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RESOURCE BOOK curator / garret steider

resource book / table of contents


Table of Contents Designers / Illustrators / Photographers designers



Saul Bass

Ty Wilkins

Henri Cartier-Bresson

Paul Rand

Paul Tebbott

Vik Muniz

Dieter Rams

Fernando Volken Tolgi

Annie Leibovitz

Alvin Lustig

Design Artifacts / Typography artifacts


Requiem For a Dream


1979 Graphis Diagram


1976 Olympic Identity

Akzidenz Grotesk

Fruita Blanch Package


Scott Pilgrim vs The World

Color Palettes / Tutorials palettes



Artist Poster


Vintage Effect


RAWZ lighting effect

Pink Arctic

Resources / books


Megg’s History of Graphic

Thinking With Type

Saul Bass: A Life in Film


Communication Arts

and Design

Graphic Design: A Critical


Elements of Typography


Print Magazine

Graphic Design: A New

Graphic Design Refer-

Graphis Magazine



Eye Magazine


From Up North

resource book / designers

/Illustrators Designers

Photographers Design Artifacts Typography Color Palette Tutorials Resources

resource book / designer / saul bass


Saul Bass 1920-1995 / the bronx, ny / saul bass and associates /

Biogr aphy / Opened Saul Bass & Associates 1955, Saul Bass was a graphic designer and filmmaker, best known for his design of film posters and motion picture title sequences. During his 40-year career Bass worked for some of Hollywood’s greatest filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick and Martin Scorsese. Amongst his most famous title sequences are the animated paper cut-out of a heroin addict’s arm for Preminger’s The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of the United Nations building in Hitchcock’s North by Northwest, and the disjointed text that races together and apart in Psycho. Bass designed some of the most iconic corporate logos in North America, including the AT&T “bell” logo in 1969, as well as AT&T’s “globe” logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines’ 1968 “jetstream” logo and United Airlines’ 1974 “tulip” logo which became some of the most recognized airline industry logos of the era.

resource book / designer / paul rand


Paul Rand 1914-1996 / brooklyn, ny / paul rand /

biography / Paul Rand (Born Peretz Rosenbaum, August 15, 1914 – November 26, 1996) was a well-known American graphic designer, best known for his corporate logo designs. Rand was educated at the Pratt Institute (1929-1932), the Parsons School of Design (1932-1933), and the Art Students League (1933-1934). He was one of the originators of the Swiss Style of graphic design. From 1956 to 1969, and beginning again in 1974, Rand taught design at Yale University in New Haven, Connecticut. Rand was inducted into the New York Art Directors Club Hall of Fame in 1972. He designed many posters and corporate identities, including the logos for IBM, UPS and ABC. Rand died of cancer in 1996 As Orthodox Jewish law forbids the creation of graven images that can be worshiped as idols, Rand’s career creating icons venerated in the temple of global capitalism seemed as unlikely as any. It was one that he embraced at a very young age, painting signs for his father’s grocery store as well as for school events at P.S. 109. Rand’s father did not believe art could provide his son with a sufficient livelihood, and so he required Paul to attend Manhattan’s Harren High School while taking night classes at the Pratt Institute, though “neither of these schools offered Rand much stimulation.” Despite studying at Pratt and other institutions in the New York area (including Parsons School of Design and the Art Students League), Rand was by-and-large “self-taught as a designer, learning about the works of Cassandre and Moholy-Nagy from European magazines such as [Gebrauchsgraphik].

resource book / designer / dieter rams


Dieter Rams 1932 / wiesbaden, hessen / braun / dieter rams: as little design as possible (book)

biography / Rams studied architecture at the Werkkunstschule Wiesbaden as well as learning carpentry from 1943 to 1957. After working for the architect Otto Apel between 1953 and 1955 he joined the electronic devices manufacturer Braun where he became chief of design in 1961, a position he kept until 1995.

rams’ ten principles of good design Good design: Is innovative Good design: Makes a product useful Good design: Is aesthetic Good design: Makes a product understandable Good design: Is unobtrusive Good design: Is honest Good design: Is long-lasting Good design: Is environmentally friendly Good design: Is as little design as possible — Less, but better — because it concentrates on the essential aspects, and the products are not burdened with non-essentials. Back to purity, back to simplicity.

