
celému jeho životu nový směr. Zjistil, že slabý dotek spojený s
cíleným záměrem stačí na to, aby jeho klienti znovu nabyli
fyzickou, duševní, a dokonce i duchovní rovnováhu. Výsledky byly
zcela mimořádné – a stále se vzpírají logice. Dr. Bartlett čerpá ze
zdrojů kvantové fyziky a jeho cílem je poskytnout nástroje, naději
a přímou a osobní transformaci komukoliv, kdo je otevřen novým
vjemům.
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