Graphic Design Solutions

P. 403

GLOSSARY

demographic: selected population char- equivocal space: when interchangeable phone screen, outdoor board, etc.) for the
acteristics. shapes (such as a checkerboard pattern) or graphic design.
an ambiguous figure/ground relationship is
design brief: a written document outlining created making the background and fore- fractured space: multiple viewpoints seen
and strategizing a design project; also called ground difficult to distinguish; similar to simultaneously, as in Cubist style of fine art.
a creative brief. figure/ground reversal.
frame: single static image, one of many com-
design concept: the creative thinking under- execution: the fulfillment of the concept posed together to create motion graphics;
pinning the design solution. The concept through physical processes that include the the illusion of motion is created when we
is expressed through the integration and selection and manipulation of materials and/ see a series of frames in rapid succession.
manipulation of visual and verbal elements. or software.
functional benefit: the practical or use-
diagram: a graphic representation of informa- expressionistic: a visualization characterized ful characteristic of a product or service
tion, statistical data, a structure, environment, by a highly stylized or subjective interpreta- that aids in distinguishing a brand from its
or process (the workings of something). tion, with an emphasis on the psychologi- competition.
cal or spiritual meaning; there is no strict
diffusion: characterized by blurred forms adherence to things as they appear in nature, gothic: typefaces based upon the thirteenth
and boundaries, transparencies, muted color as opposed to naturalism. to fifteenth century medieval manuscript
palettes, layering, open compositions, and letterform; also called blackletter.
painterliness. figure: a definite shape; also called a posi-
tive shape. graph: a specific type of diagram used to
display type: type that is used primarily for indicate relationships between two (or more)
headlines and titles and more difficult to figure/ground: a basic principle of visual variables, often represented on vertical and
read as text type. perception that refers to the relationship horizontal axes.
of shapes, of figure to ground, on a two-
economy: stripping down visuals to funda- dimensional surface: also called positive and graphic design: a form of visual communi-
mental forms, using as little description and negative space. cation used to convey a message or informa-
few details as possible for denotation. tion to an audience; a visual representation
flow: elements arranged in a design so that of an idea relying on the creation, selection,
editorial design: involves the design of edito- the viewer’s eyes are led from one element and organization of visual elements.
rial content; also called publication design. to another, through the design; also called
movement. graphic design solution: a design that can
emotional benefit: an asset based on feelings persuade, inform, identify, motivate, en-
and responses, not on a functional charac- flowlines: horizontal alignments in a grid hance, organize, brand, rouse, locate, engage,
teristic of a product or service. that aid visual flow. and carry or convey many levels of meaning.

emphasis: the arrangement of visual ele- focal point: the part of a design that is most graphic interpretation: an elemental visu-
ments, stressing or giving importance to emphasized. alization of an object or subject, almost
some visual elements, thereby allowing two resembling a sign, pictogram, or symbol in
actions: information to be easily gleaned and formal elements: fundamental elements of its reductive representation.
the graphic design to be easily received. two-dimensional design: line, shape, color,
value, and texture. graphic standards manual: guidelines for
environmental design: promotion, informa- how the logo (and/or visual identity) is to
tion, or identity design in constructed or format: the defined perimeter as well as be applied to numerous applications, from
natural environments, defining and marking the field it encloses—the outer edges or business cards to point-of-purchase mate-
interior and exterior commercial, cultural, boundaries of a design; in actuality, it is the rials to vehicles to websites; also called an
residential, and natural environments. field or substrate (piece of paper, mobile identity standards manual.

P. 404 Graphic Design S O LU T I O N S

grid: a guide—a modular compositional overarching identity—for a brand or group; kerning: adjustment of the letterspacing.
structure made up of verticals and horizon- also called brand identity.
tals that divide a format into columns and layout: the visual organization of type and
margins. It may be used for single-page for- identity standards manual: guidelines for visuals on a printed or digital page; also
mats or multipage formats. how the logo (and/or visual identity) is to be called spatial arrangement.
applied to numerous applications, from busi-
ground: shapes or areas created between and ness cards to point-of-purchase materials to leading: in metal type, strips of lead of vary-
among figures; also called negative space. vehicles to websites; also called a graphic ing thickness (measured in points) used to
standards manual. increase the space between lines of type; also
grouping: perceiving visual units by loca- known as line spacing.
tion, orientation, likeness, shape, and color. illusion of spatial depth: the appearance
of three-dimensional space on a two- letterform: the particular style and form of
gutter: the blank space formed by the inner dimensional surface. each individual letter of an alphabet.
margins of two facing pages in a publication.
illustration: a visual rendering that accom- lettering: the drawing of letterforms by
harmony: agreement within a composition, panies or complements printed, digital, or hand (as opposed to type generated on a
where elements are constructed, arranged, spoken text to clarify, enhance, illuminate, computer).
and function in relation to one another to an or demonstrate the message of the text.
agreeable effect. lettermark: a logo created using the initials
index: a visual that directs the attention of of the brand or group name.
headline: the main verbal message in an the interpreter (viewer), without describing
advertisement (although it literally refers or resembling the thing signified, due to its letterspacing: spatial interval between letters.
to the main line of copy that appears at the neighboring relationship to it.
head of the page); also called the line. light and shadow: employed to describe
information architecture: the careful orga- form; most closely simulates how we per-
high contrast: a wide range of values. nization of website content into hierarchical ceive forms in nature.
(or sequential) order.
home page: the primary entrance to a website line: an elongated point, considered the path
that contains the central navigation system. information design: a highly specialized of a moving point; it also is a mark made
area of design that involves making large by a visualizing tool as it is drawn across
hue: the name of a color; that is, red or amounts of complex information clear and a surface.
green, blue or yellow. accessible to audiences.
line spacing or leading: spatial interval
icon: a generally accepted (pictorial or sym- integrated branding program: a compre- between two lines of type.
bolic) visual to represent objects, actions, hensive, strategic, unified, integrated, and
and concepts; an icon resembles the thing unique program for a brand, with an eye line type: (line attributes) refers to the way a
it represents or at minimum shares a quality and mind toward how people experience— line moves from its beginning to its end.
with it—it can be a photograph, a pictorial interact and use—the brand or group.
representation, an elemental visual (think linear: line as the predominant element used
magnifying glass desktop icon), or arbitrary interactive: graphic design and advertising to unify a composition or to describe shapes
(think radioactive sign), or symbolic (think for screen-based media; also called experi- or forms in a design.
lightning bolt to represent electricity). ence design.
link: on a web page, a connection from one
identity design: involves the creation of intricacy: based on complexity, on the use location to another location, or from one web-
a systematic visual and verbal program of many component parts and/or details to site to another website; also called hyperlink.
intended to establish a consistent visual describe and visually communicate.
appearance and personality—a coordinated logo: a unique identifying symbol that rep-
resents and embodies everything a brand

P. 405

GLOSSARY

or group signifies. It provides immediate modularity: a structural principle used to descended in form from letters drawn with a
recognition; also called a brandmark, mark, manage content using modules. broad-edged pen.
identifier, logotype, or trademark.
module: any single fixed element within a opaque: dense, solid seeming, not see-
logotype: a logo that is an identifying mark bigger system or structure, for example, a through.
where the name is spelled out in unique unit on graph paper, a pixel in a digital image,
typography; also called wordmark. a rectangular unit in a grid system, or a fixed open: a composition where the major move-
encapsulated chunk of a composition. ments within the composition oppose the
low contrast: a narrow range of values. edges (think diagonals) or direct our eyes
motion aesthetics: the process and consider- past the boundaries of the format.
lowercase: the smaller set of letters. The ation of how form creates impact over time
name is derived from the days of metal type- in a design. orientation phase in the design process: the
setting when these letters were stored in the process of becoming familiar with an assign-
lower case. motion graphics: time-based visual commu- ment, the graphic design problem, and the
nication that integrates visuals, typography, client’s business or organization, product,
map: a specific type of diagrammatical rep- and audio; created using film, video, and service, or group.
resentation used to depict a route or geo- computer software; including animation,
graphical area—to show location. television commercials, film titles, promo- package design: the complete strategic
tional, and informational applications for planning and designing of the form, struc-
margins: the blank space on the left, right, broadcast media and new media. ture, and appearance of a product’s pack-
top, or bottom edge of any printed or digi- age, which functions as casing, promotes a
tal page. naturalistic: a visual created by full-color or brand, presents information, and becomes a
tone using light and shadow that attempts brand experience.
mind map: a visual representation, diagram, to replicate an object or subject as it is per-
or presentation of the various ways words, ceived in nature; also called realistic. parity products: products that are equiva-
terms, images, thoughts, or ideas can be lent in value.
related to one another. navigation system: the visual design of
information architecture on a website. pattern: a consistent repetition of a single
mini-portfolio: a bound collection of copies visual unit or element within a given area.
of work, including anywhere from three to nonobjective: a purely invented visual, not
all of the pieces in the portfolio. It can be to derived from anything visually perceived; it perspective: a schematic way of translat-
size or at a reduced size. does not relate to any object in nature and ing three-dimensional space onto the two-
does not literally represent a person, place, dimensional surface. This is based on the idea
mixed media: a visual resulting from the use or thing; also called nonrepresentational. that diagonals moving toward a point on the
of different media, for example, photogra- horizon, called the vanishing point, will imi-
phy combined with illustration. notation: a linear, reductive visual that cap- tate the recession of space into the distance
tures the essence of its subject, characterized and create the illusion of spatial depth.
mock-up: a facsimile of a printed three- by its minimalism.
dimensional design piece; also called a photography: a visual created using a cam-
dummy. objectives statement: a clear, succinct descrip- era to capture or record an image.
tion of design objectives, which summarizes
modern typeface: serif typeface, developed the key messages that will be expressed in photomontage: a composite visual made up
in the late eighteenth and early nineteenth the design; for example, facts or information, of a number of photographs or parts of pho-
centuries, whose form is more geometric in desired personality or image, and position in tographs to form a unique image.
construction, as opposed to the Old Style the market.
typefaces, which stayed close to forms cre- pictograph: an elemental, universal picture
ated by the chisel-edged pen. Old Style: Roman typeface, introduced denoting an object, activity, place, or per-
in the late fifteenth century, most directly son, captured through shape; for example,

P. 406 Graphic Design S O LU T I O N S

the images denoting gender on bathroom promotional design: intended to introduce, sans serif: typefaces characterized by the
doors. promote, or sell brands (products and ser- absence of serifs.
vices), ideas, or events and to introduce or
picture plane: the blank, flat surface of promote groups, not-for-profit organiza- saturation: the brightness or dullness of a
a page. tions, and social causes. color; also called intensity or chroma.

plane: a two-dimensional surface bound by proportion: the comparative size relation- scale: the size of an element or form seen in
lines that defines the outside of a form; it ships of parts to one another and to the relation to other elements or forms within
has length and breadth, position and direc- whole. the format.
tion, but no thickness.
proximity: elements near each other, in spa- script: typeface that most resembles hand-
point: the smallest unit of a line and one tial proximity, are perceived as belonging writing. Letters usually slant and often are
that is usually recognized as being circular; together. joined.
also called a dot.
public service advertising (PSA): advertis- semiotics: the theory of signs and symbols
portfolio: a body of work used by the visual ing that serves the public interest. that deals with their constructed function
communication profession as the measure of and meaning.
one’s professional ability. publication design: involves the design of
editorial content for print or screen; also serifs: the ending strokes of characters.
positive and negative: a basic principle of called editorial design and book design.
visual perception and refers to the relation- shape: the general outline of something.
ship of shapes, of figure to ground, on a reflected color: colors that can be seen on the
two-dimensional surface; also called figure/ surfaces or objects in the environment; also sharpness: characterized by clarity of form,
ground. known as reflected light or subtractive color. detail, clean and clear edges and boundaries,
saturated color, readable and legible typog-
poster: a two-dimensional, single-page repetition: occurs when one or a few visual raphy, proximate vision, hyperrealism, pho-
format used to inform (display informa- elements are repeated a number times or torealism, closed compositions, and limited
tion, data, schedules, or offerings) and to with great or total consistency. type alignment.
persuade (promote people, causes, places,
events, products, companies, services, rhythm: a pattern that is created by repeat- sign: a visual mark or a part of language that
groups, or organizations). ing or varying elements, with consideration denotes another thing.
to the space between them, and by estab-
presentation: the manner in which comps lishing a sense of movement from one ele- sign-off: includes the brand’s or group’s
are presented to a client or in a portfolio. ment to another. logo, a photograph or illustration of the
brand, or both.
problem-finding: the process of sketching rhythmic relationships: can be created in
or making marks that allows visual thinking, screen-based media by the duration of each silhouette: the articulated shape of an object
allows for discovery, for staying open to pos- shot, and in print or screen-based media by or subject taking its specificity into account
sibilities during the visual-making process; the interaction of visuals with contrast and (as opposed to the universal visual language
also called problem-seeking. variation. of a pictograph).

production: usually defined as preparing roughs: sketches that are larger and more similarity: like elements—those that share
the electronic file, collecting and scanning refined than thumbnail sketches and show characteristics—perceived as belonging
all needed photographs and/or illustrations, the basic elements in a design. together. Elements can share likeness in
then proofreading (with or without the cli- shape, texture, color, and direction. Dis-
ent) and working with the printer. rules: thin stripe(s) or line(s) used for bor- similar elements tend to separate from like
ders or for separating text, columns of text, elements.
or visuals.