resource book / designer / alvin lustig


Alvin Lustig 1915-1955 / denver, colorado / look magazine /

biography / Alvin Lustig was an American graphic designer and typeface designer. He studied at Los Angeles City College, Art Center, and independently with Frank Lloyd Wright and Jean Charlot. He began designing for books in 1937. In 1944 he became Director of Visual Research for Look Magazine. He also designed for Fortune, New Directions and Girl Scouts of America. He began teaching in 1945. Lustig developed diabetes as a teenager. He later went blind as a result of diabetes in 1954. He developed Kimmelstiel-Wilson syndrome, an incurable kidney disease connected to diabetes. Lustig died at the age of 40 of diabetes related complications on December 4, 1955. He was inducted into the Art Directors Club Hall of Fame in 1986. In 2010, a book showcasing his art career came out: Born Modern: The Life and Design of Alvin Lustig. With the current interest in American design history, it is fitting that Alvin Lustig be honored for his significant influence on American design and design education. His wide-ranging work from the 1940s and early 1950s included book and book jacket design, magazines, letterheads, catalogs, signage, furniture and lighting, textiles, interior design, logos, identity programs, sculpture and architecture. This diversity mirrored a philosophy that eschewed specialization and embraced synthesis. For Lustig, all design projects involved problem solving and all solutions were found in form and color.

resource book / illustrators


/Photographers Illustrators

Design Artifacts Typography Color Palette Tutorials Resources

resource book / illustrator / ty wilkins


Ty Wilkins austin, tx / ty wilkins illustration and design /

biography / Ty Wilkins is an independent graphic designer and illustrator living in Austin, Texas. Prior to striking out on his own, Ty worked for Gardner Design where we had the opportunity to redesign LogoLounge. A complete typomaniac, Ty is also the founder and editor of the contemporary typography blog Type Theory. Ty’s illustration and design work have been recognized by Grain Edit, Uppercase Magazine, Drawn, DesignWorkLife, Pikaland, Graphic Exchange, the Charley Harper Blog, HOW Magazine and numerous other publications. Ty graduated with a BFA in graphic design from Auburn University in 2003 and before that lived in Buenos Aires, Argentina for two very formative years where he developed a passion for Spanish and international travel. He currently teaches Typography for the Academy of Art University online undergraduate program. Ty spends his free time illustrating, drawing and collecting books by mid-century modern illustrators. Ty is curious, obsessed and extraordinarily passionate. Type Theory is a journal of contemporary typography featuring news, views, reviews and interviews.Ty Wilkins founded Type Theory in January of 2009

resource book / illustrator / paul tebbott


Paul Tebbott

manchester, uk / chemtrail / / About

biography / Paul Tebbott is a visual artist, illustrator and designer from Manchester, UK. His work has been featured on Grain Edit and the blog site ISO. I personally love the minimal style of his work that incorporates bold colors and interesting compositions.

resource book / illustrator / fernando volken togli


Fernando V. Togli 1984 / porto algre, brazil / freelance /

biography / Fernando Volken Togni is a Brazilian graphic designer and illustrator living in Porto Alegre. He develops intricate compositions which combines soft vector shapes, organic swirls and harmonious colors. Fernando says, he likes to use eye-catching bold shapes that express vivid energy and the idea of a simple thing that’s full of meanings. Read more about him in this interview. Hello, I am graduated in Advertising but I have always worked with graphic design, brand and packaging at advertising agencies here in Porto Alegre, southern Brazil. I was born in Roca Sales, a small town but I moved to Porto Alegre to study and work. I always liked art and drawings, so about five or six years ago I started to develop my own illustration style because I always loved to work with vector software. I’ve loved illustration and art since I was a child. I decided to study advertising about ten years ago, because I thought it was something I could succeed at. I almost studied arts, but I never gave up, I am sure that in the future I will study and maybe work with it. Over the last six years I worked more with illustration software at advertising agencies and that made me to develop my own style to illustrate. It was a simple process, but I never thought it would work, I didn’t see myself doing it for a living, I used to think I would always work as a designer.

