How to be a Graphic Designer, Without Losing Your Soul

Przednia okładka
Laurence King Publishing, 2005 - 160
"Designers are quick to tell us about their sources of inspiration, but they are much less willing to reveal such critical matters as how to find work, how much they charge, and what to do when a client rejects three weeks of work and refuses to pay the bill. How to be a graphic designer without losing your soul addresses the concerns of young designers who want to earn a living by doing expressive and meaningful work, and who want to avoid becoming hired drones working on soulless projects. Written by a designer for designers, it combines practical advice with philosophical guidance to help young professionals embark on their careers. How should designers manage the creative process? What's the first step in the successful interpretation of a brief? How do you generate ideas when everything just seems blank? How to be a graphic designer offers clear, concise guidance for these questions, along with focused, no-nonsense strategies for setting up, running, and promoting a studio, finding work, and collaborating with clients. The book also includes inspiring interviews with ten leading designers, including Rudy VanderLans (Emigre), John Warwicker (Tomato), Neville Brody (Research Studios), and Andy Cruz (House Industries). All told, How to be a graphic designer covers just about every aspect of the profession, and stands as an indispensable guide for any young designer." - publisher description.
 

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Oceny użytkowników

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LibraryThing Review

Recenzja użytkownika  - BauhausBooks - LibraryThing

Published to instant acclaim in 2005, our best selling How to Be a Graphic Designer without Losing Your Soul has become a trusted resource for graphic designers around the world, combining practical ... Przeczytaj pełną recenzję

LibraryThing Review

Recenzja użytkownika  - seeminglee - LibraryThing

This is a fantastic book on how to be a graphic designer in the competitive market. If you reverse its point, it also helps a lot in understanding how to interview designers when piles of portfolios and resumes arrive at your desk. Przeczytaj pełną recenzję

Spis treści

p 916
10
Chapter 1p 1727
17
Chapter 2p 3043
32
awardwinning stuff Alistofemployment optionsWorkin a studio or workinhouse for
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Chapter3p 4753
47
Chapter 4p 5869
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Chapter 5p 7383
73
Chapter 6p 8897
88
always get the good jobs? New business and how to promote yourselfNew
97
Chapter 9p 134147
134
p 148151
150
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Strona 5 - Proficiency in requisite technologies, not to mention a slew of optional techniques, easily takes a year or more to master in a rudimentary way. Acquiring fluency in the design language(s), most notably type, is an ongoing process. Then there is instruction and practice in a variety of old and new media -print and web, editorial and advertising, static and motion, not to mention drawing and photography these take time to leam, no less to hone.
Strona 5 - Theory is also a useful foundation if taught correctly, but it is often perfunctorily shoehomed into studio classes. How can a design student function without verbal expertise, let alone the ability to read and research? This must also be taught in an efficient manner that takes time. And then there is basic business acumen; every designer must understand fundamental business procedures, which are virtually ignored in the ultimate pursuit of the marketable portfolio.

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