Design

From the analysis of the formal components of objects, via an overview of the possibilities of developing and optimizing the creative process, to the development of one's own evaluation catalog.
What forms are there in general?
What shape-giving processes are available?
What are the evaluation criteria for existing objects and those yet to be developed?
These fundamental questions, which every creative professional poses again and again, are addressed, systematically explained, and answered in this volume. The publication also provides you with a set of basic tools for better communication when discussing and explaining your work and your projects.
The first part is a comprehensive compilation that identifies and describes all forms that exist for objects. The middle section offers a qualitative overview of the possibilities with which form elements, forms, or objects can be developed and optimized. In the third section the methodology for the development of your own evaluation system is presented.
The objective of this work is to offer an orientation on the basics of design, combining the aspects of shape, craft, content, and method into a holistic understanding of the art.

How does design function? What is the difference between design and styling? Is the principle “form follows function” still valid? And what constitutes the design process in practice? There are so many questions on the highly topical subject of design. The authors provide answers to many of them by covering a wide range of topics, from the historical roots to the outlook on the near future, from a comprehensive look at product functions to the analysis of the complex design process, from theoretical foundations to descriptive case studies. The central theme is product design, taking the conflicting interests of consumers, manufacturers and designers into consideration. All factors of planning and designing of industrial products are considered and clearly presented. The book is aimed at enquiring users as well as committed entrepreneurs, interested technicians and aspiring designers from a great variety of fields.

Inspired by a gift from his son, Arno Stolz developed the idea of a miniature gallery of typographic works. In 1980, he began writing letters to well-known designers from around the world, asking for a creative contribution to help fill the compartments of typesetting boxes. The result is a mosaic of about 300 unique pieces presented in these relics from the days of hot type. This is enriched and supplemented by the extensive correspondence that Arno Stolz conducted with the designers over almost three decades. Both the artworks and the remarkable collection of letters and New Year’s cards are presented for the first time in this publication. An introductory section provides the necessary background to fully grasp the significance of the “Gallery in Type Cases”.

Every day there is something happening in the world of typography and graphic design – something new being created in Buenos Aires, Paris, Tel Aviv, Tehran, Seoul or Melbourne. The most inspiring, trendsetting and enduring stories, events and works have been collected here to guide the reader to the highlights: 52 for 52 weeks, written by more than 40 experts. Releases such as the legendary 1975 NASA Graphic Standards Manual are presented and various creative approaches discussed. New fonts, typeface designers and foundries are introduced, classic American fonts newly interpreted and the question of why new fonts are always needed examined. Important new logos are presented, big industry events such as the Typo in Berlin reported on and the winners of the European Design Awards presented. At the end of the book there are dedications to Adrian Frutiger and Alan Rickman, who was once a graphic designer.

The creation of a logotype as one of the most important elements of corporate design is a challenging task for communication designers. The concept that a good logotype is by definition a persuasive logotype creates a direct link to the genre of rhetoric, which, according to Aristotle, has the power of observing the means of persuasion on almost any subject. It follows that rhetoric concepts and methods are ideally suited for understanding the effectiveness of logotypes to expand the horizon of applied design work. In this publication the author illustrates how designers can utilize the tools of rhetoric, a science that dates back more than 2,500 years. Stylistic devices play a central role in this as logotypes are analyzed and classified to determine which communicative strategies and intended effects they fulfill. The theoretical insights gained from this provide designers with a wealth of knowledge that facilitates analysis, idea generation, and argumentation along with a deeper understanding of the design process.

The design process is gaining in importance within the context of rapidly complex technical and economical developments such as online trade, social media, and new production technologies. This is has inevitably been accompanied by highly charged social issues such as socially just manufacturing conditions, sustainable development, or the upholding of personality rights, which designers are challenged with. While the social relevance of design is indisputable, it has not been researched much. The research project "Intrinsic Logic of Design" looks at eight sample areas to determine the specific rationalities of the applied design methods and processes in each, based on the hypotheses that the different design areas are each based on their own logic of design production. These constitute an intrinsic logic that cannot be reduced to standardized sets of methods within the discipline, nor to established processes outside it. The decoding of the complexity of individual design processes simultaneously contributes to the further development of the formulation of design theories.