P. 407

GLOSSARY

slab serif: serif typeface characterized by temperature: the perception of a hue as type font: a complete set of letterforms,
heavy, slab-like serifs. warm or cool. numerals, and signs, in a particular face,
size, and style, that is required for written
spatial relationships: the distance between template: a compositional structure with communication.
the thing seen in relation to the viewer, how designated positions for the visual elements.
far/how close, and the shifts between near type style: the modifications in a typeface
and far. temporal relationship: in screen-based that create design variety while retaining the
media, the relationship or interplay between essential visual character of the face. These
spatial zones: formed by grouping several two separate events or images. include variations in weight (light, medium,
grid modules, in order to organize the place- bold), width (condensed, regular, extended),
ment of various graphic components. text type: type that is 14 points and less is and angle (Roman or upright, and italic), as
used for setting text; also called body copy. well as elaborations on the basic form (out-
splash page: the first screen a visitor sees on line, shaded, decorated).
a website; it serves as an introduction to the texture: the tactile quality of a surface or the
site, and usually features animation or an representation of such a surface quality. typeface: the design of a single set of letter-
engaging visual. forms, numerals, and signs unified by con-
thumbnail sketches: preliminary, small, sistent visual properties. These properties
storyboard: illustrates and narrates key quick, unrefined drawings of ideas, in black create the essential character, which remains
frames of the television advertising concept. and white or color. recognizable even if the face is modified
by design.
strategy: the core tactical underpinning of transparent: see-through from one image
any visual communication, unifying all plan- to another, from one letterform to another, typographic color: the overall density or
ning for every visual and verbal application from one texture to another. tonal quality of a mass of type on a field—
within a program of applications. page or screen—usually referring to the mass
transitional: a serif typeface, originating of text type; also called typographic texture.
style: the quality that makes something in the eighteenth century, that represents
distinctive. a transition from Old Style to Modern, typographic design: a highly specialized
exhibiting design characteristics of both. area of graphic design focusing on the cre-
symbol: a visual having an arbitrary or con- ation and design of letterforms, typefaces,
ventional relationship between the signifier trompe l’oeil: literally, “to fool the eye”; a and type treatments.
and the thing signified. visual effect on a two-dimensional surface
where the viewer is in doubt as to whether the typography: the design and arrangement
symbol mark: a logo that is an abstract or non- object depicted is real or a representation. of letterforms in two-dimensional space
representational visual or a pictorial visual. (for print and screen-based media) and in
type alignment: the style or arrangement of space and time (for motion and interactive
symmetry: mirroring of equivalent elements, setting text type. media).
an equal distribution of visual weights, on
either side of a central axis; also called reflec- type design and lettering: a highly special- unconventional advertising: advertising
tion symmetry. ized area of graphic design focusing on the that “ambushes” the viewer; often it appears
creation and design of fonts, type treatments, or is placed in unpaid media in the public
tactile texture: a quality that can be physically and the drawing of letterforms by hand (as environment—places and surfaces where
touched and felt; also called actual texture. opposed to type generated on a computer). advertising doesn’t belong, such as the side-
walk or on wooden construction site walls;
tagline: catchphrase that conveys the brand type family: several font designs contribut- also called guerrilla advertising, stealth mar-
benefit or spirit and generally acts as an ing a range of style variations based upon a keting, and nontraditional marketing.
umbrella theme or strategy for a campaign single typeface design.
or a series of campaigns; also called a claim, unity: when all the graphic elements in a
endline, strap line, or slogan. design are so interrelated that they form a

P. 408 Graphic Design S O LU T I O N S

greater whole; all the graphic elements look visual: a broad term encompassing many volume: the representation of mass on a
as though they belong together. kinds of representational, abstract, or non- two-dimensional surface.
objective depictions—photographs, illustra-
uppercase: the larger set of letters, also called tions, drawings, paintings, prints, graphic wayfinding system: visual system that incor-
capitals. The name is derived from the days elements and marks, elemental images such porates signs, pictograms, and symbols to
of metal typesetting when these letters were as pictograms, signs, or symbols; also called assist and guide visitors and tourists to find
stored in the upper case. images. what they are looking for in museums, air-
ports, zoos, and city centers.
value: refers to the level of luminosity— visual hierarchy: arranging graphic elements
lightness or darkness—of a color. according to emphasis. webisode: in advertising, a short audio or
video presentation on the web, used to pro-
value contrast: the relationship of one ele- visual identity: the visual and verbal articu- mote a brand or group, preview music, and
ment (part or detail) to another, in respect lation of a brand or group, including all present any type of information.
to lightness and darkness. pertinent design applications, such as letter-
head, business cards, and packaging, among word spacing: the space between words.
variation: established by a break or modi- many other possible applications; also called
fication in the pattern or by changing ele- brand identity and corporate identity. wordmark: a logo that is the name spelled
ments, such as the color, size, shape, spacing, out in unique typography or lettering; also
position, and visual weight. visual texture: the illusion of texture or the called logotype.
impression of texture created with line, value,
viral marketing: the use of a self-perpetuation and/or color. x-height: the height of a lowercase letter,
mechanism, such as a website, to grow a user excluding ascenders and descenders.
base in a manner similar to the spread of a visual weight: the illusion of physical weight
virus; it also means a marketing phenomenon on a two-dimensional surface.
that facilitates and encourages people to pass
along a marketing message.

P. 409

SELECTED BIBLIOGRAPHY

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Spencer, Herbert, ed. The Liberated Page: An ed. Berkeley: New Riders, 2006.
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An Illustrated History of Type from the sity of California Press, 1995. Press, 2007.
Earliest Letterforms to the Latest Digital
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cal Guide for Designers, Writers, Editors, Zapf, Hermann. Hermann Zapf and His
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Online Sources

Professional Organizations Lürzer’s Archive
The Advertising Council www.luerzersarchive.com

www.adcouncil.org Print Magazine
American Institute of Graphic Arts (AIGA) www.printmag.com

www.aiga.org Step Inside Design
AIGA Design Archives www.stepinsidedesign.com

http://designarchives.aiga.org Blogs
Art Directors Club Design Blog, Cooper-Hewitt

www.adcglobal.org blog.cooperhewitt.org
D&AD Design Observer

www.dandad.org www.designobserver.com
International Association of Business Communicators Brand New

www.iabc.com www.underconsideration .com /brandnew /
Icograda
Museums
www.icograda.org Ad Museum
International Typographic Organization
www.admuseum.org
www.atypi.org Cooper-Hewitt, National Design Museum
The One Club
www.cooperhewitt.org
www.oneclub.org Design Museum London
Society of Illustrators
www.designmuseum.org
www.societyillustrators.org The Eisner American Museum of Advertising and Design
The Type Directors Club
www.eisnermuseum.org
www.tdc.org Graphic Design Archive | RIT Libraries

Publications http : //library.rit.edu /collections /rit-special-collections /
The Advertising Century design-archives.html
The Herb Lubalin Center for Design and Typography
www.adage.com /century http : //lubalincenter.cooper.edu /
Adweek Museum of Modern Art
www.moma.org
www.adweek.com Museum for Modern International Book Art, Typography
Brandweek and Calligraphy
www.klingspor-museum .de / EUeberdasMuseum .html
www.brandweek.com Smithsonian Institution
CMYK Magazine www.si.edu

www.cmykmag.com
Communication Arts

www.commarts.com
Creativity Magazine

www.creativity-online.com
HOW Magazine

www.howdesign.com

P. 415

SUBJECT INDEX

Subject Index

A commercials, 350–353 albums, package design for, arrangement, 140–153, 142–153
concept design for, 334–336 296–300 adjustments and, 140–142
abstract concept generation and, agreement and, 144–146
logos, symbols as, 247, 251 alignment, 33–34 ambiguity, avoiding, 153
shapes, 18 337–344 center alignment of edges, 141 discrepancies in, 146
copy-driven ads, 344–346 congruity of, 140 guiding viewers with, 143–146
Abstract Expressionism, TL–10 creative briefs for, 332–333 type alignments, 48–49, 57 manipulating graphic space
abstractions, 108 creative team for, 330–332 in web design, 394 and, 146–143
accidental shape, 17 creative thinking and, 348–350
accuracy, 125 design development for, allegorical name brands, 226–227 Art and Visual Perception
achromatic color, 22 allover pattern, 23–24 (Arnheim), 153
acronyms in brand names, 227 344–346 All Seasons Wild Bird Store case
action, 136–140 design process, 332–346 Art Deco, TL–8
do’s and don’ts of, 346 study, 282–283 art directors’ clubs, 10
contrast and, 136–137 Dove case study, 352 all-type cover design, 191–192 articulation, 153–155
counterpoint and, 137–139 effective campaigns, 350 alteration of images, 113
edges, relating to, 139 elements of ad, 344 ambient advertising, 353, 360 interstices and, 154–155
midline, relating to, 138–139 emotional benefits of, 334 ambiguity in arrangement, 153 transitions and, 154–155
movement and, 139–140 engaging content in, 338–344 American Institute of Graphic Art Nouveau movement, TL–3,
Action for Children’s Television, ethical advertising, 12
functional benefits of, 334 Arts. See AIGA TL–4
363 future of, 357 American Typewriter typeface, 48 The Art of Thought (Wallas), 91
ActionScript, 98 government regulation of, 12 analysis phase, 81 Arts & Crafts movement, TL–2,
action verbs, 69–70 guerrilla advertising, 3, Anderson Energy annual reports
actual textures, 23 TL–4
Adbusters, 363 353, 360 case study, 318 asymmetry, 26–28
Ad Council, TL–10, 12, 328, 329 humor in, 339, 348–350 annual reports, 316–322
additive color, 20 Internet and, 330 action and, 137
additive primary colors, 20 media, types of, 330 Anderson Energy case study, in alignment of text, 48
adjustments and arrangement, Mini ad showcase, 358–359 318 attention
Panasonic “Share The Air” and creative thinking, 68
140–142 components of, 316 posters grabbing, 176
Adobe Acrobat, 98 case study, 341–343 concept design for, 316–317, attribute listing, 73, 75
Adobe After Effects, 387 public service advertisements audience
Adobe Creative Suite, 98 319 and branding, 231
Adobe Dreamweaver, 98, 387 (PSAs), 328–330 design development of, 319, for design brief, 84–85, 88
Adobe Fireworks, 387 purpose of, 326 and orientation phase, 79
Adobe Flash, 98, 387 regulation of, 363 322 audio package design, 296–300
Adobe Illustrator, 98, 387 storytelling and, 334–336, 356 process for designing, 316–319 audits
types of ads, 326–330 purpose of, 316 competitive audit, 78
web-safe colors, 21 variety in campaigns, 346–348 Rockefeller Foundation case marketing audit, 78
Adobe Photoshop/Photoshop verbal synergy and, 344 author-driven cover design, 192
visual-driven ads, 344–346 study, 320–321 automatic mapping, 70
Elements, TL–20, 98, 387 visual synergy and, 344 themes for, 319
color in, 20 Advertising Standards Authority, Anti-Steroids case study, 329 B
web-safe colors, 21 Apple Final Cut Pro, 387
advertising, 3, 326–364 363 applications, branding, 229–230 background, 37–41
analysis in design process, 332 aesthetics of typeface, 50 approaches to visualization, 112 balance, 25–28
Anti-Steroids case study, 329 AIGA, 4, 10, 52, 111 appropriateness of typeface,
applications, 3 forces, balancing, 137–139
campaigns, 346–348 “Designer of 2015 50–51 symmetric and asymmetric
CitationShares case study, 362 Competencies,” 13 appropriation of images, 113
architecture balance, 26–28
visual weight and, 26
brand architecture, 222 Balthazar case study, 228
web design, information

architecture for, 373

P. 416 Graphic Design S O LU T I O N S

banner ads, 3 Suzhou Museum case study, cause advertising, 330 color temperature, 20
Baroque space, 147–148 270–271 CDs columns, 162
Baskerville typeface, 47
The Bauhaus, TL–3, TL–6, types of projects, 240–241 formats, 24–25 in editorial design, 211
brand names, 220, 223, 226–227 package design for, 296–300 grid for, 210
TL–7, 25, 121 centering combination mark logos, 247, 253
Bell Gothic font, 203 efficacy of, 227 edges, center alignment of, combination of images, 113
biomorphic shape, 17 logos and, 256 commercial advertising. See
black, 20–21 brand promise, 227 141
breaking the unit logos, 260, 262 text, 48 advertising
as achromatic colors, 22 briefs. See also Design briefs Century typeface, 47 Commercial Alert, 363
visual weight and, 26 brand briefs, 255 character icons as logos, 247 commercials, 350–353
blackletter typefaces, 48 broadsides, 172–173 childlike approach, 112 common fate, 32
bleeds for images, 114 brochures, 304–323 children, advertising to, 363 compare and contrast
blueprint for web design, Capital Printing Corporation chroma, 20
chunking, 155–157 advertising, 338
377–378 case study, 310–311 in editorial design, 208 competitive audit, 78
Bodoni typeface, 47 context for design, 312–313 for text, 57, 58 complementary relationships,
body copy, 46 design development of, 307, CitationShares case study, 362
Clarendon typeface, 47, 48 121
of ads, 344 309 clarity composition. See also action;
boldness in visuals, 125 design process, 306–315 in package design, 290–293
book design, 8 factors for, 309, 312 of typeface, 51 arrangement
booklets, 304 format for, 313–315 visual coherence and, 245 articulation and, 153–155
borders for images, 114 function and design, 312–313 Classical space, 147–148 basic compositional checklist,
boutique labels, 285 green design for, 310–311 client review
brainstorming, 69 grids for, 314–315 in design development 155
purposes of, 304–306 description of, 132–133
by image making, 72 system, designing, 315 phase, 95 grids for, 159–162
brand architecture, 222 Brush Script typeface, 48 in phase 2 of process, 89 and images, 116
brand briefs, 255 brushy-style visualization, 126 closed space, 150 means, deciding on, 133
branded house, 285 budget close-ups in web design, 393 modularity in, 155–158
brand identity, 240 brochure design and, 309, 312 closure, 32 for posters, 176–180
branding, TL–20, 3, 218–237. design brief and, 85 CMYK colors, 20–21 purpose of, 132
business cards, 272–276 coherence strategies for, 134–135
See also visual identity content guidelines for, 273 visual identity creating, comprehensives (comps), 95
an experience, 234–235 envelopes, 276 presentation of, 102
applications, 229–230 identity standards for, 273, 243–247 technical skills for
Bathazar case study, 228 and web design, 373
coherence, creating, 243–247 276 collaboration, 10–11 producing, 98
conceptual design and, product specifications, 276 collages, 112 concept design, 89–94
reverse of card, information sourcebooks, 75
222–223 style, 148 for advertising, 334–336
construct of brand, 222 on, 273, 276 color comps, 95 for annual reports, 316–317,
defined, 219 business to business (B2B) ads, colors, 19–21
and design brief, 85 for logos, 265–266 319
design development, 227–230 328 nomenclature, 20 for branding, 222–223
differentiation and, 220 for package design, 289 as driver, 135
emotional benefits of, 220 C primary colors, 20–21 for logos, 255–256
event branding, 235–237 saturation, 22–23 for package design, 288
functional benefits of, 220 call-outs editorial design, 214 technical aspects of, 21–23 for typeface, 50–51
media and, 229–230 campaigns, advertising, 346–348 for typefaces, 51 for visual identity, 241–243
package design and, 280–285 Capital Printing Corporation typographic color, 49 for web design, 374–380
points of contact and, 230 value, 22 concept generation, 75, 91–94
process, 220–231 case study, 310–311 and web design, 373–374, and advertising, 337–344
promise and, 227 captions Seed Media Groups case
purpose of, 219–220 378–379
rebranding, 230–231 in editorial design, 214 study, 92–93
strategy for, 220–222 heavy caption applications, 53 conceptual thinking, 75–76
careers in visual communication, congruity of alignment, 140
connections and creative
9–10
Caslon typeface, 47 thinking, 68