resource book / photographers

Designers Illustrators

/Design Artifacts Photographers Typography Color Palette Tutorials Resources

resource book / photographer / henri cartier-bresson


Henri C. Bresson 1908-2004 / paris, france / photographer /

biography / Henri Cartier-Bresson (August 22, 1908 – August 3, 2004) was a French photographer considered to be the father of modernphotojournalism. He was an early adopter of 35 mm format, and the master of candid photography. He helped develop the “street photography” or “real life reportage” style that has influenced generations of photographers who followed. Cartier-Bresson was born in Chanteloup-en-Brie, Seine-et-Marne, France, the oldest of five children. His father was a wealthy textile manufacturer, whose Cartier-Bresson thread was a staple of French sewing kits. His mother’s family were cotton merchants and landowners from Normandy, where he spent part of his childhood. The Cartier-Bresson family lived in a bourgeois neighborhood in Paris, near the Europe Bridge. They were able to provide him with financial support to develop his interests in photography in a more independent manner than many of his contemporaries. Cartier-Bresson also sketched in his spare time. Cartier-Bresson’s, The Decisive Moment,the 1952 US edition of Images à la sauvette. The book contains the term “the decisive moment” now synonymous with Cartier-Bresson: “There is nothing in this world that does not have a decisive moment.” Cartier-Bresson achieved international recognition for his coverage of Gandhi’s funeral in India in 1948 and the last (1949) stage of theChinese Civil War. He covered the last six months of the Kuomintang administration and the first six months of the Maoist People’s Republic. He also photographed the last surviving Imperial eunuchs in Beijing, as the city was falling to the communists.

resource book / photographer / vik muniz


Vik Muniz

1961 / sao paulo, brazil / sculptor & photographer /

biography / Vicente José de Oliveira Muniz, known as Vik Muniz (Portuguese pronunciation: [vik-mu-nis]; born 1961, São Paulo, Brazil), is a visual artist living in New York City. Muniz began his career as a sculptor in the late 1980s. Muniz became best known for his 1997 series Pictures of Chocolate and 2006’s Pictures of Junk. In 2010, the documentary film Waste Land, directed by Lucy Walker, featured Muniz’s work on one of the world’s largest garbage dumps, Jardim Gramacho, on the outskirts of Rio de Janeiro. The film was nominated to the Academy Award for Best Documentary Feature at the 83rd Academy Awards. Vik Muniz often appropriates the images that serve as the basis for his artworks from works by other well known artists. For example, Muniz used jelly and peanut butter in the creation of the work Double Mona Lisa, After Warhol, 1999, based on a 1963 screen print by pop artist Andy Warhol and which, in turn, was an appropriation of Leonardo da Vinci’sMona Lisa. He also made a portriat out of spaghetti and portriats of children that were made out of salt.

resource book / photographer / annie leibovitz


Annie Leibovitz 1949 / waterbury, ct / vanity fair, rolling stone /

biography / Photographer. Born Anna-Lou Leibovitz, on October 2, 1949, in Waterbury, Connecticut. She was one of the six children born to Sam, an Air Force lieutenant, and Marilyn Leibovitz, a modern dance instructor. In 1967, Leibovitz enrolled at the San Francisco Art Institute, where (although initially studying painting) she developed a love for photography. After living briefly on an Israeli kibbutz, Leibovitz returned to the U.S., in 1970, and applied for a job with the start-up rock music magazine Rolling Stone. Impressed with Leibovitz’s portfolio, editor Jann Wenner offered her a job as a staff photographer. Within two years, the 23-yearold Leibovitz was promoted to chief photographer - a title she would hold for the next 10 years. Her position with the magazine afforded her the opportunity to accompany the Rolling Stones band on their 1975 international tour. While with Rolling Stone, Leibovitz developed her trademark technique, which involved the use of bold primary colors and surprising poses. Wenner has credited her with making manyRolling Stone covers collector’s items, most notably an issue that featured a nude John Lennon curled around his fully clothed wife,Yoko Ono. Taken on December 8, 1980, Leibovitz’s photo of the former Beatle was shot just hours before his death.

resource book / design artifacts

Designers Illustrators Photographers


Design Artifacts Color Palette Tutorials Resources

resource book / design artifacts / requiem for a dream


Poster Design Name / Requiem For A Dream Date / Produced 2011 Client / The Silver Screen Society Designer / Mike McQuade Discipline / Poster Design Description: An awesome wood type poster paying homage to Darren Aronofsky’s Requiem For A Dream. The combination of objects that form the face greatly contrast with the type. Each image in the poster is fun to look at and you can always find new details you hadn’t discovered before.

