This invention revolutionised newspaper publishing. Photoengraving Photoengraving replaced the use of handmade printing plates with a photochemical process that engraved a metal plate using photographic techniques. An acid-resistant, photosensitive material is applied to a metal plate bearing the design to be printed. Exposure of the metal to acid dissolves the exposed metal, engraving the image on to it.
A similar process is used to make intaglio — printing plates that have depressions for the ink to sit in. Intaglio A printing technique using an image from a recessed design, which is incised or etched into the surface of a plate. Ink lies recessed below the surface of the plate, transfers to the stock under pressure and stands in relief on the stock.
The items pictured here show how printing evolved over time: left to right a page printed in early Latin, incunabula, dated ; a letterpress alphabet that became common during the Industrial Revolution; and a newspaper printed by letterpress Columbian Centinel of Boston, published 06 May, Corbis above and right This Volume magazine was designed by Jog Design for the image library, Corbis. It features typography reflecting the pixelated structure of digital type.
The digital age has supplanted the industrial age and most publications are now designed and set electronically using pixels rather than picas.
Technology 29 Contagious right and below These spreads from Contagious magazine by Why Not Associates show how design boundaries are constantly challenged. The publication abides by conventions, but is also surprising and engaging. The layered graphic devices and convergence of type and image create a single, unified piece.
In this example, the relationship between the designer and architect, Allford Hall Monaghan Morris, results in bold, engaging and optimistic graphics that clearly inform people of their location. Technology 31 Technology Graphic design, like many other disciplines, is linked to technology at many different levels. Technology affects how designs are produced and it also influences developments in style, art and society as a whole, which in turn are reflected in the form a design takes.
Technology also offers designers a variety of media outlets for their projects. Graphic design and technology It would be easy to think of graphic design as a discipline that is solely influenced by artistic or academic concerns. However, it is also shaped by advances in technology, which bring new considerations and processes for a designer to utilise and manipulate.
Design principles are highly transportable and transferrable through different technological epochs, which are modified and refined along the way. Technology has democratised design by simplifying production processes and extending access to the tools used to generate designs. Digitisation has revolutionised design so that it can be mass reproduced utilising ever more diverse delivery systems, such as wireless hand-held devices and diverse online mechanisms, as information delivery migrates away from print media.
Technology not only affects the delivery mechanism, but also the design. Images and text can be subject to far greater manipulation and intervention at quicker speeds than in the past. This poses the threat that design may become a form of urban noise where the message is lost and diluted among the plethora of other messages that bombard society. Advancements in technology open up new avenues of creativity by putting new tools into the hands of the designer or allowing designers to produce work more rapidly.
This in turn provides more time for experimentation and can provoke profound changes in the design process. This is evident in how the Apple Macintosh allowed designers to escape the limitations of the paste-up board.
Newspapers have been pioneers in the application of new design technology, such as fourcolour printing and the use of the Internet. Consumption culture readily adapts to the benefits of technology, this means that traditional media also face a threat from technological developments such as digital media. For example, newspaper print subscriptions may be falling, but online subscribers are increasing, allowing newspapers to provide other services to readers.
Technological development continues to provide designers with new tools and techniques for creation, but the need to harness the tools available to good effect remains constant. The design evokes a sense of fun and retains a simplicity that is reminiscent of illustrated advertising art from the early twentieth century. Although its creation was made possible by technology, the imagery is not technology-led. Vault 49 could have produced a similar job by using a different method, such as hand illustration.
Industrialisation Typography 33 R. This period also saw the introduction of dot matrix and digital typography. The introduction of personal computers in the s broadened font development opportunities, allowing for characters to be drawn and amended quickly, while type shapes could be easily copied to form the basis of different letters. The acceptance and use of digital type was assisted by the development of PostScript — the standard used for digital typesetting in the late s.
Open Type Open Type — a scalable format for computer fonts developed by Microsoft and joined by Adobe in the s — is now the dominant standard for digital font production. It can support up to 65, glyphs in a font and has advanced typographic features. Digitisation has reduced the cost of type to the extent that it has changed from being an expensive specialist tool to a commodity product, which now poses a stern challenge to type foundries.
It is estimated that there are now over , digital fonts available — there may be a lot of choice but as a result, decision-making is made more difficult. Subsequent improvements in technology have increased the speed and power of personal computers, reducing the time needed to create new fonts, many of which have been showcased in the typography magazine Fuse — launched in by Jon Wozencroft and Neville Brody.