P. 417

SUBJECT INDEX

consistency mind maps and, 70–71 Designing Brand Experiences serial components, identifying,
of brand, 223 oral presentations and, 71 (Liska), 218 206–208
in composition, 152–153 tools for, 69–71
visual metaphors, 75 Design of The Works: Anatomy of standard components,
Constructivism, TL–8 The Creative Vision: A Longitudinal a City case study, 204–205 designing, 211–214
construct of brand, 222
consumer ads, 328 Study of Problem Finding De Stijl, TL–3, TL–8 structuring publication,
content in Art (Getzels & development of design. See 200–208
Csikzentmihalyi), 72
in advertising, 338–344 critical thinking skills, 13 design development trim size, identifying, 208
brochure design and, 309 cropping images, 114, 152 diagonals and depth, 149–150 typography in, 211, 214
in interactive campaigns, crystallographic balance, 24 diagrammatic structures, 29 variation in, 210–211
CSS with HTML, 98 eff icacy
382–384 Cubism, TL–8, 148 typefaces adding, 56 of advertising, 350
preliminary decisions about, cultural interventions, 12 diagrams, 112 of brand names, 227
The Culture Code (Rapaille), 288 Didot typeface, 47 Egyptian typeface, 47, 48
106 curvilinear shape, 17 Die Brücke, TL–6 elemental form for logos, 264
for web design, 372–373, 381, cyan, 20–21 differentiation and branding, 220 “The Elephant’s Child”
diffusion and sharpness,
385–386 D (Kipling), 76
context for brochure design, 124–125 Elf Yourself campaign, 366
Dadaism, TL–6, TL–7, TL–8, 73 digital color, 19–20 emblems as logos, 247,
312–313 debriefing, 102 digital prepress, 98
continuing line, 32 deck editorial design, 214 digital transparency, 126 254–255
continuity, 32 decorative typefaces, 59 direction, 29 embossing for letterheads, 269
contour visuals, 107–108 deep space, 148–150 emotional benefits
contrast Dehumanization of Art and Other typefaces adding, 56
Disability Access Symbols of advertising, 334
action and, 136–137 Essays on Art, Culture, of branding, 220
emphasis through, 29 and Literature (Ortega y Project, 110 and design brief, 85
logos, high contrast for, 264 Gasset), 123 discovery phase, 81–82 of package design, 289
mixing of typefaces and, 59 deliberate mapping, 70–71 display type, 46, 48 emphasis, 28–30
typefaces and, 51, 56, 59, del.icio.us.com, 91 distant vision mode, 123–124 typefaces adding, 56
depth, illusion of, 147 distinctive brand names, 227 and web design, 373
119–121 Der Blaue Reiter, TL–6 distinctive visual identity, 241 ems, 46
and web design, 393–394 design architectonics, 133 distortion, 125 encapsulating, 155–157
cool colors, 20 design briefs, 82–88 dividers, rules as, 114 endorsement advertising, 338
visual weight of, 26 for ads, 332 dominant visuals, 150–151 engraving for letterheads, 269
copy-driven ads, 344–346 case study, 86–87 dots, 16 ens, 46
copyrights for images, 113 construction of, 82–83 Dove case study, 352 envelopes, papers for, 276
corporate identity design, visual brief collage boards, 83 Dreamweaver, Adobe, 98, 387 environmental issues. See green
design development, 94–95 dummies, 95
TL–13, 4 for advertising, 344–346 dynamics and harmony, 154 design
correspondence, 32–33 for annual report, 319, 322 equity, branding building, 219
counterpoint and action, for brand design, 227–230 E equivocal space, 19
for branding, 227–230 Essentials of English Composition
137–139 for brochures, 307, 309 eco-friendly design. See green
courage and creative thinking, 68 comprehensives (comps), 95 design (Woodbridge), 373
cover design for logos, 257 ethical issues, 11–13
for package design, 289–293 economy of visuals, 113, 125 event branding, 235–237
checklist for, 198 for posters, 174–176 edges exaggeration
image, integration of, 191–192 roughs, 95
process of, 190–192 thumbnail sketches, 94–95 action relating to, 139 advertising, 338
purpose of, 190 “Designer of 2015 alignment of, 141–142 of images, 113
type, integration of, 191–192 Competencies,” 13 of line, 17 execution of project, 95–102
craftsmanship, 98–102 editorial design, 8, 200–214 experience design, 4–5
creative briefs. See Design briefs column grid for, 208–210 experimental composing, 135
creative thinking, 13, 68–75 flow in, 210–211 explanatory name brands, 226
and advertising, 348–350 grid for, 208–210 expressionistic visuals,
attribute listing, 73, 75 modular grid for, 208–210
characteristics of, 68 optimal format, identifying, 107–108
exquisite corpse tool, 72–73 expressive name brands, 226
happy accidents, 72 208

P. 418 Graphic Design S O LU T I O N S

exquisite corpse tool, 72–73 technical considerations, GPS (global positioning system), handmade/hand-drawn type,
Kobo Abe Book Cover Series 21–23 386 59–60
case study, 73, 74
texture, 23–24 gradation and illusion, 147 happy accidents, 72
extendibility formal ironic relationships, 121 Graphic Artists Guild hard-edge visualization, 126
of brand names, 227 formally driven creative harmony, 153–154
of visual identity, 241 Foundation, 110
directives, 135 graphic design, defined, 2 proportion and, 35
eye tracking studies, 142–143 formats, 24–25 Graphic Design Manual headers in editorial design, 214
heading in editorial design, 214
F for brochures, 313–315 (Hofmann), TL–12 Heartfield, John, TL–10
for editorial design, 208 Graphic Design Time Line: A Helvetica typeface, 47, 48, 50
fax considerations for letterheads, for logos, 260–268 high contrast
269 and paper, 25 Century of Design Milestones
for posters, 24–25 (Heller & Pettit), TL–1 colors, 22
feel for visual coherence, single formats, 25 graphics. See also images for logos, 264
244–245 founder’s name brands, 226 interpretations, graphical, high-tech approach, 112
four-color process, 21 112 historical style edge alignments,
Fibonacci numbers, 35–36 fractured space, 148 standards manual, 245
Fibonacci spirals, 36 Fraktur typeface, 49 transparency, 126 142
Fibonacci squares, 35–36 Franklin Gothic typeface, 48, 207 in web design, 394–396 history of graphic design,
figurative images, 108 free-form logos, 260, 262 Graphics Style: From Victorian to
figure/ground, 18–19 Frutiger typeface, 48 Digital (Heller & Chwast), 113–114
full bleeds, 114 TL–1 A History of Graphic Design
reversal, 19 function gravure for letterheads, 268
figures of speech in advertising, of advertising, 334 green design, 4, 368–369 (Meggs), 113
of brand, 220 Capital Printing Corporation Hoefler Text typeface, 47
337 brochure design and, 309, case study, 310–311 homemade approach, 112
films, viewing, 102 package design, 295 home page of website, 373
fine art movements, TL–8 312–313 grids, 159–162 house of brands, 285
Fireworks, Adobe, 387 and letterhead design, 269 for annual reports, 319 hucksterism, 360
“First Things First,” 11–12 of package design, 289 for brochure design, 314–315 hue, 20
Flash, Adobe, 98, 387 funk approach, 112 columns, 162
flat space, 147 Futura typeface, 47, 48 for editorial design, 208–210 achromatic color, 22
f lexibilit y Futurism, TL–6, TL–8 flowlines, 162 Humanist typeface, 48
futuristic approach, 112 margins and, 161–162 humor in advertising, 339,
and creative thinking, 68 modules, 162
of visual identity, 241 G spatial zones, forming, 162 348–350
flexography for letterheads, 268 in web design, 377
flow, 34 Garamond typeface, 47 Grotesque typeface, 48 I
in editorial design, 210–211 Gardner’s Art through the Ages, grouping and unity, 31
in package design, 290–291 grunge approach, 112 icons, 108, 110
typefaces facilitating, 56–57 TL–1 guerrilla advertising, 3, 353, in advertising, 337
flowlines, 162 Gas, Food, Lodging, 102 360 logos, character icon as, 247
flush left text, 48 general to specific, working Guerrilla Girls, 363
flush right text, 48 Gutenberg Rule, 146 idea sourcebooks, 75
focal point, 28 from, 155 gutters, 144 identity design, 3
and emphasis by isolation, 29 geometric shape, 17 identity standards
focus, creating, 154 Geometric typeface, 48 H
foil stamping for letterheads, 269 gestalt and unity, 31 for business cards, 273, 276
fold considerations for gift card design, 282 Haight-Ashbury music scene, for visual coherence, 245–246
Glasgow Style, TL–2 TL–13 illusion, 37–41
letterheads, 269 goals for design brief, 84 of spatial depth, 37–41
folios editorial design, 214 golden ratio, 36 Hand Job: A Catalog of Type and trompe l’oeil, 39
fonts. See type golden rectangle, 36 Fingerprint: The Art of Using illustrations, 111
foot editorial design, 214 golden sections, 36–37 Hand-Made Elements in Illustrator. See Adobe Illustrator
foreground, 37–41 gothic typefaces, 48 Graphic Design (Perry), 60, image-driven
formal elements, 16–24 government regulation of 192, 193 composition, 134
cover design, 192, 195
color, 19–21 advertising, 12 images, 107–108
line as, 16–17 appropriation of, 113
shape, 17–18 brainstorming by image

making, 72

P. 419

SUBJECT INDEX

classification of, 107 interactive design, 4–5 legal issues format for, 260–268
complementary relationships, interior page composition, 52–53 brand names, legally owned, on letterheads, 269
internal image edge alignment, 227 motion and, 268
121 intellectual property issues, P.E.O before and after, 308
contrast and, 119–121 141 113 Saks Fifth Avenue case study,
cover design, integration in, International Association of
legibility of typeface, 51 258–259
191–192 Business Communicators letterforms, 44 signature on, 260, 263–264
creating images, 111 (IABC), 12 sound and, 268
essay on using, 116–117 International Organization for as shapes, 48–49 standards for, 245–247
exquisite corpse collective Standardization (ISO), 276 letterheads, 268–272 Suzhou Museum case study,
International Typographic Style,
images, 73 TL–11 design process, 268–269 270–271
formal ironic relationships, 121 Internet. See also web design function and design, 269 3D illusion in, 265
heavy text applications, 53 and advertising, 330 layout for, 269–271 type for, 267–268
integrating type and, 114–121 interstices and articulation, Suzhou Museum case study, types of, 260–264
manipulation of, 113 154–155 visual brief collage boards,
margins for, 113–114 intuitive edge alignments, 142 270–271
and package design, 289 invented name brands, 226 lettering, 8 256–257
posters and, 184–185 irony in advertising, TL–20, 338 lettermarks, 247, 250 visualization and, 264–265
presentation of, 113–114 irregular shape, 17 letterpress logotypes, 247, 248–249
relationship of text to, 117 Islands of the Bahamas case long-lasting brand names, 227
selecting images, 113 study, 232–233 for letterheads, 269 long shots in web design, 393
as supporting partner, 114–119 isolation, emphasis by, 29 for posters, 175 look for visual coherence,
as sympathetic partners, typefaces adding, 56 letter spacing, 46, 57
Italian Futurists, TL–6 life experience in advertising, 337 244–245
118–119 italics, 45 light energy, 19 Lost in Translation, 102
text and, 53 ITC Lubalin Graph typeface, 48 light visuals, 107–108 low contrast colors, 22
types of, 111–112 ITC Zapf International line, 16–17
visuals, 107–108 typeface, 47 categories of, 17 M
impact continuing line, 32
of graphic design, 8–9 J functions of, 17 magenta, 20–21
of typeface, 50 golden sections, 36–37 Make It Bigger (Scher), TL–20
implementation, 95–102 Jugendstil (Youth Style), TL–2 implied line, 17, 32 manipulation of images, 113
craftsmanship in, 98–102 justified text, 48 length, readability and, 58 mapping, 70–71
digital design skills for, 98 juxtaposition for logos, 265 margins, 57, 58
implied line, 17, 32 spacing, 46, 57
importance of design, 11 in concept-generation, 94 typography, line length in, 46 grids and, 161–162
improvisational composing, 135 of images, 151 volume, progression to, 37 for images, 113–114
InDesign, 98 linear representations, 121–123 marketing audit, 78
index, defined, 108–109 K linear style, 17 mass media, 8
industries and sectors, list of, 80 linear transparency, 126 material gathering, 79
Infamous, 102, 127 kerning, 46 linear visuals, 107–108 mathematical ratios, 35–37
informal elements, 18–19 Kobo Abe Book Cover Series line of vision, 17 Médecins Sans Frontières case
information design, 4 literary devices in concept-
information gathering, 80–81, 82 case study, 73, 74 study, 86–87
information technology (IT) generation, 94 media
L logos, 220, 255–268
programmers, 369, 371 advertising media, 330
inks Late Modernist period, TL–17 All Seasons Wild Bird Store branding and, 229–230
layering space, 148–149 case study, 282–283 creative directives, media-
and letterheads, 269
metallic inks, 21 illusion of depth and, 39 brand names and, 256 driven, 135
integrated brand programs, 219 layout, 132–133 on business cards, 273 icons and, 110
integration of typefaces, 51–52, categories of, 247 preliminary decisions about,
for brochure system, 315 colors for, 265–266
114–121 for letterheads, 269–271 as compositional unit, 260 106
intellectual property, 113 for web design, 377 conceptual design, 255–256 mediawatch-uk, 363
intensity of color, 20 leading, 46 defined, 247 medium shots in web design, 393
left-aligned text, 48 design development, 257 Meggs’ History of Graphic Design
and readability, 56
(Meggs & Purvis), TL–1
memorable brand names, 227

