graphic design

  • 200,00 kr.

    “Ear Lights, Eye Sounds. Expanded Cracked Everyday Electronics”. Ediziona Periferia, Luzern, 2014. Large 4to in hardcover, no jacket as issued. 23 x 31 cm, 272 pages, illusrated richly. English text First edition “(1–3) Making the audiovisual recording for the exhibition My first sonic Lok at Bahnmuseum Albula, Bergün, 2013. Installation…

  • 245,00 kr.

    By John McHale. The R. Buckminster Fuller volume in the Makers of Contemporary Architecture Series. London, Prentice Hall simultaneously George Braziller, New York, NY, 1962. Tall 8vo in publishers halfcloth hardcover with well preserved dustjacket. 127, 1 pp. Illustrated bw. Near fine / fine clean copy First edition. Outsstanding book…

  • 240,00 kr.

    The first anthology of its kind, Graphic Design: History in the Writing (1983–2011) comprises the most influential texts about graphic design history published in English. Edited by a graphic design theorist and a practicing graphic designer, the book chronicles the development of the emerging field of graphic design history from 1983 to 2011, underscoring the aesthetic, theoretical, political and social tensions that have underpinned it from the beginning. Graphic Design: History in the Writing is a long-overdue sourcebook for students, teachers, curators and anyone else interested in the past and future of a field in rapid development. With texts by Jeremy Aynsley, Steve Baker, Andrew Blauvelt, Piers Carey, François Chastanet, Wen Huei Chou, Denise Gonzales Crisp, Brian Donnelly, Johanna Drucker, Steven Heller, Richard Hollis, Robin Kinross, Ellen Lupton, Victor Margolin, Ellen Mazur Thomson, Philip B. Meggs, Gérard Mermoz, Abbott Miller, Rick Poynor, Martha Scotford, Catherine de Smet, Teal Triggs, Massimo Vignelli and Bridget Wilkins.

  • 145,00 kr.

    Heller, Steven and Audrey Bennett: Design Studies: Theory and Research in Graphic Design Princeton Architectural Press, 2006. 8vo in softcover. 464 pages. Clean copy.

  • Out of Stock
    1.200,00 kr.

    Teufen AR, Schweiz : A. Niggli, 1963 (1957). Square 8vo. Second printing in the original wraps as issued. Cover with minor surface marks and a minor dent to top of spine that is going through the book but not affecting the fine color silkscreen prints. 62 pages, chiefly illustraions, hereof…

  • Out of Stock

    The classic finely printed, richly illustrated monograph on the Danish graphic design pioneer Knud Valdemar Engelhardt (1882–1931) “Denmark’s first industrial designer. Influenced by the architect Thorvald Bindesbøll, Engelhardt understood that successful production depended on both an industrial and a graphical approach. The font he developed for Gentofte’s road signs is sensitive and personal but also eminently readable. From 1908 to 1910, he designed electric trams for Copenhagen with intricate detail. The vehicles were functional and cleanable in all weathers, and were well manufactured. Although Engelhardt was an architect, he also exerted a considerable influence on the development of Danish billboards and graphic design traditions. More than anyone else, Engelhardt paved the way for a Danish approach to design and industrial production

  • Out of Stock

    Recommended close study of Jan Tschichold’s work as perhaps the first typographic modernist. Includes historical details, several reproductions of his work, letters, and a foreword by Robin Kinross

  • Out of Stock

    Reynaldo Luza (1893-1978), pre-eminent fashion artist, was born in Lima, Peru. He began training as an architect at the University of Louvain, Belgium, but returned to Peru at the outbreak of World War I, where he changed his studies from architecture to art. In 1918 he came to the United States, where he earned his living by contributing drawings to several fashion publications, principally VOGUE, HARPERS BAZAAR, and VANITY FAIR. In 1921 he joined HARPERS BAZAAR as the principal fashion artist, a position he was to hold for 27 years. He divided his time between New York, Paris and London, working closely with all of the leading fashion designers of the times — Poiret, Patou, Lelong, Paquin, Douillet, Doucet, Cheruit, Worth, Drecoll, Callot Soeurs, Redfern, Martial et Amand, Premet, Reboux, Chanel, Vionnet, Molyneaux, Schiaparelli, Hartnell, Steibel, and Balenciaga, among others.
    In 1940 Luza made New York his principal base, where, over the next few years, he continued his activities at Harpers as well as creating fabric and furniture designs, and the costumes for the movie “The Bridge of San Luis Rey.” Among other distinctions, he received several honorary appointments from the government of Peru, including that of Artistic Director of the Paris Exposition of 1938 and the New York World’s Fair of 1939-40; he also did the interior design of the new Lima airport.
    In 1950 Luza returned to Peru, where he began a second career as a portrait painter, exhibiting his work over the next few years in Paris, New York, and Washington, D.C.

  • Out of Stock

    HERBERT BAYER – PAINTER, DESIGNER, ARCHITECT (Visual Communication). New York: Reinhold Publishing Corporation / London Studio Vista, 1967. Heavy 4to in publishers blue clothed hardcover with original somewhat worn dustjacket, now protected. 211 pages with 450 illustrations finely printed hereof which 25 are in color. One page (see photos) with…

  • Out of Stock

    Icographic the publication was founded by John Halas in 1971, and edited and designed by Patrick Wallis Burke, Icographic was a review of international visual communication published by Pergamon Press. The publication was quarterly at its inception and then became bi-annual. In its inaugural issue it was stated that the new magazine “intends to study this field [newsprint and publishing industries as well as television, cinema and computers] as well as examine the designer’s role in it. It will attempt to serve as an organ expressing the designer’s point of view in the new scene. It will attempt to reveal new ideas in the technical aspect of design and to become an essential information source in the area of visual communications to many of our members throughout the world.” There were 14 issues of Icographic printed between 1971 and 1978. In 1982 the six issues of icographic / volume 2 was published on behalf of Icograda by Mobilia Press, with Jorge Frascara as associate editor. Each issue was devoted to a single theme with abstracts in four languages at end