There is usually no harm in this as the substitution is quite universal. The distinction between typefaces and fonts is arguably more important now that the two seem to occupy the same space. A typeface is a combination of characters, letters, numbers, symbols, punctuation and other marks that share a similar design. A font was traditionally something physical, such as lithographic film or metal type characters pictured above. Digital type foundries Digital technology has led to the development of digital type foundries, organisations and companies that use computer software to produce type in electronic format rather than the cast metal symbols that characterised printing from the Industrial Revolution until the s.
Digital type foundries, such as Emigre, FontFont and Jeremy Tankard, harness the benefits of digital technology to produce a wide range of fonts, exploring and developing the form of text characters. Digital production has seen an explosion of the number of typefaces available due to the relative ease, speed and low cost of producing and storing them compared to traditional type creation techniques.
Industrialisation Typography 35 thequickbrownfoxjumpedover thelazydog Negative tracking above the quick brown fox jumped over the lazy dog Negative leading above A number set from a font of metal type characters. The examples above show the effects of negative tracking and negative leading, both made possible by digital typography.
The impact of digital typefaces In the digital age, fonts are no longer just physical objects. This means that a designer has more options available regarding font usage, which offer more opportunities for control and manipulation, for example, in terms of leading and spacing. The image above shows a block of numerals in metal type, which were used for printing text before the advent of digitised type. As these are physical items, it was not possible to overlap type or have negative leading, something that is now taken for granted in the use of computer-generated type.
Tracking and leading Type spacing can be altered on both the horizontal and vertical planes by manipulating tracking and leading — two processes that have become more flexible with digital typefaces. Tracking works on the horizontal plane; it is the amount of space that exists between the letters of words, which can be adjusted to bring characters closer together or take them farther apart.
Tracking can be reduced to condense space between letters or removed completely with negative tracking. On the other hand, increased tracking adds space, which can prevent characters from touching each other. More specific adjustments can be made in the space between two letters by kerning removal of space or letterspacing addition of space. Leading works on the vertical plane and refers to the space between the lines in a text block.
The term originates from the strips of lead placed between the rows of metal type letters to keep constant space alignment — a function digital leading still serves. However, digital type also allows for negative leading, resulting in overlapping or the absence of space between text lines.
It is easy to read and is compatible with different operating systems. Glyph switching flipping Glyph switching or flipping is where a digital typeface contains multiple versions of characters, enabling a design to create an eclectic look within the limitations of a single character set. Flipping is an example of technology presented in a certain way so as to appear non-technological by including random differences that add a touch of the accidental, such as the random printed marks produced by the wear patterns of letterpress characters.
Commands in the PostScript code refer to a random generator that makes the character outlines irregular. The use of glyph switching makes a design look as though it was not produced using current technology when technology is actually facilitating it. There is a certain irony in the fact that the designers of digital fonts are trying to achieve a non-uniform effect, while printers using traditional technology strive to overcome quirks and irregularities in their finish.
Fonts for screen Fonts are now designed specifically for use with digital applications such as the Internet. Fonts designed for screen use are created so that they can be used on a wide range of different systems while giving the same performance. The existence of web-safe fonts means website producers can increase the likelihood that the content will be displayed as required.
Microsoft produced a standard family of fonts for Web use. With only a limited range of web-safe fonts available, it is probable that a company may not be able to use its font choices in all arenas. This means the fonts for its offline communications may be different to those used for its online communications. Other limitations of web-safe fonts when used in print applications is that the serifs can be too fine — the fonts can be overly broad and they can fill in with ink when printed.
Industrialisation Typography 37 Typography Typography is the means by which a written idea is given a visual form. It is one of the most influential elements that establishes the character and emotional attributes of a design; the visual form it takes dramatically affects the accessibility of an idea and how a reader reacts towards it. Variety and creativity Typefaces vary from clearly distinguishable letterforms that flow easily before the eye, to more elaborate and eye-catching forms and vernacular characters appropriated from the urban environment.
The different styles and forms of fonts enable them to communicate in ways that go beyond the words they spell out; different typefaces can be said to have different personalities, and it is these personalities that a designer often focuses on when selecting fonts for a particular job.
Typography is a discipline that continues to evolve as computer technology makes the process of font creation quicker and easier, as well as more experimental. In addition to appropriating elements from the vernacular, typography is also selfreferential — the origins of many of the fonts in current use can be traced to designs created during earlier historical epochs, from the earliest days of printing to Roman tomb inscriptions.