P. 420 Graphic Design S O LU T I O N S

memorable visual identity, 241 music orphans paragraphs
Men Organized Against Sexism package design for, 296–300 avoidance of, 56 chunking of text and, 58
and web design, 396 spacing of text and, 58 readability and, 56
and Institutionalized
Stereotypes (OASIS), 363 N outdoor advertising, 3 partial bleeds, 114
M.E.N.T., 153 out-of-home (OOH) patterns, 23–24
merging in concept-generation, 94 names. See brand names
metallic inks, 21 National Archives Experience advertising, 3 grids, 23
metal type terms, 44–45 overlapping space, 148 for logos, 265
methods, preliminary decisions case study, 388–389 ownership of brand, 223 rhythm in, 30
about, 106 national brands, 284–285 visual weight of, 26
Metropolis, 102 National Organization for P peace symbol, 109
middle ground, 37–41 P.E.O before and after, 308
midline, action relating to, Women’s Media Task pacing of text, 57, 58 perceptions for design brief, 84
138–139 Force, 363 package design, 7, 280–301 perceptual organization, laws of,
mind maps, 70–71 naturalism, 108
Mini ad showcase, 358–359 naturalistic visuals, 107–108 All Seasons Wild Bird Store 31–34
mixed media, 112 nature of graphic design, 8–9 case study, 282–283 perspective and depth, 40–41
for posters, 175 navigating websites, 373 phases of design process, 77–102.
mixing typefaces, 58–65 negative space, 19 audio package design,
mobile advertising, 3 and harmony, 154 296–300 See also design briefs
mock-ups, 95 nest structures, emphasis analysis phase, 81
Modernism, TL–13–TL–16 through, 29–30 basics of, 293–295 concept-generation process,
Modern typefaces, 47 neutral color, 22 benefits of, 289
modularity, 155–158 New Baskerville typeface, 47 branding and, 280–285 91–94
chunking, 155–157 New Wave, 142 clarity in, 290–293 conceptual design phase,
editorial design, modular grid new wave approach, 112 conceptual design, 288
for, 208 Nickelodeon case study, 222, design development for, 89–94
rule of thirds, 157–158 224–225 design development phase,
modules nomenclature for typography, 289–293
defined, 155 44–46 effective packaging, objectives 94–95
grid modules, 162 nonobjective shape, 17–18 discovery phase, 81–82
monotypes for posters, 175 nonobjective symbols as logos, of, 293 implementation phase,
motion 247, 252 green concerns, 295
aesthetics, 387, 393 nonobjective visuals, 108 national vs. store brands, 95–102
graphics, 7, 112 nonrepresentational images, 108 information gathering,
images and, 127 nonrepresentational shape, 284–285
logos and, 268 17–18 Ocean Spray case study, 80–81, 82
in web design, 387–393, nonrepresentational symbols as material gathering, 79
394–396 logos, 247, 252 287–288 orientation phase, 77–81
movement. See also flow; motion notations, 107 process for, 288–295 from start to finish, 100–101
action and, 139–140 psychology of, 288 strategy phase, 81–82
in composition, 151 O Rounder Records case study, visual concepts phase, 89–94
movies, viewing, 102 phi ratio, 36
MTIV: Process, Inspiration, and Ocean Spray case study, 287–288 300 photography, 111–112
Practice for the New Media offset lithography for letterheads, scope of, 280 and package design, 289
Designer (Curtis), 94, 375 sustainability and, 295–296 photomontages, 112
multiple-page formats, 25 268 2D package design, 293–295 Photoshop/Photoshop Elements.
multiple visuals, 150–151 Old Style typeface, 47 3D package design, 293–295
multiplicity and linear mode, “On Point of View in the Arts” pagination editorial design, 214 See Adobe Photoshop/
123 painterly representations, Photoshop Elements
Munich Flaspalast Exhibition of (Ortega y Gasset), 123 picas, 46
Interior Design, TL–2 opaque elements in visuals, 126 121–123 pictographs, 107
open space, 150 Palace Script typeface, 47 pictorial symbols as logos, 247,
oral presentations, 71 pamphlets, 304 250
order in package design, 291 Panasonic “Share The Air” case picture plane, 37–39
organic shape, 17 pigments, 19
orientation phase, 77–81 study, 341–343 placement, emphasis by, 29
Pantone color system, 21 typefaces adding, 56
paper plane
picture plane, 37–39
formats and, 25 volume, progression to, 37
and green design, 310–311
for letterheads, 268, 276
for presentations, 102
selecting, 276

P. 421

SUBJECT INDEX

pointers, emphasis by, 29 Private Moments with Michael relatedness, creating, 154 script typefaces, 48
typefaces adding, 56 Phelps case study, 362 relevance of branding, 223 secondary colors, 20
repetition second sheet with letterheads,
point of view, 152 problems
points, 16 advertising, problem-solution, rhythm and, 30–31 269
337–338 in web design, 394 section function in editorial
in typography, 46 finding or seeking, 72 reports. See annual reports
and volume, 37 solving, 76–77 representational shape, 18 design, 211
Pop Art movement, TL–13 representational visuals, 108 Seed Media Group case study,
positive space, 18 production, 98 retail brands, 285
posters, 165–187 professional organizations, 10. retro approach, 112 92–93
compositions for, 176–180 RGB colors, 20 self-contained logos, 260, 261
conceptual development, See also AIGA rhetorical devices in concept- sequence in composition, 152
on ethical practices, 12 series
173–174 promotional design, 7–8 generation, 94
in context, 173 proportion, 34–35 rhythm, 30–31 agreement in, 144
defined, 172 proximity, 32 books, designing for series of,
design development for, and vision mode, 123–124 flow and, 34
and web design, 393 in package design, 290–291 198–200
174–176 PSAs, 328–330 in web design, 393 posters in, 178–180
formats, 24–25 psychedelic approach, 112 right -aligned text, 48 serifs, 45
history of, 172–173 psychology of package design, rigid shape, 17 classification of typefaces
image-making for, 184–185 Rizzoli case study, 202
key messages in, 174, 176 288 Rockefeller Foundation annual and, 47
in 1960s, TL–13 publication design, 8, 190–215. shades of color, 22
purpose of, 166, 172 report case study, 320–321 shadow visuals, 107–108
series, 178–180 See also cover design; ROI (return on investment), 78 shallow space, 148–150
social commentary and, editorial design; letterheads Roman typeface, 45, 47 shapes, 17–18
case study, 194 Rotunda typeface, 49
180–186 series of books, designing for, roughs, 95 illusion of spatial depth and, 39
visualization for, 174–175 198–200 Rounder Records case study, 300 type as, 48–49
Postmodernism, TL–15, TL–17 public service advertisements rule of thirds, 157–158 sharpness and diffusion,
The Power of the Center: A Study (PSAs), 328–330 rules for images, 114
pull-outs editorial design, 214 runners editorial design, 214 124–125
of Composition in the Visual puns in advertising, 337 running text, 52–53 Shelley Allegro Script typeface, 48
Arts (Arnheim), 153 Purple Rose of Cairo, 102 Rural Electrification shopping bags design, 283
prägnanz, 31 sidebars editorial design, 214
predictability of visuals, 125–126 R Administration, TL–9 signature
presentation Russian Revolution, TL–2
of comps, 102 radial balance, 28 Rutgers University-Newark editorial design, 214
of images, 113–114 radio advertising, 3 logos, 260, 263–264
primary colors, 20–21 randomness, sequence and, 152 case study, 54–55 sign-off of ads, 344
primary optical area, 144 Rashomon, 102 signs, 108–111
A Primer of Visual Literacy readability S defined, 108
(Dondis), 12 uses of, 109–111
primitive approach, 112 spacing of text and, 58 Saks Fifth Avenue case study, silhouettes, 107–108
Principles of Art History: The of typeface, 51, 56 258–259 similarity, 31–32
Problem of the Development realism, 108 single formats, 25
of Style in Later Art rebranding, 230–231 sans serif typefaces, 46, 48 singular images, 151
(Wölfflin), 121–123 receptiveness and creative Sappi Ideas That Matter, 11, 24, sketchbooks, 75
principles of design, 24–28 slab serif typefaces, 48
balance, 25–28 thinking, 68 79, 98, 99, 306–307, 312, 313 Snell Roundhand Script
formats, 24–25 recognition and visual identity, saturation, 20, 22–23
print advertising, 3 scale, 29, 34–35 typeface, 48
printing 241 social bookmarking websites, 91
for letterheads, 268–269 records, package design for, typefaces adding, 56 social commentary and posters,
with metallic inks, 21 Schwabacher typeface, 49
printmaking for posters, 175 296–300 screen-based media. See web 180–186
rectangle, golden, 36 societyillustrators.org, 111
rectilinear shape, 17 design software
reflected color, 19 screen printing
reflection symmetry, 26 GPS (global positioning
for letterheads, 268 system), 386
for posters, 175
mapping software, 70

P. 422 Graphic Design S O LU T I O N S

solid lines, 17 style templates complementary relationships,
Some Like It Hot, 102 creative directives, style- book series, designing for, 200 121
Songs My Mother Taught Me driven, 135 for letterheads, 269
posters and, 184 composition, type-driven, 134
(Brando), 231 web design and, 379 10K wrap of annual reports, contrast and, 51, 56, 59,
sound. See also music 316
subheads editorial design, 214 119–121
audio package design, subtle visualizing, 125 text. See also type cover design, integration in,
296–300 subtractive colors, 19 heavy text applications,
subtractive primary colors, 20–21 52–53 191–192
and logos, 268 supporting partner, images as, and images, 53 decorative typefaces, 59
South of the Border, West of the Sun relationship of images and, 117 designing with type, 49–57
114–119 as shapes, 48–49 in editorial design, 211, 214
(Murakami), 115 surprise in advertising, 347, 348 families, 44, 58
spacing surreal approach, 112 text type, 46 flow of information and, 56–57
Surrealism, TL–8, TL–10, 73 Textura typeface, 49 formal ironic relationships, 121
letter spacing, 46, 57 sustainability texture, 23–24 handmade/hand-drawn type,
line spacing, 46, 57
orphans and, 58 and green design, 310–311 for logos, 265 59–60
for typefaces, 57–58 and package design, 295–296 typographic texture, 49 integration with visuals,
spatial relationships and visual identity, 241 themes
and arrangement, 132–133 Suzhou Museum case study, for annual reports, 319 52–53, 114–121
depth, illusion of, 37–41 as concept, 94 interior page composition,
grids, zones with, 162 270–271 3D illusion in logos, 265
in typography, 46 Swiss design, TL–11 3D package design, 293–295 52–53
in web design, 393 Swoosh: The Unauthorized Story thumbnail sketches, 94–95 leading chart for type size, 46
Speed the Plow (Mamet), 114–115 tilted plane and depth, 149–150 for logos, 267–268
splash page of website, 373 of Nike and the Men Who Time magazine, 206 measurement system, 46
spontaneity Played There, 275 Times New Roman typeface, 47 mixing of, 58–65
and art process, 72 symbols, 108–111 tints of color, 22 nomenclature for, 44–46
and composing, 135 in advertising, 337 title-driven cover design, 192 readability of, 56
and mapping, 71 in brand names, 226–227 tones, visual weight of, 26 selecting, 50–52
of visuals, 125–126 in concept-generation, 94 trade ads, 328 shapes, 19
spreads defined, 109 transitions as solution, 60–65
agreement in, 144 logos and, 247 arrangement and, 143–144 spacing for, 57–58
reversal in editorial design, uses of, 109–111 and articulation, 154–155 spatial measurement, 46
symmetry, 26–28 typefaces, transitional, 47 style, 45
211 sympathetic edge alignments, 141 transparent elements in visuals, typographic texture, 49
stair structures, emphasis sympathetic partners, images as, in web design, 394–396
118–119 126 Type and Image: The Language
through, 30 syncopation in editorial design, tree structures, emphasis
standards. See also identity 211 of Graphic Design (Meggs),
synthesis in concept- through, 30 107–108
standards generation, 94 trompe l’oeil, 39 type font, 44
for visual coherence, 245–247 2D: Basics for Designers
static composition T U
movement and, 151 (Brower), 30
sequence and, 152 tactile textures, 23 2D: Visual Basics for Designers unity, 31
Step Inside Design magazine, 51 taglines, 220 correspondence and, 32
store bags design, 283 (Gonnella), 260 linear mode and, 123
store brands, 284–285 of ads, 344 2D package design, 293–295 structure and, 33–34
storytelling tags, avoidance of, 56 type, 8, 9, 44 type alignments and, 57
in advertising, 334–336, 356 Talk Chart, 109 in web design, 373, 378
and visualization, 127–129 teams, collaborating with, 10–11 aesthetics of, 51
strategy, 81–82 A Technique for Producing Ideas alignment, 48–49, 57 Universal typeface, 48
for branding, 220–222 appropriateness of, 51–52 Univers typeface, 48
for visual coherence, 244 (Young), 91 caption-heavy applications, 53
stripes, 23 Techniques of Creative Thinking case study on, 54–55 V
stroke, 45 clarity of, 52
structure and unity, 33–34 (Crawford), 73 classifications of, 47–48 value
television advertising, 3, 350–353 color, 49 of color, 20, 22
contrast, 22

