Avant-garde graphics from around the globe
Introduction to the book 'Graphic Design for the 21st Century', by Charlotte and Peter Fiell
Page [1] [2] [3] [4] [5] [6] [7] [8] [9]
For the vast majority of designers in this survey the computer has become their primary tool, but given this, there is also a desire by many to break out of the constraining limitations imposed by off-the-shelf software programmes. The Internet and advanced computing power has delivered greater speed to graphic design practice, yet at the same time this technologically-driven acceleration has also increased the stylistic obsolescence of graphic design solutions - what appears cutting-edge one year will seem old hat the next as new ways of making graphic design provide novel possibilities of expression. Over the last decade graphic design has grown from a primarily static medium of encapsulated messages (books, posters, display ads, etc.) to one that is increasingly about movement and play, and is open to interaction since the advent of screen-based so-called graphic user interfaces (GUI).
This does not mean, however, that we should be writing obituaries for the printed page. New computer technologies have actually made the execution of books easier - leading to the proliferation of small print-run publications show-casing the work of individual graphic designers. Indeed, this type of publication, along with the numerous journals, exhibitions and award ceremonies dedicated to graphic design, help to raise the profile of this omnipresent yet often invisible profession, while also facilitating the cross-pollination of ideas amongst practitioners. The Internet has also had an enormous impact on the transference of ideas between graphic designers, and has helped to instigate an unprecedented level of collaboration between different design communities throughout the world. It is, however, printed publications such as this one that not only tangibly demonstrate through words and pictures the cultural flux of contemporary graphic design, but may well remain the most accessible record of work made from sprinklings of pixel dust as new media platforms perpetually render not-so-new ones obsolete. In comparison to print, New Media is in its infancy and today's pioneering generation of graphic designers are still grappling with how best to mine its communicative potential. The evolution of graphic design has been and will continue to be inextricably linked with the development of technological tools that enable designers to produce work with ever-greater efficiency.
Apart from illustrating the current output of one hundred leading graphic designers, this survey also includes "in-their-own-words" explanations of their personal approaches to the many challenges faced by anyone currently working in the contemporary visual communications field.
Page [1] [2] [3] [4] [5] [6] [7] [8] [9]
Page [1] [2] [3] [4] [5] [6] [7] [8] [9]
For the vast majority of designers in this survey the computer has become their primary tool, but given this, there is also a desire by many to break out of the constraining limitations imposed by off-the-shelf software programmes. The Internet and advanced computing power has delivered greater speed to graphic design practice, yet at the same time this technologically-driven acceleration has also increased the stylistic obsolescence of graphic design solutions - what appears cutting-edge one year will seem old hat the next as new ways of making graphic design provide novel possibilities of expression. Over the last decade graphic design has grown from a primarily static medium of encapsulated messages (books, posters, display ads, etc.) to one that is increasingly about movement and play, and is open to interaction since the advent of screen-based so-called graphic user interfaces (GUI).
This does not mean, however, that we should be writing obituaries for the printed page. New computer technologies have actually made the execution of books easier - leading to the proliferation of small print-run publications show-casing the work of individual graphic designers. Indeed, this type of publication, along with the numerous journals, exhibitions and award ceremonies dedicated to graphic design, help to raise the profile of this omnipresent yet often invisible profession, while also facilitating the cross-pollination of ideas amongst practitioners. The Internet has also had an enormous impact on the transference of ideas between graphic designers, and has helped to instigate an unprecedented level of collaboration between different design communities throughout the world. It is, however, printed publications such as this one that not only tangibly demonstrate through words and pictures the cultural flux of contemporary graphic design, but may well remain the most accessible record of work made from sprinklings of pixel dust as new media platforms perpetually render not-so-new ones obsolete. In comparison to print, New Media is in its infancy and today's pioneering generation of graphic designers are still grappling with how best to mine its communicative potential. The evolution of graphic design has been and will continue to be inextricably linked with the development of technological tools that enable designers to produce work with ever-greater efficiency.
Apart from illustrating the current output of one hundred leading graphic designers, this survey also includes "in-their-own-words" explanations of their personal approaches to the many challenges faced by anyone currently working in the contemporary visual communications field.
Page [1] [2] [3] [4] [5] [6] [7] [8] [9]
Graphic Design for the 21st Century
Flexicover, 19.6 x 24.9 cm (7.7 x 9.8 in.), 640 pages
$ 39.99
$ 39.99
Avant-garde graphics from around the globe
Poster for "Sensation" exhibition. Why Not Associates, 1997
Advertisement for Rote Fabrik (CH). François Chalet, 2001