Designers can harness this heritage to instil their designs with historical references. This section will look at many different examples of typographic design and how type is used to communicate.
It will also look at how fonts are classified into different families and systems that help to organise and better understand the many thousands that exist. The ability to classify typefaces is essential to design and effective communication — different fonts have different characteristics, histories and personalities.
Typeface classification is based on the anatomical characteristics of the letters and are generally categorised as: block, roman, gothic, script or graphic, with several further sub-classifications.
Typeface classification loosely charts the development of fonts over time and gives an indication of the historical development of type. Pangrams are used to showcase typefaces as they are holo-alphabetic — they contain every letter of the alphabet at least once.
The poster says as much about the typeface as it does about the car. It features both nostalgic and contemporary type that jumps out at the reader. This dramatic impression is typography and borrows from previous times and reappropriates created by the use of large-format, orange type set against a the styles to create a modern approach that is engaging and black background and fine, white-line art illustrations. Note how the letterforms of the title overprint. Brand information takes the Community Fund.
The key messages of teamwork circle , a secondary role. The models are real people photographed by service excellence star , accountability plus sign and valuing famous snowboard photographers and the type reflects solid people tick were screen printed in a single colour to give a authenticity with its filled-in counters.
Moving card right A thermographic ink was used to print this card. Thermography is a printfinishing process used to produce raised lettering on paper substrates by depositing a powder on the printed piece while still wet; it is then passed through an oven. In this example, the numeral has been expanded as much as possible, while still remaining legible and recognisable.
This project was created by Parent Design. Technology Consumerism 41 Type classification The wide range of typefaces available means that a way of classifying them is essential, particularly to simplify the communication of specifications for a piece of work. Typefaces and families of type can be classified according to the inherent characteristics of their anatomical parts.
Roman Italic Condensed Roman The basic cut of a typeface is the roman version, so-called due to the inscriptions found on Roman monuments. Italic A true italic is a drawn typeface based around an angled axis. These are normally designed for serif typefaces. Obliques are slanted versions of sans serif typefaces rather than newly drawn versions. Condensed Condensed types are narrower than the roman cut and are useful when space is limited. Extended Extended Extended types are wider versions of the roman type.
They are often used for items such as headlines to dramatically fill a space. Boldface Boldface Bold, boldface, medium, semi-bold, black, super or poster — all refer to a typeface with a wider stroke than the roman cut. Light or Thin Light or Thin Light is a thinner version of the roman cut. The typeface shown is Goudy Text. R Old style Roman fonts that have a slight stroke contrast and an oblique stress. This font group includes Venetians and Garaldes.
The above type is Garamond. Italic Based on Italian handwriting from the Renaissance period where letterforms are condensed. Originally a separate type category, they were later developed to accompany roman forms. The type shown is Garamond italic.
R R R Modern Typefaces from the mid-eighteenth century typified by extreme stroke contrast and the widespread use of hairlines and unbracketed serifs. The type above is Bodoni. Script Fonts that attempt to reproduce engraved calligraphic forms. This type is Kuenstler Script. Transitional Transitional typefaces marked a divergence from Old Style forms towards modern forms at the end of the seventeenth century. It is characterised by increased stroke contrast and greater vertical stress in curved letters.
The font shown is Baskerville. R R R Square serif Typefaces that have little stroke weight variation and thick, square serifs — as shown by the Clarendon type above. Sans serif Typefaces without serifs and little stroke weight variation first introduced by William Caslon in The type shown above is Gill Sans.
The above type is Rotis. Technology Consumerism 43 Consumerism The demand for a wider range of goods results in fierce competition between manufacturers and like products. Consumerism impacts on graphic design because product packaging and advertisements have an increasingly narrow and restricted window of opportunity to connect with the consumer.
Taking account The concept of branding has developed with the rise of consumerism as marketeers have seen that people tend to respond to something familiar when faced with a multitude of different visual stimuli. In order to succeed in this highly competitive environment, products and services are designed to provide character and individuality, and to instil sales appeal.
This means that the designs representing the face of a product are becoming increasingly sophisticated, which can result in a clash between the aesthetic principles of a designer and the taste of the general public or target audience. Cigarette packaging is an interesting example in this context as designers are faced with the challenge of creating an alluring design that complies with the legal requirements to include highly visible health warnings.