P. 423

SUBJECT INDEX

vanishing point, 41 standards for, 245–247 warm colors, 20 splash page, 373
variation types of projects, 240–241 visual weight of, 26 style and, 379
for web design, 376–380, type and, 394–396
in advertising campaigns, watermarks for letterheads, 269 types of projects, 371–372
346–348 393–397 wayfinding systems, 109–110 visual basics for, 393–397
visualization, 106 web design, 366–399 visual design, 376–380,
in composition, 152–153
in editorial design, 210–211 for annual reports, 319 agreement in websites, 393–397
rhythm and, 30–31 approaches to, 112 144–146 writing and, 373
of typeface, 56 in cover design, 195–198 web-safe colors, 21
verification of design concept, 94 diffusion and, 124–125 alignment in, 394 weight
Vienna Secession, TL–2, 142 and logos, 264–265 chunk design, 378 of letterform, 46
visual analogies in advertising, modes, 121–124 colors and, 373–374, 378–379 typefaces and, 56
for posters, 174–175 conceptual design, 374–380 What Noise? case study, 370
337 preliminary decisions about, content for website, 372–373, white
visual brief collage boards, 83, as achromatic color, 22
106–107 381, 385–386 visual weight and, 26
256–257 sharpness and, 124–125 contrast and, 393–394 Whitney typeface, 51
visual-driven ads, 344–346 storytelling and, 127–129 defining terms, 372–374 widows
visual hierarchy, 28–34 visual metaphors, 75 development of website, avoidance of, 56
in advertising, 337 spacing of text and, 58
emphasis and, 28–30 visuals. See graphics; images 372–374 woodblocks for posters, 175
perceptual organization, laws visual similes in advertising, essential considerations for, 386 wordmarks, 247, 248–249
graphics in, 394–396 word spacing, 46, 57
of, 31–34 337 grids, use of, 377 World War II, TL–10
rhythm, 30–31 visual textures, 23 home page, 373 wrap-around alignment, 141
unity, 31 visual themes, 134 information architecture for,
visual identity. See also logos visual-verbal synergy, 134 Y
of ads, 344 373
brochure design and, 309 in cover design, 195–198 integrating media in, 386 yellow, 20–21
coherence, creating, 243–247 visual weight, 26 motion and, 387–393, Your Creative Power (Osborn), 69
conceptual design, 241–243 volume, 37–41
defined, 240–241 394–396 Z
designing, 241–247 for logos, 265 music and, 396
goals of, 241 of text, 52–53 navigating websites, 373 “Z” pattern of scanning, 146
meaning and, 242–243 proximity and, 393
for screen-based media, W purposes of websites,

393–397 Walbaum typeface, 47 371–372
repetition in, 394

P. 424 Graphic Design S O LU T I O N S

Agencies, Clients, Creative Professionals,
Studios, and Names Index

A American Institute of Graphic Aufuldish & Warinner, 9, 136, Bennett, Neil, 129
Arts (AIGA). See AIGA 173, 175, 253 Benzel, Gary, 267
A. E. G., TL–6 Bernbach, Bill, TL–11
Aaron Marcus and Associates, American Italian Pasta Austen, Jane, 274 Bernard, Walter, 207
Company, 150 Austin, Robert D., 72 Bernardez, Manny, 6, 128
Inc., 110, 385–386 Austria, Jerome, 380 Bernardt, Craig, 250
Abbott Miller/Pentagram, 203, American Museum of the Authentic Flavors, 126 Bernardt Fudyma Design Group,
Moving Image, 254 Authors & Artists Group, 17
244 250
Abrams, Harry M., 144 Amnesty International, 22 B Bernhard, Lucian, TL–2
Acorn, 250 Amuny, Heather, 128 Berresford, Lee, 213
Adamo London, 309 Ancestry.com, 385 Bachs, Eduardo Munos, 166 Bespoke Education, 255
Adams, Sean, 224–225 Anders, Allison, 102 Badgermeter Inc., 250 Between The Wars, T–14
AdamsMorioka, 222, 224–225 Anderson, Denise M., 316 Bagheri, Jennifer, 61, 177 The Beverly Hills Hotel, 249
Ad Council, 12, 328, 329 Anderson, Gail, 166, 168–171, Bailey, Craig, 98 Bichler, Gail, 115
Adidas Soccer, 383, 384 Bajo, David, 197 Bierut, Michael, TL–16, TL–29,
Adkins, Doug, 350 174 Balicenti, Bill, 179
Adobe Systems, 176 Anderson, Jack, 141 Ballant, Lindsay, 200 203, 206, 258–259,
A&E Network, 383–384 Anderson, Shannon, 315 Balthazar, 228 274–275
Aether Apparel, 76, 229 Anderson Energy, 318 Baltimore Bioneers, 242 Big Spaceship, 378, 380
Aetna Life and Casualty, TL–16 Anton, Peter, 338, 384 Banks, Jon, 396 Bill, Max, TL–11
Agha, Mehemed Fehmy, TL–9 Aoki, Hisami, 89 Barbarian Group, 157 Binder, Joseph, TL–10
AIA California Council, 61 Apparel Arts magazine, TL–9 Barbata, Laura Anderson, TL–29 Birdsall, Connie, 222, 292
AIGA, TL–15, 4, 12, 177, 248 Apple Computers, TL–2–TL–3, Barkat, Jonathan, 212 Birren, Faber, 21
Barneys New York, 281 Bisse, TL–25
Pittsburgh, 134 TL–17 Barratt, Thomas, TL–4 Björk, TL–29
San Francisco, 52 Aquan, Richard, 143 Barrett, Chris, TL–25 Black, Sarah, 6
Ajello, Tom, 382 Aquart, Bashan, 170 Barrett, Susanna Nygren, 62, Blackenship, Christina, 376
Albers, Josef, TL–6, TL–9, 21 Arambu, Jeannette, 52 Blanchette Press, 313
Alejo, Laura, 128 Arcella, Stefano, 50 288 Blatter, Kathrin, 294
Alexander Isley Inc., 61, 138, Area, Toronto, 142 Bartle Bogle Hegarty (BBH), Blazˇek, Filip, 160, 203, 255, 256
Armgaard, Mads, 379 Blechman, Nicholas, TL–27
204–205, 221, 254 Armour, Tony, 63, 317 TL–17 Bluebolt Networks, 221
Alexandra, Keira, 392 Armstrong, Athila, 390–391 Bartlett, Robert, 396 Blum, Gary Edward, TL–28
Alex Coletti Productions, 268 Armstrong, Louis, 144 Bass, Saul, TL–11, TL–13 BMP DDB, 344
Alfalfa Studio, TL–29 Arnett, Dana, 172 Battaglia, Jean-Luc, TL–25 BNSF, 231
Allen, Chris, 33 Arnheim, Rudolf, 26, 153 Baxter, Steve, 285 Bogusky, Alex, TL–26, 156–157
Allen, Heather, 257 Aron, Arri, 350 Bayer, Herbert, 34, 39 Bologna, Matteo, 192, 293
Allen, Jennifer, 380 Art Directors Association of BBC Four Marketing, 396 Bond, Bruce, 157
Alliance Graphique Beach Culture magazine, TL–17 Bonnard, 173
Iowa, 77 Beall, Lester, TL–9, TL–13 The Bookbinder’s Guild of New
Internationale, TL–8, 172 Art Directors Club of New Bearden, Romare, 166, 167 York, 57
Alloyd Brands, 261 Beautyman, Mairi, 208 Boothe, Dennis, 11
All Seasons Wild Bird Store, Jersey, 73, 237 Beekman, Donald, 203 Borchert, Gui, 255, 354–357, 380
Ascher, Kate, 204–205 Behrens, Peter, TL–6 Bott, Luke, 252, 262
282–283 Ashby, Romy, 51 Beletsky, Les, 199 Bradley, William H., TL–5
Alvarez, Lloyd, 395 Asik, Nick, 318 Bell, David, TL–25, 349
The Amazing Food and Wine Aton Pharma, Inc., 349 Benjamin, Jeff, 157
AT&T, TL–13
Company, 292 Aufuldish, Bob, 9, 136, 173,
Amazon Pepsi website, 5
Amen, Jonathan, 10, 11 174, 175

P. 425

AGENCIES, CLIENTS, CREATIVE PROFESSIONALS, STUDIOS, AND NAMES INDEX

Brainard, Kevin, 172 Calgary International Film Chen Design Associates, TL–28, Contemporary Illustrators
Brainforest, Inc., 10, 11, 98, 99 Festival, 62 60, 64, 294, 309 Gallery, 32
Brand, Simon, 6
Brand Central, 262 Calgary Society for Persons with Chéret, Jules, TL–4, 173 Continental Airlines, TL–13
Bernbach, Bill, TL–11 Disabilities, 322 Chermayeff, Ivan, TL–11, Conversá, 141
Brantley, Ben, 114–115 Converse, 331
Breton, André, TL–8 California College of the Arts TL–15, 39 Cook, Roger, TL–15
Broden, Fredrik, 197 Architecture, 173, 175 Chermayeff & Geismar, Inc., Cook, Vince, 345
Brodovitch, Alexey, TL–9 Cook and Shanosky, TL–15
Brody, Neville, TL–3, TL–17 California Fluid Milk Processor TL–13, TL–14, 39, 183 Cooley Design Lab, 123, 135,
Brooklyn Academy of Music, Advisory Board, TL–21 Cherry, Mark J., 191–192
Cheskin, Louis, 288 141
138 California Grapeseed Oil, Chiat/Day, TL–17 Copeland, Alan, 141
Brooks, Sharrie, TL–22 TL–23 Chicago Partners, LLC, 375 Coppola, Sofia, 102
Brossier, Veronique, 380 Chicago Volunteer Legal Costanzi, Angela, 261
Brousil, Tomásš, 203 Camus, Albert, 201 Covi, Jessica, TL–29
Brower, Steven, TL–1–TL–29, Cannon, Jonathan, 128, 397 Services, 63, 317 Cox, Amanda, 338, 383, 384
Capital Printing Corporation, Chiquita, 218 Cox, Darren, 170
30, 53, 73, 121, 144, 145, Choi, Seung Il, 254 Cox, Steve, 347
157, 161, 167, 174, 198, 200, 310–311 Chris Herron Design, 49 Cox, Tony, 344
237, 262 Capital Records, 298 Chronicle Books, 139 Coyote Loco Restaurant and
Brown, Andrea, 293 Capote, Truman, 127 Chun, Peter, 292
Bruce, Tim, 63, 209, 317, 319, Captive Resources, 263 Chung, Fani, 251, 306, 314 Cantina, 17
374–375 Carbone, Ken, 3, 4, 76, 229, 234 Church, Stan, 257, 260, 291, Crandall, Jennifer, 212, 213
Brunkella, Halli, 235 Carbone Smolan Agency, 3, 4, Crawford, Rachel, 76, 229
Bruno, John, 260, 291 292 Crawford, Robert Platt, 73
Bubbles (Millais), TL–4–TL–5 76, 229, 234 Chwast, Seymour, TL–1, Creativity magazine, 206
Buckley, Paul, 192, 197 Carducci, Rob, 350 Criss Angel Mindfreak, A&E,
Building Letters, 203 Carnese, Tom, 258 TL–13, TL–15, TL–19
Bullock-Jones, Carlie, 208 Carrigan, Laurie, 294 Ciao Bella, 124 382, 383
Bunde, Nils, 10 Carson, David, TL–3, TL–17 CircFocus, 262 Crispin Porter + Bogusky,
BUR, 192 Carver, Ryan, 383 CitationShares, 362
Burdett, Mark, 27 Cassandre, Adolphe Mouron, Clarkson, Thomas, 182 TL–26, 156–157, 339
Burlison, Bryan, 88 CleanWell Company, 284 Critchlow, Kristina, 168, 169
Burnett, Leo, 85 TL–3, TL–8, 151 Clement, Lesley D., 142 Crosby, Bart, 241, 248, 249, 263,
Burns, Ken, 234 Cates, Valerie, 397 Clerici, Cristina, TL–25
Burtin, Will, TL–9 Cengage Learning, 157 Cleveland Film Society, 180 305, 375
Burton, Trent, 7 CE Software, 40 Clifford, John, 115, 136, 139, Crosby Associates, 240, 241,
Butler, Shine, Stern & Partners Cessna Citation Service Center,
(BSSP), 330–332, 336, 350, 268, 297, 298, 299 248, 249, 260, 263, 273,
351, 358–359 262 Clipsham, Jacqueline Ann, 110 305, 375
BVD, 62, 288 CG+M Advertising + Design, 133 Clouzot, Henri-Georges, 71 Cruz, Ray, 57
Byader, 262 Chaffee, John, 75, 133, 134 CMYK Printing, 237 CRW Printing, 186
Byrne, David, 296, 297 Chalkley, Jules, 396 CNN, 390 Csikszentmihalyi, Mihaly, 72
Chan, Amos, 281 Cocoon (Björk), TL–29 Curtis, Hillman, 94, 375
C Chang, Daniel, 190 Coiner, Charles, TL–8 Cycle Kids, 307
Chantry, Art, TL–21 Coleman, Greg, 171 Czech Radio, 256
Cabbe @ Arista Studio, 349 Chanzit, Gwen F., 9 Coleman, Jeb, 397
Caddy, Sarah, 396 Chao, David, 314 Cole Taylor Bank, 305 D
Caedmon Audio, 299 The Chap Book, TL–5 Colins, Damon, 396
Cala, Ronald J. II, 19 Chase Manhattan Bank, TL–13 Community Blood Center of the D&AD, 10
Calagraphic Design, 19, 167 Chast, Roz, 27 Daffy’s, 350
Calcao, Tony, 156 Chee, Lia, 174 Ozarks, 24 Dahlström, David, 379
Calderón, Miguel, 145, 368 Cheinman, Ida, 242, 273, 368, Concrete Design Dallendoerfer, Claudia, 385
Daly, Matt, 172
369 Communications Inc., 142 Dancs, Timea, 4
Chen, David L., TL–28 Conlon, Peggy, 12 Danne, Richard, 246
Chen, Eugene, 385 Connerton, Dylan, 390–391 Danne & Blackburn Inc., 246
Chen, Fang, 75, 151, 182 Conqueror Fine Papers, 138 Davidson, Carolyn, 275
Chen, Joshua C., TL–28, 64, Conrad, Fred R., 195

