The book is categorized to agriculture, people livelihood, agricultural and sideline, agricultural finance and agricultural policy. By way of categorized design, the book is more cater to the aesthetic demand of people. In order to be closer to file, a full enclosed book cover was designed. Readers can open the book only after tearing it. This involvement let the readers experience the process of opening a file. Moreover, some old and beautiful farming symbols such as Suzhou Code and some typography and picture used in particular ages. They were recombination and listed in the book cover.
Viliam Kitanov is professionally biased in favour of the logo creation and decided to take a similar approach to the magazine making it more distinctive as well as his job more interesting. The key element is the idea behind the graphics. A graphic wit could be a letter, a word or a drawing, but it's always related to a design topic. As a result the magazine is not only the bearer of a certain information, but has its own additional value.
The book is about the living descendants of the great Hungarian poet, Sandor Petofi. It documents the vast amount of research the author did, ranging from interviews, archive photographs to detailed family trees. The book is divided between two families(the poet's mother's and father's branch). These are marked in the middle of the spreads with the page numbers. Each chapter starts with a fictional writing of the poet, as if he was commenting on his descendants. To show the relationships, family trees were drawn and placed on fold-out pages.
This issue celebrates Matariki, new beginnings and acknowledges influences and learnings; past, present and future. This edition’s intention is to increase awareness of contemporary Māori Art and Design but more importantly connect communities and industries locally and globally. This issue is a collaboration and co-edition with Ngā Aho featuring 10 of New Zealand’s most contemporary Māori artists and designers; Carin Wilson, Lisa Reihana, Rangi Kipa, Jack Gray, Elisapeta Hinemoa Heta, Lonnie Hutchinson, Natalie Robertson, Janet Lilo, Jessica Sanderson and Martin Awa Clarke Langdon.
“Design in Italy in project groups from 1960 to 1990” is a historical and analytical research that presents a study of the experiences of Italian design groups from the 1960s onwards. The aim is to analyse the developments and the importance they have had in the context of national and international design. Through the consultation of primary sources, this volume describes an unprecedented overview of a phenomenon that has still not been entirely historicized, tracing the outlines and investigating the connections between groups of designers, places, trends, and theoretical frameworks.
Vanishing Crafts is designed to promote the awareness of traditional crafts. It was conceived to serve as a memory project of Singapore, sharing stories of the last remaining artisans. Readers are invited to partake as co-creators. The pages are designed with lots of blank space for their curatorial input, their memory records and photographs of any traditional artisan and vanishing trade from around the world. In order for this valuable history to pass down for generations to come, a children’s storybook is included to introduce this heritage to the younger generations.