Personal choices Ultimately, the type of client you are willing or unwilling to work for is a question of personal choice. For some, the thought of working on an alcohol or tobacco product is unthinkable, while others draw no distinction between these and other products. For many designers, this may not be a clear-cut decision and some product types or companies may fall into a grey area. For example, a designer may not be willing to design a new cigarette carton for a tobacco company, but would create leaflets warning of the health risk involved in using the product for the same company.
The magazine frequently appropriates and reworks the messages of well-known, global brands to present what it sees as the true story behind them. Action and reaction The graphic design industry includes many people who collectively and individually are responsible for creating the images and communications used to boost consumerism. This was supported by over graphic designers and artists who sought to re-radicalise design, emphasising that design is not a neutral, value-free process.
Many graphic designers now actively participate in culture jamming — the subverting of well-known corporate symbols and messages — to reflect other perspectives that people have of the global, corporate consumer world.
Anti-consumerism While graphic design played a key part in the rise of consumerism, it is also used as a tool against it. The misery of choice has never been more apt than in graphic design today as there are more modes of communication, more products, more people to sell to and more fonts to choose from; but do any of these ultimately make us happier?
Culture jamming Culture jamming uses existing mass-media messages and twist them so that they provide pithy comment on themselves. The Adbusters magazine is a well-known example of culture jamming and it seeks to draw attention to the practices of global corporations that are contrary to the often idyllic images and messages they produce in order to reinforce and promote their brands.
Endorsed identities An endorsed identity is one where each product has a separate and unique brand, but the brand also identifies the parent company. These programmes prominently feature the new C Crafts Council logo while the main image relates to a different aspect of craft. Rebrand Redefining the brand identity of a product, service or organisation to alter its message.
Instead of being shiny, the identity is cool and understated, but has an exciting and vibrant flash of colour. The identity features consistency in the restricted colour palette. It has the same typeface throughout and focuses on aspects such as the circle motif present on different pieces.
This consistency is essential to ensure that the brand appears in the same way regardless of the media or production methods used. The designer must therefore ensure that the design is flexible and adaptable. This is easier to achieve when the design is kept simple. Non-visual identity — values An identity seeks to combine those attributes of an organisation that are considered important and central to its success in a way that appeals to the target audience.
An identity is successful when selected attributes capture the essence of the organisation well. These need to be communicated to the target audience in a way that is credible and well-executed. A successful identity creates a strong impression about the values and function of an organisation.
It uses monotone patterns to create the brand and the napkin holder features the company logo. Pattern below and below right This identity for fabric design group Pattern demonstrates a clear influence from the sector in which the client operates.
The images show scenes from the studio and the use of the identity in situ. The identity was created by Mark Design, London. The image shows how a floral-based brand mark is used to instantly identify the restaurant on all the items.
Notice how the process of identification is aided by the consistent positioning of the brand mark in the lower right-hand corner of each piece. Branding Branding is a process that allows a company to differentiate itself and its products from its competitors, while also establishing positive links to its customers in order to create and preserve loyalty. Branding is important in competitive markets as it provides a means for consumers to make buying decisions based on their perceptions of the brand; this may include quality, safety, luxury, value or other considerations that are important to the consumer at the moment of purchase.
Brands initially developed as a way of identifying livestock and cattle. However, from the moment Andrew Pears produced the Pears transparent soap in , brands have been used by manufacturers as a way to make their products stand out from the rest of the competition. As the use of brands became more widespread, companies saw that certain consumers exhibited loyalty to particular brands. Companies then sought to create brands representing desirable qualities because consumers were beginning to buy brands rather than products.
Some brands, such as Starbucks, Adidas and Coca-Cola, have grown globally and send the message that a consumer can obtain the same product bearing the same qualities anywhere in the world. The rise of global brands has also spurred the development of niche brands that differentiate themselves by being personal rather than ubiquitous.
Branding is now a major consideration in the design of public-facing items that the general population can access. Consumerism Social responsibility 51 Brand development Some brands or identities are stand-alone designs created for specific applications, while others need to be designed with the flexibility to work in different applications and environments, having bolt-on or sister brands, such as the example logo below.
These bolt-ons are sometimes pre-planned, but often have to be developed at a later date as a company expands into new markets. This logo is versatile and can be used with various logotypes to represent different areas of the business and group. The brand identity is robust enough to be used over a range of different stationery items and other printed pieces due to the consistent use of the coloured line treatment. The result is a striking brand image obtained through the use of vibrant lines.
Notice how some of these are printed while others are produced by a die-cut that shows colour through from the stock underneath. Consumerism Social responsibility 53 Technothreads above and right This identity was created by Studio Myerscough for Technothreads and uses an image of a bound mannequin as the basis for the visual identity and brand.