294, 309

P. 426 Graphic Design S O LU T I O N S

Davis, Paul, 53 Dove, 352 F Gardner, Bill, 252, 262
Davison, Janice, 254 Doyle Dane Bernbach (DDB), Gardner Design, 252, 262
Dawson, Claire, 262, 315 Fabre, Jacques, 285 Garrels, Gary, 9
Dayton, Kent, 377 TL–11, TL–12, TL–13, Fagan, Beth, 261 Gee, Earl, 90, 91, 251, 252, 306,
DCM, 314 TL–17, 337 Fahey, Richard, 198
Deck, Barry, TL–19 Drenttel, William, 381 Fechtor, Stephen, 345, 347 314
De Forge, Jeremy, 338, 384 Drew, Ned, 54–55, 74 Fechtor Advertising, 347 Gee + Chung Design, 90, 251,
De Harak, Rudolph, TL–15 Drueding, Alice E., 111, 121, Feininger, Lyonel, TL–6
de Kooning, Willem, TL–10 184–185 Fella, Ed, 59, 125, 126 252, 306, 314
Dell, 355 Drummond, David, 64, 142, Ferguson, Scott, 345 Gehry, Frank, 394–395
Della Femina/Rothschild/Jeary 191, 195, 196 Fetrow, Mike, 350 Geismar, Thomas, TL–11,
Duckworth, Bruce, 29, 84, 146, Fiat Auto China, 85
& Partners, 327, 334, 340 254, 281, 285, 291 50 Cent, TL–24 TL–15, 39
Delta Air Lines, 222 Duffy & Partners, 83, 230, Fili, Louise, TL–3, TL–23, 16, 32, Geissbuhler, Steff, 183
Denton-Cardew, Scott, 128 232–233, 289 General Cable Corporation, 147
Dentsu, 337 Duggan, Neil, 390–391 38, 178, 254, 255, 261, 266 Gentl & Hyers, 212
Denver Art Museum, 9 Dunn, Jeanine, 206 Filmcore, 362 George Tscherny, Inc., 178, 249
Depelchin Children’s Center, Du Pey, Nick, 208, 312 Finatti, Traci, 387 Gericke, Michael, 256, 257
Duplessis, Arem, 115 Finocchiaro, Joe, 258 Gervits, Mikhail, 380
313 Dylan, Bob, TL–14, 123, 167 Fiore, Michael, 192 Gethers, Peter, 397
The Design Center at Kean Dysinger, Ingrid, 208 Firmenich, Inc., 251, 253 Getty Images, 195
Dzeiza, Emmett, 6 Fitzpatrick, Kristin, 213 Getzels, Jacob W., 72
University, 5, 73, 109, 145 Focus Features, 396–397 Ghazarian, Saro, 62, 118, 322
Designiq, 160, 256 E Fodor’s Travel Guides, TL–19 Gibilisco, Charisse, 379
Design Ray Cruz, 253 Folly or Saintliness (Reed), TL–5 Gilbert Paper, 179
DeSouza, Amadeo, 51, 61, 149, Eager, Christian, 146, 285 Fontaine, Matt, 387 Gilda’s Club, Chicago, 10, 11, 99
Ecco Publishers, 147 Franco, Ennio, 390–391 Gill, Andy, 123
175, 177, 312 Edward Jones, 241 Frank, Carla, 212–213 Girl Scouts, TL–13
de Vicq de Cumptich, Roberto, Eiko Design Inc., TL–29 Freed, Chris, 235 Glaceau, 378
Ekens, 379 Free Press, 209 Glaister, Nin, 260
147, 194 Elbert, Ed, 6 French Leave, 27 Glaser, Milton, TL–13, TL–14,
DeVito, Sal, 350 Elder, Karen M., TL–11, TL–12 Frere-Jones, Tobias, 51
DeVito/Verdi, 350 Electrical Digest, 250 The Fresh Olive Company, 254 TL–24, 73, 138, 139, 150,
Diabolical Liberties, 360 Electrolux Floor Care and Light Frickelton, Matt, 5, 40 166, 176
The Dial Corporation, 291 Fried, David, 267 Glentzer, Molly, 313
Diaz, Fabian, 222 Appliances, 288 Friedman, Dan, TL–15 Global Vision, 261
Diaz, Santiago, 6 Elledge, Paul, 209, 374–375 Froelich, Janet, 18–19, 27, 52, Goddard, Jenny, 267
Diesel Spa, 349 Elliman, Paul, 18–19 Goeldner, Bob, 383
Digital Vaults, 388–389 El Lissitzky, TL–2 115, 119, 191, 195, 211 Gogolin, Jean, 307
Direction magazine, TL–9, 38 El Paso Chile Co., 16 Froelich, Nancy, 244 Goh, Alex, 339, 347, 360
Di Roberto, Jacquelina, 266 Emerson Wajdowicz Studios, Frolick, Stuart, 126 Goldberg, Carin, TL–3
Disabilitiy Access Symbols Fry, Kim, 231, 246 Golden, William, TL–9, TL–11
86–87, 320–321 Golden Gate International
Project, 110 Emigre magazine, TL–3, TL–17, G Exposition, TL–9
Di Savino, Fran, 377 Goldfarb, Amy, 133
Di Savino, Sam, 377 TL–19 Gabriel, Winter, 154 Goldsmith, Erica, 5, 40, 385
Divan Japonais (Japanese Settee) Engel, Gary, 139 Gage, Robert, TL–11, TL–13, Goldstein, David, 76, 229
Ernstberger, Matthias, 92–93, 176 Gomez de Llarena, Carlos, 380
(Toulouse-Lautrec), TL–4 Escalante, Marco, 292 152 Gomez-Palacio, Bryony, 206,
Dixon, Judy, 8 Esen, Ali, 235–236 Gall, John, TL–27, 74, 115, 255–256, 305
DMB&B, 345 Eskimo Mask (Siegriest), TL–9 Gonnella, Rose, 21, 53, 237, 260,
Dolan, Doug, 138 Esquer, Rafael, TL–29 133, 137, 139, 141, 190, 264
Domer, Jen, 234 Esquire magazine, TL–9, TL–13 198–200, 201 Google, 387
Donat, Thad, 8 Evans, Shannon Denise, 379 Gamache, Monique, 7, 62, 118, Got Milk?, TL–21
Dondis, Donis A., 121 EVB, 338–339, 366–367, 318, 322 The Gracious Gourmet, 293
Dorfsman, Lou, TL–11 Games, Abram, TL–10
DoubleClick, 328 382–384 Garcia, Gustavo, 168, 169
Double Entendre, 140

P. 427

AGENCIES, CLIENTS, CREATIVE PROFESSIONALS, STUDIOS, AND NAMES INDEX

Graeff, Jon, 8 Hayman, Luke, 207 Hubbard Street Dance Chicago, Jennifer Sterling Design, TL–23
Granatta, Daniel, 368 HBO, 79, 366–367 246 Ji, Jenny, 64
Grant, Bill, 208 Hebert, Doug, 313 Jobe, Jason, 367
Graphic Design in America Hedjuk, John, 139 Humane Wildlife Solutions, 347 Joensuu, Arto, 390–391
Hedner, Karl, 309 Huni, Nathalie, 390–391 Joe Scorsone/Alice Drueding,
(Chwast), TL–19 Heeren, Olivia, 236, 267 Hunt Adkins, 350
Grapus, TL–15, TL–16 Heidrich, Wolfgang, 110 Hunter Consulting, 252 121, 184–185
Grashow, James, 16 Helfand, Jessica, 381 Hurricane Poster Project, 186 Johnson, Peg, 8
Graziano, Brian, 231 Heller, Steven, TL–1, 196, 315 Hush Studios, 6, 128–129, Johnstone, Robbie, 6
The Green Building Institute, Helmer-Petersen, Keld, 89 John Wiley & Sons, Inc., 195
Henderson, Holley, 208 396–397 Joseph, Mark, 10
273, 368, 369 Hendrix, Jimi, 396 Jubert, Giovanni, 307
Gregoire, Kalani, 8 Hendrix, R. Michael, 89, 208, I Jungwirth, Jonathan, 118
Greiman, April, TL–3, Jurevicius, Nathan, 84
312 IAC, 394–395 Jurgen, Hans, 86–87
TL–15–TL–16, TL–18 Henna Cover (Print magazine) iAsiaWorks, 251, 306
Griffin, Rick, TL–3 IBM, TL–11 K
Griffith, C. H., 203 (Brower), TL–26 IBM Gallery, TL–19
Grimshaw, Andy, 146, 285 The Herbert Matter Collection, IBM (Rand), TL–18 Kaiser, Jaromir, 160
Gropius, Walter, TL–6 IDEO, 284, 295–296 Kalman, Tibor, TL–17
Ground, 120 137 Ideograma, 254, 273 Kalthoff, Michelle, 251
Gruenspan, Hayley, 108 Herman, Jonathan, 7, 62, 118, Idlet, Julianne, 307 Kandinsky, Wassily, TL–6, 25
Grupo W, 145, 368 Iezzi, Teressa, 206 Karasyk, Erik, 6, 128, 397
Guan, Larry, 385 318, 322 i4Design Magazine, 60 Karlsson, Hjalti, 297, 298, 299
Guthrie Theater, 170 Herr, Claudia, 397 Ikea, 353 Katona, Diti, 142
Gutierrez, Jezreel, 368 Herron, Chris, 49, 261, 262 Ilic´, Mirko, 195–196, 196 Kauffer, E. McKnight, TL–8,
Herzog, Werner, 51 I Love NY More Than Ever
H Heuter, Karen, 349 TL–10, 28
Hickner, Jason, 385 (Glaser), TL–24 Kay, Michael Ian, 133
Häagen-Dazs, TL–17 Hickner, Ryan, 8, 235 IMAGEHAUS, Inc., 50, Kean University Design Center,
Haemmerle, Philipp, 176 Hinrichs, Kit, 266
Hall, Erin, 4 Hische, Jessica, 254 282–283 5, 73, 109, 145
Hall, Kayt, 396 Hoffman, Kathryn A., 64 Incounsel, 377 Keller, Andrew, TL–26,
Halper, Matthew, 378 Hoffmann, Kathrin, 390–391 Indiana, Roy, TL–13
Halvarsson, Henrik, 349 Hofman, Ashley, 64 Inspirations 192 (Thompson), 156–157
Hammond, Kevin, 222 Hofmann, Armin, TL–12 Keller, Ernst, TL–11
Hardy, Jim, 218 Holloway, Martin, 45, 47, 59–60, TL–11 Keller, Ethan, 8
Hardy, Tara, 7 Inspirations 210 (Thompson), Keller, Ted, 212
Harley-Davidson of Dallas, 88 121, 264 Kennerly, David Hume, 207
Harp, Douglas G., 17, 250, 251, Holton, Gerald, 109 TL–12 Kern, Geof, 213
Homebase, 291 Interaccess Electronic Media Kern, Mathias, 299
253 Homemade Baby, 290 Kerns, Ashley, 267
Harp, Susan C., 17 Honens Posters, 7 Arts Centre, 262 Kesselskramer, TL–25, 349
Harp & Company Graphic Hopfer, Jeff, 333 International Paper Company, Khawachen, 251
Hornall Anderson, 5, 8, 39–40, Kilbourne, Jean, 363
Design, 17, 250, 251, 253 TL–13 Kim, Aline, 292
Harper Collins Publishers, 194 141, 235, 362, 385, 387 Irianto, Owen, 387 Kim, Daeil, TL–29
Harper’s Bazaar, TL–9 Horner, Ben, 89, 208, 312 Ishimura, Hiroko, 380 Kim, Gene, 338, 384
Harris, Corey, 118 Horngren/Sundem/Elliot/ Ishioka, Eiko, TL–29, 166 Kinetic, 339, 346, 347, 360, 370
Harris, Mike, 291 Islands of the Bahamas, 232–233 King, Joseph, 40, 235, 362, 385,
Harry N. Abrams, 144 Philbrick, 154 Isley, Alexander, 138, 204–205,
Hart, Jesse, 120 Horsky, Lynn, 226 387
Hartman, Trevor, 5 Hospodarec, Joe, 62, 322 221–222, 254 Kingslien, Liz, 96–97
Harwell, Lauren, 338, 384 House of Blues, 122, 124, 148 Itten, Johannes, 21, 136 Kinnberg, David, 379
Hassby, Staffan, 379 Housing Works, 262 Iverson, Debbie, 154 Kipling, Rudyard, 76–77
Haun, Sarah, 77, 223 How Books, 64 Kirchner, Ernst Ludwig, TL–6
Hayden, Melissa, 198 Howland, Gerard, 298 J Kirkland, Douglas, 123
HTC, 387
J. Walter Thompson, TL–10,
91, 252

