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Daniel Eatock Imprint
Imagine the work of a young designer for whom concept and humor are more important than the glossy aesthetics of mainstream periodicals and design annuals and for whom the message trumps the media, and you begin to get an idea of the refreshingly smart and thought-provoking work of Daniel Eatock. Rejecting the widely held opinion that work made without a client is "art" and work for hire is "design," Eatock challenges both categories by purposely blurring the distinction. Whether he is solving traditional client problems or those of his own choosing, Eatock’s work responds to personal fascinations and the pure desire to invent, discover, and present. The first monograph on this unconventio...
In the Good Name of the Company
The Los Angeles-based Colby Poster Printing Company has been a friend to local artists ever since Ed Ruscha's seminal Colby-printed announcement for the 1962 Pasadena Art Museum exhibition New Paintings of Common Objects. Their fluorescent posters have been disseminated on every high-traffic surface across the city, and their collection of over 150 wood and metal typefaces have remained an integral part of Los Angeles' visual aesthetic. This book is a unique tribute to Colby and the visual and cultural impact it continues to hold today.
I Used to Be a Design Student
This book offers a rare chance to read what graphic designers feel about their education and profession. Fifty influential designers give the low-down about their student days and their professional lives. A piece of their college work is shown alongside an example of current work. Each designer also offers a key piece of advice and a warning, making this a must-read for anyone embarking on a career in design. The book looks at the process a designer goes through in finding their 'voice'. Topics addressed include how ideas are researched and developed; design and other cultural influences, then and now; positive and negative aspects of working as a designer; motivations for becoming a designer; and whether it's really possible to teach design. Contributors include Stefan Sagmeister, James Goggin, Karlssonwilker, Studio Dumbar, Cornel Windlin, Daniel Eatock, Spin, Hyperkit and Christian Küsters.
The Annotated Reader
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Daniel Eatock
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Nov York
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Graphic Design
Published on the occasion of an exhibition held at the Walker Art Center, Minneapolis, Minn. and four other institutions between Oct. 22. 2011 and Dec. 2013.
Postcard
In recent years, postcards have become so much more than a tacky holiday greeting. Graphic designers, illustrators, and advertisers are seizing the postcard and repurposing it with quirky new designs that give a new twist to a classic format. Postcard is a showcase of the most exciting postcard designs and postcard-related projects, includinghandmade artworks, limited-edition sets and books, commercial promo cards, high-tech postcards, and interactive online projects that successfully link the virtual with the physical world. Designed and compiled by international design studio FL@33, the book features more than 100 artists, illustrators, photographers, designers, and studios/collectives from around the world, with emerging talents sitting alongside established artists. The book includes a collector's set of 20 specially commissioned postcards from some of the biggest names in the business.
Dimension
306090 has emerged as an essential forum for issues of architectural practice and theory. Each volume addresses a pressingissue and offers diverse, cross-disciplinary solutions in the form of projects, ideas, buildings, and other media. Dimension (306090 12) reconsiders the act of measurement and definition in architectural design practice. Architecture in the past two decades has been transformed by the ongoing revolution in digital design and fabrication techniques. Dimension explores how the data, design, and invention derived from the act of measurement can help architects respond to economic, political, and environmental factors.
Oracles
This book presents 123 calling cards of artists (painters, sculptors, photographers, architects, graphic designers, illustrators etc.) from the 18th century to the present day. The facsimiled cards are slipped like bookmarks into a book by several authors on the history of the use of calling cards, the social context in which they were produced, and related historical and fictional narratives. The often unexpected graphic qualities of these personalized objects, each designed to capture an individual identity within the narrow confines of a tiny rectangle card, implicitly recount a history of taste and typographic codes in the West. But this calling card collection also lays the foundations ...