This example shows that an identity can be created by a distinctive image or attitude rather than a traditional logo. This identity appeals to the savvy target audience, and adds credibility and authenticity as well as arresting the viewer with a memorable and striking brand.
In order to exercise control over how various people will implement the use of a brand, companies also develop brand usage guidelines so that the company identity is effectively represented as intended. Brand guidelines are a clear set of instructions on how to use a brand, and equally importantly, how not to use it. English National Ballet left and below Pictured are brand guidelines designed by The Team for the English National Ballet as part of a brief to create a campaign to restore the passion for the English ballet.
The brand proposition aims to break down the barriers between the audience and the dancers by painting an intimate portrait of the dancers behind the scenes and capturing the moment of anticipation before they enter the stage. As with other brand guidelines, it includes detail on how to use the brand and its imagery. Guidelines often include handy tips and notes for a designer who is using the brand in a project — for example, recommending a minimum measurement for the space where the logo is to sit.
Consumerism Social responsibility 55 Social responsibility Within the design industry there is a trend to question ethical standpoint in relation to worldwide issues such as gender, poverty and global warming. Organisations increasingly foster and promote their own ethical positions to guide their activities, which can result in conflict with personal ethics.
Agency vs designer standpoint The ethical position of a design agency, a designer and a client should all come to light during the interview stage, as all parties seek to establish whether there is a good fit among them. Ethics may cause problems when a design agency accepts a commission for a company or product that a designer is ethically opposed to, such as work on alcohol, cigarette or animal fur brands.
As the anti-consumer lobby grows, designers often find themselves caught between the two sides as their job involves making products look more appealing. More and more designers question their involvement in promoting products or services that they deem ethically or morally questionable. Designers have a key role to play in creating the visual fabric of the world around us and are instrumental in producing the cultural tapestry that binds us together as a society. This ultimately comes with responsibility for the outcomes of design.
Charity vs paid work There is the perception that work performed for charities is donated or undertaken for free. This is not always the case as charities, like any other business, realise that they get what they pay for. Most large, successful charities are run as businesses, and they procure design in the same way as any other firm. For a charity to operate successfully, it needs to use design as a tool to convey the very specific messages that it thinks are important in order to stir people and create the social leverage they require to effect change.
While some agencies may choose to work for reduced fees or even for free for charities or causes they support, such work is rarely free. Payment could take other forms and may not always be tangible.
Agencies can receive positive publicity that extends to a wider population, cultural kudos for supporting specific values and, in some cases, they may have greater creative freedom than with corporate clients.
However, this could also close the door to working with companies that the charity may be targeting. The unbleached which may be pre- or post-consumer, paper is stronger than bleached paper, such as waste paper. Ink made from linseed and The cellophane window is made from soya vegetable oils that have been eucalyptus rather than plastic.
Individual responsibility As individuals we consciously and unconsciously attempt to influence the moral behaviour of others. As a designer, this may come in the form of encouraging clients to use less packaging; issuing smaller format publications; using recycled paper instead of heavily filled art paper; sending HTML emails rather than a printed material version; or reducing the number of overs allowed for in the print run, which may eventually end up in a landfill site.
One school of thought believes that fewer, but higher-quality products should be produced so that people will keep them for longer in order to move away from the disposable culture that our society has readily adopted. Junk mail or bulk mail is considered a nuisance by an increasing proportion of the population, and it may only be a matter of time before designers and the studios they work for are unwilling to contribute to this communication channel that generates a huge amount of waste.
Identity and branding Modernism and postmodernism 57 Modernism and postmodernism Modernism and postmodernism refer to two different views of the world that developed and guided creative activity at different points in the twentieth century. Modernist and postmodernist thinking still have relevance today and their influences can be seen in contemporary designs as people seek to make sense of the world around them. Modernism Modernism through the cubist, surrealist and Dadaist movements was shaped by the industrialisation and urbanisation of western society.
Modernists, including the De Stijl, Constructivism and Bauhaus movements, departed from the rural and provincial zeitgeist prevalent in the Victorian era, rejecting its values and styles in favour of cosmopolitanism.
In graphic design, modernism embraced an asymmetrical approach to layout with strict adherence to the grid, an emphasis on white space and sans serif typography, and the absence of decoration and embellishment.
Postmodernism Postmodernism —present is a creative movement that emerged following the Second World War and questioned the very notion that there is a reliable reality.