resource book / design artifacts / graphis diagrams


Graphis Name / Graphis Diagrams Date / Produced 1979 Client / Graphis Magazine Designer / Walter Herdeg Discipline / Publication Design Description / A beautiful publication on information design and the use of Swiss Style. If only I could get my hands on this beauty.

resource book / design artifacts / montreal olympic logo 1976


Olympic Logo ‘76 1976 Montreal Olympic Logo designed by Georges Huel and Pierre-Yves Pelletier. Name / 1976 Olympic Identity Mark Date / Produced 1976 Client / Montreal Olympic Committee Designer / Georges Huel and Pierre-Yves Pelletier Discipline / Identity and Branding Description / In my poinion one of the best olypic marks designed to date. The influence of the International Typographic Style is clearly seen in the logo. It is timeless and a whole hell of a lot better than recent marks for the Olympic games.

resource book / design artifacts / fruita blanch packaging


Package Design Name / Fruita Blanch Packaging Date Produced / 2011 Client / Fruita Blanch Designer / Atipus studio Discipline / Packaging Description / Simple no non sense packaging. The orange of the product contrasts well with the rich grey and parchment color of the label. A custom typeface was used and designed by the studio. The packaging has a retro feel, but also looks very modern in its simplicity.

resource book / design artifacts / scott pilgrim v the world


Title Sequence Scott Pilgrim Vs the World Title Sequence Name / Scott Pilgrim vs The World Title Sequence Date / Produced: 2010 Client / Universal Pictures Designer / Title Sequence Design: Shynola Creative Director / Richard Kenworthy Main Title Graphics and Flashback Animated Sequences : VooDooDog Title Director: Andrew White Producer:David Z. Obadiah Design: Andrew White, Roger Philips Animation: Alice Dupre, Maki Yoshikura Discipline / Motion Description / An epic and very fitting title sequence for the fantastic movie Scott Pilgrim vs The World. Chaotic, spastic, retro, and overall a visual feast, the title sequence accurately depicts the mood and style of the film which is what a title sequence should do. The only complaint is the kerning on some of the names is way off.

resource book / typography

Designers Illustrators Photographers Design Artifacts

/Color Palette Typography Tutorials Resources

resource book / typography / univers


Univers Date / Produced: 1957 Client / Deberny & Peignot Designer / Adrian Frutiger Type Style: / Sans Serif Description / Univers is one of a group of neo-grotesque sans-serif typefaces, all released in 1957, that includes Folio and Neue Haas Grotesk (later renamed Helvetica). These three faces are sometimes confused with each other, because each is based on the 1898 typeface AkzidenzGrotesk. These typefaces figure prominently in the Swiss Style of graphic design. Different weights and variations within the type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. However, the actual typeface names within Univers family include both number and letter suffixes. Currently, Univers type family consists of 44 faces, with 16 uniquely numbered weight, width, position combinations. 20 fonts have oblique positions. 8 fonts support Central European character set. 8 support Cyrillic character set. Despite the large family of widths, the @ mark is not rescaled by width.

resource book / typography / ziggurat


Ziggurat Date / Produced: 2000 Client / Hoefler Frere-Jones Designer / Hoefler Frere-Jones Type Style / Slab Serif Description / Ziggurat is the cornerstone of The Proteus Project, a collection of four interchangeable type families designed in different nineteenth century styles. Not explicitly a revival of any one typeface, Ziggurat takes its cues from the entire aesthetic of early slab serif (or “Egyptian�) metal types, primarily those produced in Great Britain between 1815 and 1840.

resource book / typography / akzidenz grotesk


Akzidenz Grotesk Date / Produced: 1898 Client / Berthold Type Foundry Designer / Günter Gerhard Lange Type Style / Sans Serif Description / The design of Akzidenz-Grotesk was theorized to be derived from Walbaum or Didot, as demonstrated by the similar font metrics when the serifs are removed. However, the font family also included fonts made by other foundries, such as the c. 1880 typeface Royal Grotesk Light from the Berlin foundryFerdinand Theinhardt Schriftgiesserei, designed by Ferdinand Theinhardt for the scientific publications of the Royal Prussian Academy of Sciences in Berlin. FTS also supplied the regular, medium and bold weights of the typeface. While Hermann Berthold took over Theinhardt’s Berlin foundry in 1908, it wasn’t until the fall of the Prussian monarchy in 1918 that Royal Grotesk was published as part of the Akzidenz-Grotesk font family and renamed AkzidenzGrotesk Condensed.

