Lars Müller Publishers 2010/2011 Architecture Design Photography ...

wolfgang weingart
TyPOgrAPhy
My wAy TO
TyPOgrAPhy
Design:
wolfgang weingart
22.5 × 27.5 cm, 8 ¾ × 10 ¾ in
520 pages, 450 illustrations
hardcover
2000, ISBN 978-3-907044-86-5
English /German
EUR 55.– GBP 50.–
USD / CAD 120.–
Lars Müller
JOSEf MÜLLEr-
BrOCKMAnn
Pioneer of Swiss
graphic Design
Design:
Integral Lars Müller
19 × 27 cm, 7 ½ × 10 ¾ in
264 pages, 369 illustrations
softcover
1994, ISBN 978-3-906700-89-2
English
1994, ISBN 978-3-907078-59-4
German
EUR 40.– GBP 40.–
USD / CAD 50.–
Claude Lichtenstein
PLAyfuLLy rIgID
Swiss Architecture,
graphic Design, Product
Design, 1950 –2006
Design:
Integral Lars Müller
16.5 × 24 cm, 6 ½ × 9 ½ in
300 pages, 370 illustrations
hardcover
2007, ISBN 978-3-03778-090-9
English
2007, ISBN 978-3-03778-089-3
German
EUR 25.– GBP 25.–
USD / CAD 38.–
Since the 1970s Wolfgang Weingart has exerted
a decisive influence on the international development
of typography. In the late 1960s he instilled
creativity and a desire for experimentation into
the ossified Swiss typographical industry and
reflected this renewal in his own work. Countless
designers have been inspired by his teaching
at the Basel School of Design and by his lectures.
In Typography Weingart gives an unusual and
frank narrative of his early life and development
as a designer. For the first time he gives a comprehensive
survey of his works over the past forty
years, most of which are unknown.
In his illustrated essay, Lars Müller traces the
history of “Swiss Graphic Design” from the
1930s to the 1960s. Müller-Brockmann’s posters
have become world famous for their ability
to convey information with great visual tension,
a sense of drama, and an extreme economy
of means. Müller-Brockmann created a body of
work in which timeless principles of visual
communication are inscribed.
This broad selection of swiss architecture,
graphic design, and design from 1950 to 2006
demonstrates that playful humor and clarity
are by no means opposites, but a highly unusual
duo of qualities that mingle and interpenetrate.
The question addressed by this publication
is: are these examples from three professions,
various regions and languages, and a period
of more than fifty years bound together by
a common denominator?
Pierre Mendell
AT fIrST SIghT
Design: Pierre Mendell
24 × 30 cm, 9 × 11 ¾ in, 160 pages
200 illustrations, hardcover
2001, ISBN 978-3-907044-49-0
English
2001, ISBN 978-3-907078-64-8
German
EUR 30.– GBP 30.–
USD / CAD 45.–
Pierre Mendell
POSTErS fOr ThE
OPErA
Design: Pierre Mendell
15.5 × 22 cm, 6 × 8 ¾ in, 160 pages
97 illustrations, hardcover
2006, ISBN 978-3-03778-082-4
English/German
EUR 25.– GBP 23.–
USD / CAD 33.–
Mark holt, hamish Muir
8vo
On ThE OuTSIDE
Design: Mark holt,
hamish Muir
12 × 16 cm, 4 ¾ × 6 ¼ in, 536 pages
395 illustrations, hardcover
2005, ISBN 978-3-03778-019-0
English
EUR 25.– GBP 23.–
USD / CAD 38.–
The design of Pierre Mendell (1929–2008) is
characterised by elements which are missing in
large part of contemporary graphic design: pithy
impact, communi cative force, poetry and humour.
The unfailing topicality and importance of his
work shows that visual communication based on
idea and context is more durable than those
subject to the dictates of electronics. Mendell’s
cultural posters and corporate design programs
are timelessly contemporary and modern. The
publication aims to encourage designers to trust
in the power of the idea and of simple forms and
to see their work as cultural expression of the
wider society.
Pierre Mendell has been designing the posters for
the Staatsoper in Munich from 1993 to 2006.
With over a hundred motifs to his name, he has
not only successfully created an unmistakable
identity for the Munich opera, he has also linked
this opera house with a form of visual expression
that is unparalleled in its originality and immediacy.
Mendell’s simple, almost archaic, visual language
is admired over the world and his poster designs
are represented in leading collections such as the
Museum of Modern Art, New york.
On the outside surveys 8vo’s work from 1984
to 2001, including Octavo, the international journal
of typography and its influence in the emergent
typographically-led design movement in the
UK and internationally during the late 1980s and
through the 1990s. The emphasis is on process:
trying to reveal how 8vo’s design got made
rather than simply showing finished jobs.
Written and designed by Mark Holt and Hamish
Muir, two of the founding principals of 8vo, the
story is told how it was – the everyday struggles
of working with clients, typesetters, printers,
and later on computers.
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