Consider this simple conundrum: is it possible to be a bad good designer or a good bad designer for that matter? If the answer is yes then which is preferable and what does this reveal about the relationship between ethics and design practice? Good: An Introduction to Ethics in Graphic Design seeks to answer these questions. Graphic design is in ethical flux. Good comes at a time of growing disenchantment with style-led design solutions and the pursuit of self-expression alone and yet vacuous design judgements are still made without any real analysis of the criteria used. The terms good and bad are repeatedly applied without qualification whilst the relationship between personal and professional ethics is far too contentious to do any more than give cursory consideration. Despite recent manifestos and themed publications on design for good graphic designers have yet to examine what such terms really mean: in a time of relativism it has been far too divisive to do so. Good takes philosophy as its starting point but is not a philosophy book. It seeks to marry abstract ideas with practical application, removing some of the mystique that surrounds philosophy and highlighting its relevance for us all. Designers are people. This book seeks to engage designers in a debate about their profession and in an analysis of their value and worth. The decisions we make define us, in our ethical choices we reveal who we are.
Every season, with alarming predictability, yet another graphic design book sets out to capture definitively the zeitgeist. The blurb always makes the same claim: that the book shows the work of the newest, youngest, most innovative designers. This restless search is self-perpetuating, can never be sated and ultimately intensifies nagging fears and insecurities among designers. An understanding of design history has the reverse effect. It explains who we are and sets contemporary work in an expansive and broad landscape, one that is more objective and less introspective. Without knowledge and experience we are lost, floating in a sea of unanswered questions. Drip-dry shirts seeks to answer some of the questions. Book jacket.
Every season, with alarming predictability, yet another graphic design book sets out to capture definitively the zeitgeist. The blurb always makes the same claim: that the book shows the work of the newest, youngest, most innovative designers. This restless search is self-perpetuating, can never be sated and ultimately intensifies nagging fears and insecurities among designers. An understanding of design history has the reverse effect. It explains who we are and sets contemporary work in an expansive and broad landscape, one that is more objective and less introspective. Without knowledge and experience we are lost, floating in a sea of unanswered questions. Drip-dry shirts seeks to answer some of the questions. Book jacket.
Consider this simple conundrum: is it possible to be a bad good designer or a good bad designer for that matter? If the answer is yes then which is preferable and what does this reveal about the relationship between ethics and design practice? Good: An Introduction to Ethics in Graphic Design seeks to answer these questions. Graphic design is in ethical flux. Good comes at a time of growing disenchantment with style-led design solutions and the pursuit of self-expression alone and yet vacuous design judgements are still made without any real analysis of the criteria used. The terms good and bad are repeatedly applied without qualification whilst the relationship between personal and professional ethics is far too contentious to do any more than give cursory consideration. Despite recent manifestos and themed publications on design for good graphic designers have yet to examine what such terms really mean: in a time of relativism it has been far too divisive to do so. Good takes philosophy as its starting point but is not a philosophy book. It seeks to marry abstract ideas with practical application, removing some of the mystique that surrounds philosophy and highlighting its relevance for us all. Designers are people. This book seeks to engage designers in a debate about their profession and in an analysis of their value and worth. The decisions we make define us, in our ethical choices we reveal who we are.
Visual Communication: From Theory to Practice explores how cultural theory can be applied to the real-world practice of graphic design. Theories are presented and then discussed by designers such as Neville Brody, Michael Bierut, Erik Spiekermann and Joan Farrer. Issues such as mass culture, political design and semiotics are all debated, making this a unique companion to theory and culture modules on any undergraduate degree course in graphic design. Visual Communication helps students to develop sound critical judgment and informed strategies for the conception of new ideas that accurately reflect the current zeitgeist.
Tori Karacis is back in L.A., glad that she matches her passport photo again, thanks to a tattoo that controls her gargoyle wings. Her newest case doesn’t involve gods or an impending apocalypse...just garden-variety murder. Jessica Roland’s suspicions began when her brothers returned from Egypt eerily different. The terror kicked in with the ritualistic murder of her parents. Her real brothers would never have done such a thing, yet their guilt seems indisputable. Is it the Curse of the Pharaohs? Some kind of brain-eating bacteria? At the scene of a second attack, there’s evidence it’s the work of Set, the god of chaos, who should have been locked away long ago. And hello, there’s a new arrival. Neith, a warrior goddess who’s got the hots for Tori’s ex, Nick Armani. In theory, that shouldn’t cause Tori any problems. After all, she’s involved with Apollo—yes, that Apollo. Still, it’s a bit much for Neith to ask her for seduction advice! Meanwhile, Set is gaining strength, chaos starts leaking all over the place, and L.A. is a powder keg set to blow.
This Greek-mythology-inspired urban fantasy romance series continues as a part-gorgon PI rushes to stop an apocalypse in New York City. Tori Karacis knows it’s going to be a bad day when she wakes to two surprises. One, she’s in bed with a very naked Apollo, having lost her struggle to resist her attraction to him. Two, she still has her wings. Not dinky little fairy wings, but full-scale, cover-’em-with-a-trench-coat bat wings. Apollo suggests consulting the Gray Sisters about the wing problem. Those cannibalistic, psychopathic oracles who—even with only one tooth and one eye among them—manage to see too much. For one thing, they’ve foreseen a Rapture, zombie-apocalypse, biblical-plague, hellgates-busted-open end of the world. While the Sisters are perfectly cool with death and destruction, the thinning of the human herd doesn’t sit well with them at all. They’ll help Tori. All she has to do is save the world. Tori and her team trace the origin of the plagues to New York City, which is under quarantine and martial law (as if that would enough to stop the influx of gods and gorgons, dragons and demons). But as death threatens from the outside, betrayal lurks within Tori’s circle of friends. And nobody is safe. Nobody.
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