Jacobson, Robert, TL–12
James, Reuben, 285

P. 428 Graphic Design S O LU T I O N S

Kjaerholm, Poul, 89 Lang, Fritz, 102 Logan, J. M., 6 Marshand, Todd, 213
Klaetke, Fritz, 31, 69, 79, 118, Laningan, Dan, 27 Logan, Kent A., 9 Martin, Henry, 111
Larochelle, Lisa, 86–87, 320–321 Logan, Vicki, 9 Martin, Jens, 379
120, 226, 300, 377 Larson, Drew, 10, 11 Lohse, Richard P., TL–11 Martinez, Diana, 312
Klee, Paul, TL–3, TL–6 Lauth, Eddie, 27 Lois, George, TL–13, TL–17, 91 Martin Holloway Graphic, 45,
Klein, Arnold, 50 Lava Dome Creative, 5, 145, 251, The London Design Festival, 236
Kline, Franz, TL–10, 258 Lonely Planet, 390 47, 59–60, 249
Klotnia, John, 254 253, 379 LoneWolfBlackSheep, 143 Martin/Williams Inc., 120
Klynstra, Laura, 299 Laverdiere, Julian, 195 Loose Lips Sink Ships poster, Maryland Cookies, 360
Knight, Phil, 275 Law, Nick, 398 Maryland Institute of
Knodel, Steven, 51, 149, 175 Le Cirque, 272 TL–10
Knoll, TL–13 Lecker, Robert, 196 Lotie, 379 Contemporary Arts
Knowlton, Alexander, 138 Le Corbusier, 37 Louey, Robert, 63, 253, 261, (MICA), 244
Koenig, Julian, TL–13 Lee, Doug, 128, 397 Mason, David, 100–101
Kokoschka, Oskar, 166 Lee, Isaac, 6 272, 376 Masse, Carole, 246
Konstruktivisten (Tschichold), Lee, Jordan, 8, 235 Louie, Ron, 53 Masuda, Nina, 76, 229
Lee, Nelle Harper, 127 Louise Fili Ltd., TL–23, 16, 32, Matisse, Henri, TL–6
TL–9 Lee, Pamela, 101 Matsumoto, Takaaki, 89, 127,
Kostovic, Cedomir, 24, 178, 180, Lee, Simon, 139 38, 178, 254, 255, 261, 266 264, 265, 314, 315
Lees, John, TL–15 Lou Reed, TL–22 Matsumoto Inc., 89, 127, 265,
182, 183 Lees, Stuart, 390–391 Lowercase Inc., 63, 208, 209, 314, 315
Koy, Shannon, 4 Leguizamo, Javier, 249, 261 Matter, Herbert, TL–9, 137
Koyama, Mikako, 191 Leguizamo, John, 172 317, 374–375 Mazur, Lisa, 53
Krebs, Hans, 5, 235, 385 Lehn, Javas, 8 Luaka BOP, 297 McCathie, Jamie, 29
Krieger, David, TL–28 Lehrer, Warren, 64 Lubalin, Herb, TL–13, TL–14, McCormick, Lara, 79
Krone, Helmut, TL–11, TL–13 Leo Burnett agency, 337–338 McCrea, Terry, 147
Kruse, Dana, 362, 387 Le Pallec, Nicolas, 390–391 TL–23 McDermid, Dawnmarie, 53
Kuan, Anni, 297 Levenson, Robert, TL–17 Luba Lukova Studio, TL–23, McElroy, Patricia, 186
Kucynda, Timmy, 156 Levi Strauss & Co., TL–17, 98 McGill-Queen’s University
Kull, Wes, TL–29 Lewis, Jennifer, 53 32, 107 Press, 64
Kunde & Co., 379 Lewis, Richard H., TL–29 Lubbock, Tom, 182 McGlothlin, Janelle, 267
Kunz, Willi, TL–15 Library Mural, TL–29 Lucas Roy, 307 McGlynn, Katherine, TL–27
Kuroda, Seitaro, TL–17 Lichtenstein, Roy, TL–13 Ludwick, Caleb, 208, 312 McGrath, Douglas, 102, 127
Kurosawa, Akira, 102 Licko, Zuzana, TL–17, TL–19 Lukova, Luba, TL–23, 32, 73, McKee, Tiffany, 367
Kustom Kulture (Chanatry), Lidbetter, David, 291 McLaughlin, Frank, 254
Lightflow, 252 75, 106, 107 McLaurin, Michael “Mac,” 327,
TL–21 Lim, Pann, 339, 347, 360 Lustig, Alvin, TL–3, TL–9 334, 340
KXTX Channel 39, 49 Lindo, Sharon, 396 Lyons, John, 332 McManus, Brenda, 54–55, 307
Lionni, Leo, TL–9 McNally, Keith, 228
L Lippa, Domenic, 235–236 M McNicholas, Jimmy, 168
Lippincott, 222, 292–293 M&CO, TL–17
Labounty, James, 101 Liska, Steve, 210, 218, 220, 231, Mabry, Michael, 64 Médecins Sans Frontières, 86–87
LaBrecque, Eric, 236, 267 MacCormack, Dermot, 186 Meggs, Philip B., 107, 113, TL–1
La Central, 368 246 MacDonald, Ross, 64, 170 Meier, Jana, 213
Lachlan, Sam, 84, 146, 285 Liska + Associates, 210, 218, Maes, Nicholas, 196 Meier, Raymond, 27, 52, 195
La Comunidad, 94 Maharam, 265 Mella, Jane, 53
Lacoursiere, Justen, 318, 322 231, 246 Malevich, TL–2 Menand, Louis, TL–27
Laden, Dave, 362 Little, Brown and Company, Malmqvist, Henrik, 379 Menaro, Melissa, 4
Lagerfeld, Karl, 118 Mamet, David, 114–115 Menath, Max, 367
Lai, Chin Yee, 139 133, 134 Manaluz, Maritess, 292 Menchin, Scott, 198
Lake County Press, 11 Little, Mary, 123 Mangravite, Ronald, 27 Mende, Jeremy, 51, 60–61, 149,
Lam, Sean, 370 Lizart Digital Deign, 96–97 Manhattan Theater Club, 169 175, 177, 312
Lancaster, Rachel, 8 Lizotte, Teresa, 53 Marcus, Aaron, 110, 385 MendeDesign, 51, 61, 149,
Landa, Robin, 53, 195, 253 Llewellyn, Tim, 307 Mariscal, Sebastian, 145, 368 174–175, 177, 312–313
Landor Associates, Branding Lluvia de Ideas, 273 Marks, David, 179
Lo, Adrien, 5, 235, 385 Marks, Jason, 380
Consultants and Designers Marlin, Nadav, 208
Worldwide, 379 Márquez, Gabriel García, 137,

141, 199
Marshall, Mike, 140

P. 429

AGENCIES, CLIENTS, CREATIVE PROFESSIONALS, STUDIOS, AND NAMES INDEX

Mendez, Manuel, 86–87, Moreno, Cesar, 145 Nelson, Geoffrey, 314 Oldham, Christopher, 180
320–321 Morgan, Marion, 10 Nelson, Willie, 296 Olive, 6
Morioka, Noreen, 224–225 Neuburg, Hans, TL–11 Olivetti Corporation, TL–10, 176
Menkel, Zak, 362 Morla, Jennifer, TL–3, TL–22, Newman, Barnett, 258 Olson, Dan, 289
Merkin, Ari, 367 New Music America Festival, The One Club Organization,
Mermaid Inn, 261 52, 98
Mesa Grill, 61 Morla Design, TL–22, 52, 98 138 371
Meyer, Colleen, 282–283 Morris, Kat, TL–26 New Museum, New York, 257 100% Evil, TL–27
Meyers, Shawn, 383, 384 Moscoso, Victor, TL–3, TL–13 The New Yorker T-Day cover, One Laptop Per Child
Mies van der Rohe, Ludwig, Mother, 355
Mother & Child (Lubalin), TL–14 TL–28 Foundation, 257, 372
TL–2, TL–9 Motherwell, Robert, 123 New York Life, 261 One Little Indian Records,
The Mill, 396 Mount Trashmore, TL–25 The New York Times, 121
Millais, John, TL–4–TL–5 Moveo Integrated Branding, 261 The New York Times Magazines, TL–29
Miller, Abbott, 244 MR, 254 Onitsuka Tiger, 361
Miller, Greg, 213 Mr. and Mrs. Aubrey Hair 18, 27, 52, 119, 195, 211 Onysko, Joshua, 295–296
Miller, Jay, 50, 282–283 Next Level Systems, Inc., 249 On Y Va (Let’s Go) (Grapus),
Milligan, Michael, 222 (Pirtle), TL–16 Nickelodeon, 224–225
Millman, Debbie, 64 MTV Productions, TL–17, 392 Nielson, Chris, 8 TL–16
MINI Clubman, 336 Mucca Design Corporation, 192, Niemann, Christoph, TL–27, Öola Corporation, 223
MINI Covert, 358–359 Opus, 89
Mini Mavericks, TL–26 202, 228, 293 TL–28, 118, 211 Or Buy a Vokswagen, TL–17
Minnesota Motorcycle Safety Mucha, Alphonse, TL–4 Nightingale, Tam, 396 Orlebeke, Jean, 64
Mueller, Gordon, 40 Nightingale Music Ltd., 396 The Orphan Society of America,
Center, 120 Mulkey, Kent, 179 Nike, Inc., 128, 339, 356, 357,
Mires, Scott, 236, 267 Mullen Advertising Agency, 12 250
MiresBall, 236, 267, 280, 281 Muller, John, 179 380 Ortega y Gasset, 123
Mirko Ilic´ Corp., 73, 243, 250, Muller Bressler Brown, 49, 179 Nike Lab, Spring 2004, TL–25 Ortiz, Edgar, 368
Müller-Brockmann, Josef, Nix, Charles, 19, 50, 158, 199, Osborn, Alex, 69–70
255, 257, 262, 272 Ostilly, Symon, 337
Miró, Joan, TL–3 TL–11, TL–13 208, 209 Ozan, Connie, 180
Mission Mall, Kansas, 179 Munsell, Albert Henry, 21 Noble Education, 360 Ozan, Michael, 180
Mitchell, Bob, 337 Murakami, Haruki, 115 Nokia Urbanista Diaries, 386,
Mitrousis, Nick, 338, 367, 384 Murphy, James, 33 P
Mitter, Nikhil, TL–29 Murphy, Kevin, 298 390–391
Mizell, Melissa, 208 Museum of Modern Art, New Noli, Suzanne, 212 Pace Downtown Theater, 107
MLS Represent, 384 Nood Fashion, 312 Paganucci, Corey, 235
Mobil Corporation, TL–14, York, TL–18, 28, 34, 39, 137 North Face, 294 Page, Arbitrio and Resen, Ltd.,
Museum of Modern Art, San Northrop, Ronny, TL–26
TL–13 N-Render, 368 TL–15
Modern Dog Design Co., Francisco, TL–22, 51 Number 17, 262, 290, 291, 392, Page’s Day Spa & Salon, 96–97
Museum of the History of Paik, Lynn, 4
TL–24, 6, 32–33, 122, 124, 394 Palino, Christian, 31, 118
148, 177 Yugoslavia, 255 Panasonic, 335, 341–343
The Modern Poster (Greiman), Muzak, 230 O Pandji, Claudia, 249
TL–18 Myers, Shawn, 338, 367 Pangea Organics, 295
Moffat, Sarah, 285 Myllyrine, Juuso, 390–391 O, The Oprah Magazine, 212–214 Panos Brands, 292
Moggy/Stone/Getty Images, Myoda, Paul, 195 Oakville Galleries, 315 Papp, Joseph, 53
Inc., 154 Ober Content, 362 Paraiso Travel, 6
Moholy-Nagy, László, TL–6, N Oberman, Emily, 392, 394 Pask, Scott, 114–115
TL–7, TL–9 O’Brien, Maggie, 367 Peace: 100 Ideas, TL–28
Molla, Jose, 94 N. W. Ayer & Son, TL–5, TL–8 O’Brien, Sean, 338, 384 Pearson Professional & Career,
Monberg, Chris, 235, 362 Nadhan, Shilpa, 397 Ocean County College, 251
Monberg, Jamie, 40, 235, 362, 385 Nagel, Lynn, 218 Ocean Spray Juice, 286–287 59, 154
Mondino, Jean-Baptiste, 119 Nairi, Minal, TL–29 O-CEL-O, 257 Pei, I. M., 270–271
Mooth, Bryn, 81 NASA, 246 Odegard, Kevin, 123 Pei Partnership Architects
Mora, Lou, 236 National Archives Experience, OfficeMax, 366–367
Morales, Juan-Carlos, 157 Oh Hello, 387 (PPA), 270–271
386, 388–389 O’Hora, Zachariah, TL–28 Pellegrin, Paolo, 86–87
National Geographic, 390 O’Keefe, Michael, 377, 381 Pena, Fidel, 262, 314, 315
Neenah Paper, 174 Oldach, Mark, 81 Penguin Group, 192, 197

