Perception is fragile and easily manipulated. A painting or drawing that is flipped, flopped or stared at long enough can somehow be transformed from one image to another.In this engaging collection of paintings, drawings, cartoons, masks, toys and other work, there are optical illusions from the Renaissance, Enlightenment-era political cartoons and Victorian toys that start off as one thing and end up as another. Sometimes these mutations were made for fun, sometimes for profit or to score a political point, but the results are always an intriguing pleasure to view.Even the most jaded readers will find their frowns turned upside down after they pick up this delightful volume.
This book is about designs born of necessity; often spontaneously, always pragmatically. It is also about the particular sensibility of graphic designer George Tscherny and his ability to find beauty or art in the most ordinary things, and to communicate this appreciation to others. Experience his infectious enthusiasm for what could be called "anonymous", "ad hoc", or "vernacular" design; for objects that have an aesthetic appeal in spite of themselves; for creations that are both ingenious and ingenuous. Tscherny heavily illustrates the book with items from his personal collection, analyzing everything from the folding lunch box, to the vintage re-closeable bottle, to the artlessly fashioned paper clip, safety pin and wire hanger. These are just a sampling of the many objects he has collected. This book gives the reader a glimpse into his world. George Tscherny began his professional career as a graphic designer in New York in 1950. He served two terms as president of the American Institute of Graphic Arts (AIGA). In 1997, he was inducted into the New York Art Directors Hall of Fame. A comprehensive selection of his work is included in the Graphic Design Archives at RIT.
This book is about designs born of necessity; often spontaneously, always pragmatically. It is also about the particular sensibility of graphic designer George Tscherny and his ability to find beauty or art in the most ordinary things, and to communicate this appreciation to others. Experience his infectious enthusiasm for what could be called "anonymous", "ad hoc", or "vernacular" design; for objects that have an aesthetic appeal in spite of themselves; for creations that are both ingenious and ingenuous. Tscherny heavily illustrates the book with items from his personal collection, analyzing everything from the folding lunch box, to the vintage re-closeable bottle, to the artlessly fashioned paper clip, safety pin and wire hanger. These are just a sampling of the many objects he has collected. This book gives the reader a glimpse into his world. George Tscherny began his professional career as a graphic designer in New York in 1950. He served two terms as president of the American Institute of Graphic Arts (AIGA). In 1997, he was inducted into the New York Art Directors Hall of Fame. A comprehensive selection of his work is included in the Graphic Design Archives at RIT.
Perception is fragile and easily manipulated. A painting or drawing that is flipped, flopped or stared at long enough can somehow be transformed from one image to another.In this engaging collection of paintings, drawings, cartoons, masks, toys and other work, there are optical illusions from the Renaissance, Enlightenment-era political cartoons and Victorian toys that start off as one thing and end up as another. Sometimes these mutations were made for fun, sometimes for profit or to score a political point, but the results are always an intriguing pleasure to view.Even the most jaded readers will find their frowns turned upside down after they pick up this delightful volume.
The Nelson office worked on the cutting edge of design and put to practical use their work in the 1959 American National Exhibition in Moscow - a triumph of technology and enlightened public relations at the height of the Cold War. Nelson himself pioneered the pedestrian shopping mall, developed a revolutionary concept of storage, and pushed the envelope on residential design. He collaborated with some of the foremost designers of his era, including Charles and Ray Eames, Alexander Girard, Isamu Noguchi, and Buckminster Fuller. With an abundance of images and an insightful essay by design critic Michael Webb, Compact Design Portfolio: George Nelson celebrates this inclusive genius of classic mid-twentieth century design."--BOOK JACKET.
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