Postmodernists deconstructed authority and the established order by engaging in the ideas of fragmentation, incoherence and the plain ridiculous. A reaction to the sometimes bleak and impersonal Modernist movement, postmodernism returned to earlier ideas of adornment and decoration, celebrating expression and personal intuition rather than formula and structure.
Postmodernism continues to be the dominant force in creative thinking where the preference is for complexity, contradiction, diversity and ambiguity rather than the rational order and simplicity that characterised modernism. Cosmopolitan Having an exciting and glamorous character associated with travel and a mixture of cultures. Modernist fonts The quintessential philosophical differences between modernism and postmodernism are never more apparent than in font and typeface design.
Modernism saw the rise of cleaner, simpler sans serif fonts, which turned their back on elaborate serif fonts and brought a sense of order to typography. This saw the use of consistent stroke weights and rounded forms to give evenly weighted characters, such as Helevetica Neue. A new sense of order was brought to typography by the modernist numbering system developed by Adrian Frutiger to easily express the relationship between the different weights and widths of his Univers typeface.
Olicana — a font that mimics handwriting. Postmodernism and typeface design Postmodern fonts have moved away from the clean-cut and well-organised forms of modernist fonts and have returned to embrace more elaborate and decorative forms, which include the return of the serif and uneven stroke weights. Postmodernist fonts celebrate ornamentation and personal expression, and also look to include the randomness that is present in handwritten and letterpress printed texts.
Handwriting The Olicana font is an example of a font that mimics handwriting see above. In order to more closely provide a facsimile of handwritten text, this font has multiple glyphs available, which means that repeated characters are not always the same. It also includes an occasional ink blot, thumbprint or smudge to add to the impression that the text was written with a fountain pen. Obviously, there is no need for a font to mimic handwriting when type is set on a computer, but this font works well and is a very convincing approximation of handwriting.
Notice how this creates clean sight lines as the images and text align with each other and the margins. The grid The grid is a template or guide used for positioning and organising the elements of a design in order to facilitate and ease decision-making. Grids are the bone structure of a layout and serve as a tool to help a designer achieve balance while presenting a potentially large degree of creative possibilities. The use of grids, fields and matrices allows a designer to take a considered approach to design, which makes effective use of time and space.
Remember that there will always be some room for improvement, especially in an ever evolving industry such as design. This also proves to be helpful for designers who have been in the field for so long, they feel the need to mix things up and introduce something new to the fold.
Sometimes, change can be just the thing that could elevate your style, and these resources could serve as your starting point for these changes. For a lot of designers, chaos is their comfort zone. But this chaos can also be causing a lot of your design problems. These resources can help you put a little order into your routine. Through the tips presented in any of these e-books below, you can slowly turn things around and work in a more organized manner.
Yes, designers are allowed to break the rules every so often. This much is necessary if you want to take advantage of your inborn creativity and ingenuity. But how can you bend the rules if you have no idea what the rules are? Consider these e-books as your starting point in this regard. Master those rules, then start thinking of creative ways on how you can tweak them, and eventually, break them.
From here, you can probably start influencing the way design will work a few years from now. Every great designer never stopped learning. As new trends emerge, great designers adjusted to their environment as well.
In fact, they are often the ones who trigger the change, if only to keep their creativity and innovation alive. When you download these e-books, you open up your own mind to a new world of learning. Every designer has his or her own way of doing things, so the designers who created these resources know that there are things they do differently that could probably benefit your greatly. When discussing things with other designers, and possibly, with clients who know a bit about design, how can you make yourself come across as a credible designer who can deliver what is asked from him?
These resources are made by some of the most innovative and influential designers from around the world. This means that these are the perfect sources of quotes and anecdotes you can use in daily conversation with both peers and potential clients. Take a peek at the e-books below and start taking advantage of every single benefit you can get from them. Now, some of you might be a little worried about the costs. After all, not a lot of good things come for free.
There is often a belief that you get what you pay for. Below are awesome PDF files and e-books that you can use to widen your design knowledge, or at least, brush up on the basics. Typography still proves to be one of the most crucial elements in design, especially if you want to make your message crystal clear.
Graphic Design Books for Beginners. What is Graphic Design? Books on Digital Tools for Graphic Design. Books on advertising graphic design. Here is some excellent material that we have selected exclusively for you. Advertising Design author Ncert Source: Ncert Advertising Design and Typography author Alexander W. White Source: ResearchGate Art and Photography books in PDF:.
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