P. 430 Graphic Design S O LU T I O N S

Penner, Victor John, 101 Priester Match, TL–2 R.E.O., 308 Rubino, Regina, 63, 249, 253,
Pentagon, TL–29 Prince, Len, 171 Restaurante Brasil, 249 261, 272, 376
Pentagram, TL–20, 18, 22, 33, Princeton Architectural Press, Reu, Vanessa, 210
Rexona for Men, 368 Rucker, Embry, 236
53, 77, 207, 223, 230, TL–27, 203 Reza, Oscar, 347 Ruffins, Reynold, TL–13
235–236, 244, 256, 257, Print magazine, TL–26, 198 R/GA, TL–25, 356, 357, 380, Ruiz, Ruben, 145
254, 258–259, 266, Priola, J. John, 192 Rushworth, John, 33
274–275, 372 Process, 226 386, 390–391, 398 Ruskin, John, 35
Pepsico, Amazon Website, 5 Proebstel, Donald S., 209 Rheault, Mark, 171 Rusk Renovations Inc., 254
Pereira, Alex, 6 Promtone B.V., 298 The Richards Group, TL–16, Russell, Ryan, 27, 140
Perez, Jorge, 6 Public Architecture, 312 Russo, Anthony, 261
Perez, Miguel, 236, 267 Public Theater, New York, 88, 333 Rutgers University-Nework
Perks, 253 Richardson, Darren, 390–391
Perry, Mike, 9, 59–60, 119, 192, TL–20, 53 Richardson, Sunita, 387 case study, 54–55
193, 249 Puck, Wolfgang, 261 Rick Valicenti/3st, 60, 61
Pesce, Jennifer, 310–311 “Purple Haze,” 396 Ridpath, Ian, 158 S
Peterson, Justin, 338, 383, 384 Purvis, Alston W., TL–1 Right Guard RGX Body Spray,
Pettit, Elinor, TL–1 Push Pin Studios, TL–3, TL–13, Saberi, Kurt, 374
Picasso, Pablo, TL–6, TL–8, 71 291 Sagmeister, Stefan, TL–22,
Piccirillo, Charles, TL–17 TL–19 Rinehart, Carmon, 347
Pierce, Brenna, 8 Pylpczak, John, 142 Rizco Design, 237, 309, 92–93, 176, 297, 298, 299
Pierce, Jennifer Tolo, TL–28, Sagmeister Inc., TL–22, 92–93,
64, 309 Q 310–311
Pierik, Jess, 128 Rizzi, Debra, 311 176, 296, 297, 298, 299
Pineles, Cipe, TL–9, TL–11 Q101 Halloween Slime Ball, Rizzi, Keith, 237, 310–311 Sainato, Vinny, 123
Pink Door, 266 MTV Campus Invasion Rizzoli International Saito, Kathy, 141
The Pink Pear Design Co., 122, Tour, TL–25 Saks Fifth Avenue, 258–259
253 Publications, Inc., 139 Salamander Hill Design, 64,
Pintori, Giovanni, TL–10 Quaker Oats Company, 265 RKCR/Y&R, 396
Piper, Keith, 396 Qualcomm, 236, 267 Robbins, Alan, 2, 5, 109, 142, 191, 195, 196
Pirtle, Woody, TL–16, 18, 22, Qualys Tradeshow Exhibit, 90 Salgado, Sebastiao, 86–87
77, 254 Quanto Project, 186 116–117 Salinas, Horacio, 115
Plomer, William, 68 Quinn, Leslie, 236 Robert Skwiat Designs, 71 Salzman, Rick, 242, 273, 368,
Plungees, 253 Robinson, Jackie, 147
Plunkert, David, 180, 181 R Robinson, Jaime, 338, 384 369
Poetry Foundation, 381 Robinson, Jessica, 309 Samata, Greg, 100–101, 218
Poh, Roy, 339, 347, 360 The Radical Response, TL–22 Robinson, Phyllis K., TL–13 Samata, Pat, 100–101
Polaris, 63 Rambow, Gunter, TL–13 Rockaway, Jamie, 396 Samatamason, 100–101, 218
Poliakoff, Serge, TL–12 Rand, Paul, TL–3, TL–9, Rockefeller Foundation, 320–321 Sanders, Michele, 371
Pollack, Jackson, TL–10 Rock River Music, 384 Sanders, Timothy Greenfield,
Pollio Dairy products, 260 TL–11, TL–18, 38, 154, Roco Dance and Fitness, 253
Pompilio, Lisa Marie, 157 274–275 Rodchenko, Alexander, TL–2, TL–22
Popich, Mark, 8, 387 Random House Films, 396–397 Sandy Alexander, Inc., 102, 178
Posthumus, Wayne, 371 Rapaille, Clotaire, 288 TL–8 San Francisco Zoo, 266
Poussin, Nicolas, 121 Rasmussen, Robert, 332 Rogers, Adam C., 195 Sanger, Jonathan, 6
Powell, Kerrie, 33 Rawlins, Rick, 226 Rogers, Jeff, 171 Sansa-Ngasakun, James, 338,
Pragmatism: A Reader cover, Raye, Robynne, TL–24, 122, 124 Rosen, Jamie, 367
TL–27 RCM Art Museum, Nanjing, 61 Rosie the Riveter poster, TL–10, 384
Pratt Institute, 307 Red Bee Media, 396 Sappi Ideas That Matter, 11, 24,
Precise Continental, 237 Reddy, Mark, 344 252
Price, James, 396 Red Flannel, 57, 250, 251, 252 Rosso, Andrea, TL–25 79, 98, 99, 306–307, 312,
Price, Tom, 362 Redzinak, Jim, 57, 250, 251, 252 Roth, Kevin, 235 313
Priceline, 351 Reed, Ethel, TL–5 Rothko, Mark, TL–10 Saturday Night Live, 392
Reens, Richard, 88, 333 Rouemy, Nancy Harris, 211 Savage, Dan, 171
Reisinger, Dan, 166, 182, 183 Roundabout Theatre, 170 Savage, Paula, 313
Rendon, Juan, 6 Rounder Records, 31, 118, 300 Savage Inc., 313
Renegade, LLC, 328, 334, 335, Roy, Lucas, 307 Sayce, Lynda, 396
341–343 Rozema, Krista, TL–25 Sayles, John, 58, 308
Renoir, Claude, 71 Ruane, Peter, 146, 285, 291 Sayles Graphic Design, 308
Rubens, Peter Paul, 123 Scenic Hudson, 18
Scher, Paula, TL–20, 11, 52, 53,
77, 106, 207, 223

P. 431

AGENCIES, CLIENTS, CREATIVE PROFESSIONALS, STUDIOS, AND NAMES INDEX

Schierlitz, Tom, 297, 298 Slowik, Janet, 59, 154 Sumo Design, 203 Tolo, Jennifer, TL–28, 64, 309
Schimmel, David, 174 Smith, Daniel, 140 Sunpark, 249 Tomelleri, Joe, 209
Schlei, Karl, 10 Smith, Jason, 209 Superdrug Stores PLC, 28–29, Tommy Bahama, 40
Schmitt, Erik, 266 Smith, Richard, 140 Toshiba, 327, 334, 340
Schoen, Hayden, 387 Smitka, Sarah, 122, 253 84, 146 Toulouse-Lautrec, Henri de,
School of Visual Arts, 168 Sobel, Dean, 9 Super Tiger Take Away, TL–26
Schulz-Neudamm, Heinz, TL–6 Sobel, Ed, 133 Sutnar, Ladislav, TL–9 TL–4, 166, 173
Schwarz, David, 6, 128, 129, 397 Sobus, Malgorzata (Gosia), 248 Sutton, Ward, 172 Tourbah, Merale, 262
Schweid, Richard, 135 The Society of Graphic Designers Suzhou Museum, 270–271 Toy, Albert, 212
Scojo Foundation, 305 Swanepoel, Kevin, 371 Toyota Motor Corporation, 150
Scorsone, Joe, 121, 184–185 of Canada (GDC), 10 Swiss Army Brands, 101 Tracy Turner Design, 270–271
Scorsone/Drueding, 121, Socrates, 56 Sylvia (Brower), TL–21 Trammell, Jason, 397
Sommese, Kristin, 27 symbol signs, TL–15 Tran, Jenny, TL–29
184–185 Sommese, Lanny, 19, 27, 140, TransLink, 253
Sebbah, David, 27, 119, 195 T Tricycle, Inc., 89, 208, 312
Second Story, 386, 388–389 186 Trollbäck, Jakob, 395
Seed Media Group, 92–93 Sommese Design, 19, 27, 140, Tabu Lingerie, 333 Trollbäck + Company, 394–395
Segura, Carlos, TL–25, 126 Tan, Eugene, 339, 347, 360 Trotter, Charlie, 209
Segura Inc., TL–25, 126, 252, 186 Tan, Francis, 370 Tscherny, George, TL–11, 178,
Sony Ericsson, 264 Tatlin, Vladimir, TL–8
253, 296 Sony Pictures, 380 Taubman, 3 249
Seibu (Kuroda), TL–17 Sorel, Edward, TL–13 Taupin, Bill, TL–11 Tschichold, Jan, TL–9
Seife, Charles, 139 Soren, Tabitha, 115 Tavares, Francisco, 367 Tsuneoka, Junichi, 149
Semillero, 145 South Royalton School, 253 Taylor, Alex, 367 Tucker, Chelsea, 367
Serra, Richard, 69–70 Space Needle, Seattle, 235 TBWA/Chiat/Day, 328, 329 Turnbaugh, Paul, 218
Sesmark, 292 Spector, Max, TL–28, 64, 309 Tee, James, 8 Turner, David, 29, 84, 146, 254,
Severson, Lori, 128 Spicker, Edana, 226 Temple, James, 390–391
Seymour, Michael, 64 Spirit Aerosystems, 262 Ten Speed Press, 209 281, 285, 291
Shahn, Ben, TL–10, 166 Spirit of a Child Foundation, 57 Tesco, 33 Turner, Tracy, 270–271
Shanks, James, 203, 244 SpotCo, 27, 123, 168–171, 172, Testani, Mitzie, 111 Turner Duckworth, 28–29, 84,
Shanosky, Don, TL–15 Theatre at Penn State, 19
Sharoff, Robert, 210 174 Theatre Project, 181 146, 254, 280–281, 285,
Sharp, Lewis I., 9 Spread Lounge, 262 TheHive.com, 69 291
Sheckler, Ryan, 343 Spur Design, 180, 181 Thiel, Halli, 5 21XDesign, 186
Sheridan, Michael, 89 Staehle, Will, 143, 147, 194, 299 Think Design, 139, 268 Twist Creative Inc., 180
Sherraden, Jim, 64 Starr, Neil, 390–391 Think Studio, 115, 136, 297, 299 2K Sports, 338, 382
Shuman, Lucas, 380, 383 Stearns, Peter N., TL–1 Thirst/3st, 60, 61, 172, 178, 179 Tyler, Sarah, 385
Sibley, Don, 49 Stechschulte, Paul, 156 Thompson, Bradbury, TL–9, Tyler School of Art, 111
Sibley Peteet Design, 49 Stefanik, Jason, 367
Sickinger, Michael, 5, 145, 251, Stein, Daniel, 382–384 TL–11 U
Stengel, Richard, 206–208 Thornby, Herb, 115, 136, 268,
253, 379 Sterling, Jennifer, TL–23 Ugly, TL–12
Siegler, Bonnie, 392, 394 Steven Brower Design, 53, 121, 299 Unbehaun, Carsten, 361
Siegriest, Louis, TL–9 ThreeDegrees.com, 385–386 UnderConsideration LLC, 58,
Signage, 241, 248, 263 262 3M, 243, 257
Signalera, 379 Stone & Kimball, TL–5 Tihany, Adam D., 256 206, 255–256, 305
Signature, 249 Storch, Otto, TL–11 Tihany Design, 250 Underline Studio, 262, 315
Silberman, Vanessa, 315 Stowell, Roger, 33 Tilford, Todd, 88, 333 Unilever/Ogilvy, 242, 352
Simons, Nick, 396 Strange Beast, 396 Time, Inc., 207 The United Way, 345
Sinclair, Cameron, 208 Strasberg, Rob, 156 Time Hotel, 243 University of California,
Singer, Brian, TL–28 Strassburger, Michael, TL–24 Timme, MK, 208
Skerm, Paul, 235–236 Strausfeld, Lisa, 372 Tipton, Franklin, 156–157 Berkeley, 149
Skwiat, Robert, 71 Strawberryfrog, TL–26, 353, 361 Titus, Jeffrey, 338, 383, 384 University of South Carolina,
Slattery, Jack, 313 Stringer, Adam, 222 T-Mobile, 8, 387
Sloan, Judith, 64 The Stuntman Unilever, 368 Toland, Ryan, 383 140
Substance 151, 242, 243, 273, Toland, Toni, 377 Uranga, Raul, 145, 368
Urban Outfitters, 60
368, 369 U.S. Department of

Transportation (DOT),
TL–15, 12

P. 432 Graphic Design S O LU T I O N S

V Viva, Frank, 138 Weeks, Katie, 208 Wright, Bill, 156
Viva Dolan Communications Weingart, Wolfgang, TL–13, Wright, Joe, 395
Vadukul, Max, 298 Writer’s Circle, 261
V.A.G. Limited, 344 and Design Inc., 138 TL–15
Vagnemark, Catrin, 62 Vivarelli, Carlo L., TL–11 Weiss, Larry, 284 X
Valencia, Ulises, 145, 368 Vix Restaurant, 255 Well, Andrew, 8
Valentine Group, 17 Vodopivec, Joanna, 263, 375 Wells, Leigh, 313 X2 Design, 110
Valicenti, Bill, 179 Volkswagen, TL–11, 337 Wells Lawrence, Mary, TL–13 XYZ Publishing House, 160
Valicenti, Rick, 60, 61, 172, 178, Volpe, Rocco, 347 Weniger Lärm (Less Noise)
volume.com, 79 Y
179 Volunteer Agency, 252 (Müller-Brockmann),
VanderLans, Rudy, TL–17, Vorobjov, Tomas, 390–391 TL–13 Yang, August, 380
V&S Group, 62 Westvaco Corporation, TL–11, Yasuda, Akira, 291
TL–19 TL–12 Yentus, Helen, 200, 201
Vanderlip, Dianne Perry, 9 W Whisnand, Tyler, TL–25 Yildiz, Tolga, 395
Vardell, Betsy, 381 White, Zane, 176 Yokoo, Tadanori, 166
Varrassi, Ian, 31, 118, 226, 377 W. L. Gore & Associates, 4 Wickham, Anthony, 390–391 Yoshida, Yoko, 86–87, 320–321
Velázquez, Diego, 123 Waitrose supermarkets, 285 Widgets and Stone, 312 Yoshimoto, Yuji, 297
Velbel, Christa, 10 Wajdowicz, Jurek, 86–87, 320–321 Wilcox, Sebastien, 62, 318 Yoshimura, Makiko, TL–26
Velvet Moon Chronicles, 379 Wakely, David, 266 Wilder, Billy, 102 Young, James Webb, 79, 91
Vena-la-inen, Nina, 390–391 Wallace Church, 124, 125, 150, Wilder, Tim, TL–29 Young, Nathan, 40, 235
Venezky, Martin, 64 Wilkins, Amy, 89 Your Talk May Kill Your Comrades
Vignelli, Massimo, TL–13, 257, 260, 284, 286–287, Will & Grace, 394
291, 292 William Morrow, 143 (Games), TL–10
TL–15, TL–16, TL–19 Wallas, Graham, 91 Wilson, Wes, TL–13 Yu, Leon, TL–28
Vignelli Associates, TL–16, Wallpaper, 390 Winterhouse, 381 Yuen, Jonathan, 339
Wal-Mart, 281 Wohlt, Carl, 305
TL–19 Walsh, Michael, 168 Wolf, Henry, TL–11 Z
Vine, Terry, 313 Wang, Amy, 63 Wolfe, George C., 53
Vintage/Anchor Books, TL–27, Warhol, Andy, TL–13 Wölfflin, Heinrich, 121, 123 Zada, Jason, 338, 367, 383, 384
Warinner, Kathy, 253 Wolff Olins, 219, 242, 256, 257, Zadnik, Jessica, 180
74, 115, 141, 190, 199, 201 Warner Brothers Music, Inc., 264 Zbaren, William, 210
Virgin Atlantic Airways, 156, TL–22, 297 Wolfgang Puck Bar & Grill, Zeldman, Jeffrey, 376, 377
Warner Jazz, 299 261 Zelman, David, 267
157 Watch City Brewing, 254 Wong, Jeremy, 339, 347, 360 Zernich, Sari, 209
VisionSpring, 256 Waters, Whitney, 241 Wong Coco PTE Ltd., 347, 348 Zevenster, Waldo, 371
Visit the American Museum of WAX, 7, 62, 118, 318, 322 Woodbridge, Homer E., 373 Zizola, Francesco, 86–87
Wayne State University Press, Works Projects Administration, Zoran Djindjic Fund, 250
Immigration at the Statue 210 TL–9
of Liberty (Chermayeff), Weeks, Ben, 305
TL–15
Visual Dialogue, 31, 69, 79, 118,
120, 226, 300, 377
Vit, Armin, 58, 206, 255–256,
305