Why Graphic Culture Matters
45,000원
Rick Poynor
Occational Paper
Softcover, full colour
ISBN 978-1-9196277-1-7
111 × 180 mm, 320 pp.
“One of the foremost design writers of this era and Why Graphic Culture Matters shows why.” – Mindy Seu
“What a fantastic, compulsive book. There’s just so much in it! Every page opens up new rabbit holes for me to go down.” – Brian Eno
Why Graphic Culture Matters gathers 46 essays by leading design critic Rick Poynor about graphic design and visual communication, written in the past two decades. Poynor writes as a non-designer deeply immersed in the practice of graphic communication. Many of the essays were first published in the renowned American magazine Print, where he was a columnist for 17 years. These incisive pieces – speculative, polemical and questioning – focus on key tendencies and trends, prevailing ideas and new departures.
The collection is divided into three thematic sections, offering alternative critical perspectives on the field. Topics include the commercial takeover of design, design criticism and history, the interplay of word and image, design celebrity, the canon, graphic authorship, critical forms of practice, the enduring intimacy between art and design, and whether graphic design is still an apt term for what graphic communicators do.
“One of the foremost design writers of this era and Why Graphic Culture Matters shows why.” – Mindy Seu
“What a fantastic, compulsive book. There’s just so much in it! Every page opens up new rabbit holes for me to go down.” – Brian Eno
Why Graphic Culture Matters gathers 46 essays by leading design critic Rick Poynor about graphic design and visual communication, written in the past two decades. Poynor writes as a non-designer deeply immersed in the practice of graphic communication. Many of the essays were first published in the renowned American magazine Print, where he was a columnist for 17 years. These incisive pieces – speculative, polemical and questioning – focus on key tendencies and trends, prevailing ideas and new departures.
The collection is divided into three thematic sections, offering alternative critical perspectives on the field. Topics include the commercial takeover of design, design criticism and history, the interplay of word and image, design celebrity, the canon, graphic authorship, critical forms of practice, the enduring intimacy between art and design, and whether graphic design is still an apt term for what graphic communicators do.
