The Graphic Language of Neville Brody 2.

Fülszöveg

In the six years since Rizzoli's publication of the first best-selling volume of The Graphic Language of Neville Brody, the way we communicate has been revolutionised- by the impact of the personal computer. Neville Brody is at the forefront of this revolution, transforming his typography to explore the visual language we will use in the electronic communications world.
Following his influential designs for The Face and Arena magazines, Brody started his own studio, determined to develop the expressive possibilities of "digital forms. The last few years have been a period of research and development, challenging the conventional idea that the computer is simply a tool that mimics and replaces physical activities.
Alongside the computer's effect upon the design world has been a growing global awareness, encouraging and driving Brody's collaborations with a diversity of clients from the corporate to the independent, in Europe, America, and Japan.
Many of the designs in this... Tovább

Fülszöveg

In the six years since Rizzoli's publication of the first best-selling volume of The Graphic Language of Neville Brody, the way we communicate has been revolutionised- by the impact of the personal computer. Neville Brody is at the forefront of this revolution, transforming his typography to explore the visual language we will use in the electronic communications world.
Following his influential designs for The Face and Arena magazines, Brody started his own studio, determined to develop the expressive possibilities of "digital forms. The last few years have been a period of research and development, challenging the conventional idea that the computer is simply a tool that mimics and replaces physical activities.
Alongside the computer's effect upon the design world has been a growing global awareness, encouraging and driving Brody's collaborations with a diversity of clients from the corporate to the independent, in Europe, America, and Japan.
Many of the designs in this second, ground-breaking volume of Brody's work have never been seen before outside the country of their commission. Projects for the Tokyo department store Parco, the Dutch telecom company PTT, the Austrian state broadcasting company ORF and the Gérman cable TV channel Premiere have created the opportunity to introduce radical work in a commercial context. For Greenpeace, Amnesty International and the Rio Earth Summit, Brody has created powerful images to highlight environmental concerns.
The innovative results appear here alongside his new typeface designs published by FontShop International, with whom Brody also set up FUSE, the award-winning interactive magazine that acts as an experimental forum for digital technology.
The Graphic Language of Neville Brody 2 is a wide-ranging and forceful introduction to a period of change that has barely begun to take its full course. The electronic future of multimedia systems, artificial intelligence and the Internet makes it an essential purchase for all those fascinated by the shape of communication in the 21st century.
Jon Wozencroft is editor of FUSE, managing editor for the audiovisual publishing company Touch, and a founder member of the Neville Brody Studio.
With 930 iiiustrations, 784 in colour Vissza