The predominance of the internet as a global system of interconnected computer networks and the rapidly developing technologies of the digital world keep typography in a constant state of evolution. New output media require new fonts that optimize readability. And of course, since a font is much more than a pure conveyor of information, the esthetic aspects of this context are equally gaining in importance. This volume offers support in the selection and optimized application of fonts for web design. The combination of established print typography rules and the special characteristics of web design allows readers to enter the world of web typography. Based on contents ranging from basic information to analytical font selection criteria, this book can be a valuable guide to gaining finesse in the use of fonts for the web.

The world can be turned inside out. The world has rhythm. This perspective of wood sculptor, technician and inventor Paul Schatz offers whole new viewpoints. He succeeded in creating a technology which brings the laws and rhythms of nature in line. Schatz's journey of discovery leads to stunning developments in design, in the perception of the geometric and architectural space, and to a new art of mechanical engineering. Oloids and acuboids are forms that are intriguing in their beauty. Turbula and Inversina mixers are used for industrial purposes while the oloid has proved very useful in water and environmental engineering. The boo presents life's work that hasn't suffered a loss of currency. "The Study of Rhythms and Technology" bridges the gap between art and natural sciences and offers inspiration for the work of philosophers and practitioners alike.

Can you live your life with just one hundred things? That is the question that product designer Mortiz Grund asks in "One Hundred", the winner of the prestigious Wilhelm Braun Feldweg award for critical writing in the field of design. Grund, a co founder of Berlin Sustainable Design Center, chose just one hundred personal items as a starting point for intelligent observations on products, relationships, and meaning in the everyday world. His living experiment lasted seven years and is documented here in a thoughtful collage of notes, observations, stories and other texts. Equal parts sustainable manifesto, performance art and design philosophy, "One Hundred" asks what design really means in the age of consumption.

"1 : 1 Signage, Orientation, Identity" is a special book. It not only describes a range of design projects over the last ten years design company Moniteurs, but the projects are graphically illustrated; in this way the book gets to the heart of Moniteurs' 1:1 communication systems. The concepts of individual projects are presented in short, concise texts with many photographs and infographics, while an interview with the three owners of the company, Heike Nehl, Sibylle Schlaich and Isolde Frey, gives an insight into their approach. Moniteurs has existed since 1994. In addition to the design of signs and orientation systems, the focal points of the company include information design and corporate design. This range is reflected in the diversity, depth and precision of the projects. Many of them have received awards, including the Red Dot Award for the design of the orientation system for the Aufbau Haus and the Iconic Design Award 2013 for the Potsdamer Platz orientation system. The BMW Plant Orientation System project was included in the touring exhibition of the Goethe Institutes' The Dimension of Surface – Communications Design in Germany.

From videos by Frank Ocean to the “Guardians of the Galaxy“ movie, tapes have become increasingly prominent in cinema, advertising, and, of course, the music industry. And as tape sales in the US grew by 74 percent last year, it is time to address past, present and future of the “Compact Cassette“ as icon of popular culture. New generations of individuals, record labels and DIY communities are rediscovering its unique characteristics, adapting them to a contemporary context. In the age of soulless MP3s and similar digital formats there is a real appreciation for the physical qualities of an item that can be collected, exchanged and individually designed. This volume covers themes such as recording and design, “distro“ as distribution source, interviews and provides a step-by-step manual to conducting own tape experiments.

The 14 Bauhaus books, edited by Walter Gropius and László Moholy-Nagy, were published between 1925 and 1930. Their authors discussed design principles, practices, and artistic approaches from various perspectives. Johannes Rinkenburger has examined and researched the contents and key concepts of this avant-garde series of books along with their backgrounds and context and elaborates their application and importance for current design schools. Based on design experiments, new links and correlations are established and methods shown that reveal, and apply the legacy of Bauhaus, one of the historically most important design schools worldwide, to contemporary design. In the visual illustrations, which make up a large part of the publication, individual concepts and methods of the Bauhaus books are combined, contemplated on and implemented using today's graphic design methods and techniques.