resource book / typography / futura


Futura Date / Produced: 1927 Client / Bauer Type Foundry Designer / Paul Renner Type Style / Sans Serif Description / Futura has an appearance of efficiency and forwardness. The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast. This is most visible in the almost perfectly round stroke of the o, which is nonetheless slightly ovoid. In designing Futura, Renner avoided the decorative, eliminating non-essential elements. The lowercase has tall ascenders, which rise above the cap line. The uppercase characters present proportions similar to those of classical Roman capitals.

resource book / color palette

Designers Illustrators Photographers Design Artifacts Typography


Color Palette Resources

resource book / color palette / gotham


Gotham Slick, cool, Classic, Batman, gritty, crime,

resource book / color palette / pb&j


PB&J Peanut butter and jelly, fun, summer, indie band, music, easy going,

resource book / color palette / miami


Miami hurricanes, beach, the U, fun, south beach, football,

resource book / color palette / pink arctic


Pink Arctic cold, mysterious, cool, chic, sophisticated, awesome, modern

resource book / tutorials

Designers Illustrators Photographers Design Artifacts Typography Color Palette

/Resources Tutorials

resource book / tutorials / the artist poster


The Artist Poster designed by Fabio Sasso

step 1 Draw rectangles in illustrator. Make sure they resemble or are similar to the first image on the page. color them that tan color for realzzz.

step 2 Duplicate rectangles until you create a city scape of your choosing.Play around with perspective and vary height and the width of the buildings.

step 3 Time to jump into the magnificant Photoshop. Copy the main building and paste it into an Adobe Illustrator file.

step 4 Main building: create a layer on top and then go to Layer>Create Clipping Mask. With theBrush Tool (B) and a very soft brush, paint with white to create a sort of radial light effect coming from the bottom. Repeat for other buildings

Select all buildings and light effect layers, then duplicate them. Go to Layer>Merge Layers. After that go to Edit>Transform>Flip Vertically. Then go to Filter>Blur>Gaussian Blur. Use 10 for the radius.

step 5 Fill the background layer with black. Then fill the rest of this text box with aranious text. For example Lorem ipsum la di da one two three four five six seven eight. The 20’s were great, and so was the movie “The Artist.”

Step 6 Add a new layer and fill it with key [black]. After that go to Filter>Noise>Add Noise. Use 45% for the Amount with Gaussian for the Distribution and Monochromatic. Do not play metal music at night.

Step 7 Image>Adjustement>Levels. Change the black input to 160 the grey to 1.00 and the white to 205. That will create a multitude of stars in the black background. This is an elegant way to tackle sensitve design.

Step 8 Add a white frame to the design.Create a new layer and fill it with black. Go to Layer>Layer Styles>Stroke. Use 70px for the Size and white for the color. Change the Blend Mode to Screen.

Step 9 Now just add your text. I used a font called Andes for that. Also duplicate the background and the buildings then merge them into a new layer. Go to Filter>Blur>Gaussian Blur.

Use 10 for the amount. Change the Blend Mode of this layer to Overlay at 50% Opacity. Duplicate it again and change the Blend Mode of the new one to Soft Light at 60%.

Conclusion Time to add some paper texture on top of the all layers to add the nice vintage look. I used two paper textures using Overlay and Multiply for the Blend Mode.

resource book / tutorials / vintage photo effect


Vintage Photo Effect by designed by Veerle Pieters

step 1 Hue/Saturation preset Old Style and Red Boost Saturation to -40 and Contrast to 54. Adjust Levels . First place the image in a separate layer. In the Layers palette make the Adjustment layer and make an “S” curve.

step 2 Add Contrast and SaturationIn the Layers palette click the Adjustment Layers menu icon and select Brightness/Contrast. Set the Contrast to +20. Click the Adjustment Layers menu icon again and select Hue/Saturation.

step 3 Set the Saturation to +20. Adjust Curves. Select Green from the Channel dropdown menu and adjust the curve as shown in the image below. Now select Blue from the Channel dropdown menu and adjust the curve.

