Have you taken children to a gallery recently? Did you struggle to explain the work to them in plain, simple English? With this new Dung Beetle book by artist Miriam Elia--a tribute to and a parody of the much-loved British Ladybird early learning children's books of the 1960s--anyone can learn about contemporary art and understand many of its key themes. Join John and Susan on their exciting journey through the art exhibition, where, with Mummy's help, they will discover the real meaning of all the contemporary artworks, from empty rooms to vagina paintings or giant inflatable dogs. The 2014 limited edition of We Go to the Gallery was threatened with a lawsuit by Penguin UK (owners of the Ladybird imprint), which was withdrawn following a recent change in UK copyright law allowing for parody and satire.
PUBLISHER Dung Beetle Ltd
BOOK FORMAT Hardcover, 4.75 x 7 in. / 46 pages / 20 color.
PUBLISHING STATUS Pub Date 11/24/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 181
PRODUCT DETAILS ISBN 9780992834913TRADE List Price: $14.95 CDN $19.95
AVAILABILITY In stock
in stock $14.95
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Damiani. Edited by Maurizio Cattelan, Pierpaolo Ferrari.
Since its first issue in June 2010, Toilet Paper has created a world that displays ambiguous narratives and a troubling imagination.
It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.
The 2018 Toilet Paper wall calendar features photographs conceived by Maurizio Cattelan and Pierpaolo Ferrari and taken from their magazine, an image-only publication devoted to the realization of surrealist ideas via commercial photography.
Published by Cooper Hewitt, Smithsonian Design Museum. By Ellen Lupton.
Ellen Lupton, award-winning author of Thinking with Type and How Posters Work, demonstrates how storytelling shapes great design
Good design, like good storytelling, brings ideas to life. The latest book from award-winning writer Ellen Lupton is a playbook for creative thinking, showing designers how to use storytelling techniques to create satisfying graphics, products, services and experiences. Whether crafting a digital app or a data-rich publication, designers invite people to enter a scene and explore what’s there. An intriguing logo, page layout or retail space uses line, shape and form to lead users on dynamic journeys.
Design Is Storytelling explores the psychology of visual perception from a narrative point of view. Presenting dozens of tools and concepts in a lively, visual manner, this book will help any designer amplify the narrative power of their work. Use this book to stir emotions, build empathy, articulate values and convey action; to construct narrative arcs and create paths through space; integrate form and language; evaluate a project’s storytelling power; and to write and deliver strong narratives.
Ellen Lupton is the author of numerous books on design, including Graphic Design: The New Basics (2008), Thinking with Type (2004, second edition 2010), Graphic Design Thinking (2011), Beautiful Users: Designing for People (2014) and Type on Screen (2014), How Posters Work (2015) and Beauty—Cooper Hewitt Design Triennial (2016). She is Senior Curator of Contemporary Design at Cooper Hewitt, Smithsonian Design Museum in New York City, and director of the Graphic Design MFA program at MICA (Maryland Institute College of Art) in Baltimore. She received the AIGA Gold Medal for Lifetime Achievement in 2007.
It is never too early to learn about abstraction--especially if celebrated illustrator Tamara Shopsin is doing the teaching. What Is This? is Shopsin's wordless children's book that will encourage imaginative thinking in readers both young and old. The miniature book, made for small hands, is filled with simple line drawings, executed with characteristic charm by Shopsin. Each drawing playfully adds to and alters the same basic squiggle, which is transformed across different contexts on each successive page: first the squiggle appears as the petals of a flower, next as a bird's nest, then a cowboy's lasso, then a plume of smoke from a factory chimney. Each time, only a few extra lines are required to suggest the conversion. By the end of the book, faced with an innocent squiggle, the question is not "what is this?" but rather, "what isn't this?" Tamara Shopsin (born 1979) is a graphic designer and illustrator whose work has been featured in The New York Times, Good, Time, Wired and Newsweek. She is the author of the memoir Mumbai New York Scranton, designer of the 5 Year Diary and coauthor, with Jason Fulford, of the children's book This Equals That. She is also a cook at her family's restaurant, Shopsin's, in New York.
In We Learn at Home, Miriam Elia’s follow-up to last year’s hit We Go to the Gallery, Mummy takes John and Susan out of their local school to be reeducated at home—though not before tagging the walls of St. James’ Primary with the words “Fascist Scum.” In order to introduce their young minds to a new, alternative worldview, Mummy will ground all learning in a feelings-based outlook, free of any actual facts or skills, and reevaluate core subjects such as mathematics, religion, philosophy and art. John and Susan burn the Union Jack, debate and learn to paint their inner children. Key vocabulary for young readers includes terms such as “Marx” and “Buddha.” Pocket-sized, printed in bold colors and written in clear, simple English, the Dung Beetle Learning series pays tribute to and skewers the much-loved British Ladybird early learning children’s books of the 1960s, with our child protagonists learning about contemporary art and politics rather than helping their parents around the house. In We Go to the Gallery, Susan found that the decay of Western civilization smells like rubbish, John learned that some toys are only for venture capitalists and the siblings discovered that God is dead. What new lessons will Mummy teach?
PUBLISHER Dung Beetle Ltd
BOOK FORMAT Hardcover, 4.75 x 7 in. / 48 pgs / 20 color.
PUBLISHING STATUS Pub Date 2/28/2017 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2017 p. 48
PRODUCT DETAILS ISBN 9780992834999TRADE List Price: $14.95 CDN $19.95
AVAILABILITY In stock
in stock $14.95
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Standards Manual. Introduction by Eric Greene. Photographs and text by Brian Kelley.