step 4 Apply Lens Correction and Vignette effect Select the layer with your photo, go to the Filter menu and select Convert for Smart Filters. In the Vignette option set the Amount to -75 and the Midpoint to +75. Hit the OK button. You’ll see the Smart Filter appear below the layer. Double clicking

the slider icon on the right will give you the option to adjust the Layer Mode and the Transparency of the effect on the layer. Set the value to 70%. Add some Old Style. In the Layers palette click the Adjustment Layers menu icon again and select Hue/ Saturation. Select Old Style Change the opacity

of this adjustment layer to 50%. Add Red Boost Depending on the result you’re after, you could add another Hue/Saturation Adjustment Layer on top of this and choose the preset option Red Boost (which sets the Hue to -5 and the Saturation to +20).

step 5 The Levels have been tweaked a lot.

step 6 Very visible lens correction effect.

you’re finished!

resource book / tutorials / rawz lighting effect


RAWZ Lighting FX by Fabio Saasso on

Step 1 Fill the background layer with black. Create a new document and using the Rectangle Tool (U) create squares in black, grey and dark grey. Go to Edit>Define Pattern.

Step 2 Then go toLayer>Layer Style>Gradient Overlay. Use dark grey for the colors. The darker one will be at the bottom. Also change the Blend Mode to Multiply.

Step 3 Select Pattern Overlay, then for the Pattern select the Carbon Fiber we created in the previous steps. Also change the Scale to 60%. Now we can start to see it developing.

Step 4 Go to Layer>Layer Style. Select Drop Shadow. For the Blend Mode use Color Burn at 50% Opacity, 90• for the Angle, 2 pixels for Distance and 5 pixels for the Size. You want to try to make it as real and believable as possible.

Step 5 Select Stroke at 3 pixels for the Size, Inside for the Position, 95% for the Opacity and then for the color use #5c7a92, #000000, #5c7a92, #5c7a92, #000000, #5c7a92. For the Style use Linear and for the Angle use 90º.

Step 6 Apply the neon effect and go to Layer>Layer Style. Select Drop Shadow. Use black, with Color Burn for the Blend Mode at 100% for the Opacity. For the Angle use 90º and then 2 pixels for the Distance and 3 pixels for the Size.

Step 7 Selec Outer Glow. For the Blend Mode use Screen, for the Opacity use 100% and blue (#00a2ff) for the color. Change the Spread to 0 and the “Size to 9 pixels. Select Inner Glow. in the FX options.

Step 8 Use Lighten for the Blend Mode with cyan for the color. Also select Edgeand change the Size to 10 pixels. Over the Quality change the Contour to the same as in the image. Refer to the bottom image.

Step 9 Add a new layer. Change the folder’s Blend Mode to Color Dodge and then with the Brush Tool and a very soft brush, 0 hardness, and then paint some spots over the neon to create light spots.

Step 10 Add a new layer inside the folder with color dodge and fill it with the carbon fiber pattern. Create a marquee selection of the neon layer by clicking on the thumbnail of the layer. Go to Layer>Layer Mask>Reveal Selection.

Step 11 Select all layers and duplicate them, after that merge all the new layers into one and go to Filter>Blur>Gaussian Blur. Make sure you group keep your layers grouped. It will help you be organized. Use 10 pixels for the Radius.

Step 12 Duplicate the blurry layer again, change the Blend Mode of the one that is underneath to Overlay and the top to Screen. Change the Opacity to 50%.Go to Layer>New Adjustment Layer>Photo Filter. Use Cyan Filter at 50% density.

resource book / books & sites

Designers Illustrators Photographers Design Artifacts Typography Color Palette Tutorials



resource book / resources / books & sites


Books & Sites Meggs’ History of Graphic Design

Graphic Design: A New History

Graphic Design History: A Critical Guide

Communication Arts


Eye Magazine

Luzer’s Arhcive

Print Magazine

Graphic Design Rreferenced by GomezPolacio & Vit

The Elements of Typographic Style by Robert Eringhurst

Saul Bass: A Life in Film & Design by Jennifer Bass

Symbol by Angus Hyland

Thinking with Type by Ellen Lupton


Personal Reference Book  

My Design Thinking class at UNT were instructed to create a personal reference book that included designers, photographers, illustrators, ty...