The evolving design of New York subway ephemera: a collector’s story
New York City Transit Authority: Objects originated as a photography experiment. In 2011, New York photographer Brian Kelley began documenting collections of used MetroCards in his Brooklyn studio, arranging them in various grids with the goal of perfecting the lighting of an image. His brother suggested he make the grids more interesting by finding other types of cards. Having exhausted his search for discarded MetroCards in many of the city’s 472 subway stations, Kelley turned to eBay for new finds. The online rabbit-hole gave him a crash course in the history of NYC transportation. He discovered tokens dating back to 1860, a ticket stub from 1885 when it cost three cents to take the train across the Brooklyn Bridge, as well as patches, matchbooks, tokens, timetables, pins and signs, posting his photographs of these finds on Tumblr and Instagram. Six years on, many MTA employees follow and advocate his project, sometimes contacting him with information and tips on rare items. As the collection grew, Kelley recognized that there were no comparable digital archives documenting the city’s transportation evolution.
New York City Transit Authority: Objects is a story told through the evolving design that spans decades of the city’s history. Kelley’s objects tell a greater story of New York’s past. For him, The NYCTA Project remains a photography experiment and self-funded hobby, archiving the culture of his home city. For the reader, it’s an intimate view of the city’s history that merges design and infrastructure over the past 150 years.
Published by Reel Art Press. Edited by Tony Nourmand, Graham Marsh. Introduction by Peter Doggett. Designed by Graham Marsh.
This magnificent book is the new, expanded, complete edition of Nourmand and Marsh’s cult bestseller, with text by renowned writer Peter Doggett. The 1960s and ’70s were the Golden Age of the X-rated movie. For the first time, these films were shown in mainstream cinemas to a fashionable, young crowd. The “porno chic” movement around films like Deep Throat (1972), The Opening of Misty Beethoven (1976) and Debbie Does Dallas (1978) gave skin flicks an air of credibility that had never existed before. Johnny Carson and Bob Hope talked about Deep Throat on TV, and respected artists became involved in promotional campaigns for adult films. Of all film genres, the X-rated movie is possibly the one that lends itself best to the use of posters as a promotional medium. Screaming taglines, provocative titles and scantily clad bodies are all elements that can be used to great advantage in poster form. Even though many of the adult movies of the ‘60s and ‘70s have faded into cinematic history, their posters remain an inspiration for graphic designers. And today they are wonderful, joyful period pieces that evoke the temptations and taboos of a bygone age of suspender belts, stockings and eye-popping, gravity-defying brassieres. To quote Steve Frankfurt’s iconic ad campaign for the soft core masterpiece Emmanuelle, “X was never like this.”
Published by Standards Manual. Foreword by Tom Geismar. Text by Christopher Bonanos.
In 1970, President Richard Nixon created the Environmental Protection Agency (EPA) to confront environmental pollution and protect the health of the American people. One of the EPA’s top priorities was consolidating numerous state offices to more efficiently carry out its goal of “working for a cleaner, healthier environment for the American people.”
But there was one area in which the EPA—like many government agencies of the time—was terribly inefficient: their graphic design and communications department. Millions of dollars were being wasted annually due to nonstandardized formats, inefficient processes and almost everything being designed from scratch.
In 1977 the EPA began working with the legendary New York design firm Chermayeff & Geismar (now Chermayeff & Geismar & Haviv, or CGH), responsible for some of the most recognizable visual identities in the world, such as Chase Bank, PBS, National Geographic, the Smithsonian Institution, Mobil Oil and NBC. Partners Ivan Chermayeff, Tom Geismar and Steff Geissbuhler set about tackling this problem. The result was the 1977 US Environmental Protection Agency Graphic Standards System.
Forty years later, Jesse Reed & Hamish Smyth—creators of the NYCTA and NASA Graphics Standards Manual reissues—have partnered with CGH and AIGA, the US’s oldest and largest professional organization for design, to publish this classic graphic standards EPA manual as a hardcover volume. Each page is reproduced at the same size as the original three-ring binder pages, using the same vibrant Pantone inks with a total of 14 colors.
Published by Cooper Hewitt, Smithsonian Design Museum. By Ellen Lupton. Text by Caitlin Condell, Gail Davidson, Ellen Lupton.
With its unique focus on visual language, Ellen Lupton's How Posters Work is more than another poster book. Rather than provide a history of the genre or a compilation of collectibles, the book is organized around active design principles. Concepts such as "Simplify," "Focus the eye," "Exploit the diagonal," "Reverse expectations" and "Say two things at once" are illustrated with a diverse range of posters, from avant-garde classics and rarely seen international works to contemporary pieces by today's leading graphic designers. Illustrated with over 150 works from the collection of Cooper Hewitt, Smithsonian Design Museum, How Posters Work provides a stunning education in seeing and making, demonstrating how some of the world's most creative designers have mobilized principles of layout, composition, psychology and rhetoric to produce powerful acts of visual communication. Ellen Lupton (born 1963) is an acclaimed writer, curator and graphic designer. She is Director of the Graphic Design MFA program at Maryland Institute College of Art (MICA) in Baltimore, where she also serves as Director of the Center for Design Thinking. As Curator of Contemporary Design at Cooper Hewitt, Smithsonian Design Museum since 1992, she has produced numerous exhibitions and books, including Mechanical Brides: Women and Machines from Home to Office (1993), Mixing Messages: Graphic Design and Contemporary Culture (1996), Letters from the Avant-Garde (1996), Skin: Surface, Substance + Design (2002) and—most recently—Beautiful Users: Designing for People (2014). Lupton is a 2007 recipient of the AIGA Gold Medal, one of the highest honors given to a graphic designer or design educator in the US.
The NYCTA Graphics Standards Manual contains scans of Massimo Vignelli and Bob Noorda’s (Unimark) modernist masterpiece. The manual describes the design and construction for the iconic NYC subway signs that we still see and use.