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Libros sobre el tema "Design"

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Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 7 de julio de 2024

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1

Supon, Design Group Inc. See design, hear design, speak design. New York: Madison Square Press, 2001.

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2

Capponi, Carlo y Marco Romanelli. Design behind design. Cinisello Balsamo, Milano: Silvana editoriale, 2016.

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3

Fung, John Chye. Dementia design sourcebook: Design guide, design elements. Singapore: Department of Architecture, NUS, 2015.

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4

Hepler, Donald E. Architecture: Drafting and design. 6a ed. Mission Hills, Calif: Glencoe/McGraw-Hill, 1991.

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5

Hepler, Donald E. Architecture: Drafting and design. 5a ed. New York: Gregg Division, McGraw-Hill, 1987.

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6

Gassner, Christof y Peter von Kornatzki. Industrie-Design, Kommunikations-Design. Editado por Fachhochschule Darmstadt Fachbereich Gestaltung. Darmstadt: Die Fachhochschule, 1991.

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7

Lausanne, Ecole cantonale d'art de. Graphic design =: Design graphique. Zurich: ECAL, 2004.

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8

Board, Engineering Industry Training, ed. Design methods & creative design. [London]: EITB, 1987.

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9

Hiromura, Masaāki. From design to design. Tōkyō: Art Design Publishing Company, 2015.

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10

Francisco, Asensio Cerver y Montes Cristina, eds. Furniture design =: Möbel Design. New York, NY: TeNeues, 2002.

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11

Hickey, Alice. Design Creations: Designs. Lulu Press, Inc., 2021.

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12

Mediæval design =: Design des mittelalters = Diseños medievales = Il design medievale = Designs médiévaux. Amsterdam: The Pepin Press, 1999.

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13

Sherin, Aaris. Introduction to Graphic Design. 2a ed. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350232266.

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From your first day learning the basic terms of design, through to bringing together your final portfolio, Introduction to Graphic Design (2nd edition) is the perfect companion for your learning journey. Written by experienced educator and designer Aaris Sherin, this popular textbook is designed for visual learners and explains all the key topics introductory graphic design classes will contain. Concepts covered include layout, narrative, semiotics, colour, typography, production, and context, and examples range from packaging design and advertising, through to apps and motion graphics.
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14

Pinder, Polly. Roman Designs (Design Source Books). Search Press, 2005.

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15

Handley, Elaine. Viking Designs (Design Source Books). Search Press, 2004.

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16

Pinder, P. Design Library Art Deco Designs. Search Press, Limited, 2012.

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17

Southan, Mandy. Flower Designs (Design Source Books). Search Press, 2001.

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18

Southan, Mandy. Flower Designs (Design Source Books. Search Press(UK), 2006.

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19

Griffin, Sonia. Wedding Designs (Design Source Books). Search Press, 2005.

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20

Pinder, Polly. Egyptian Designs (Design Source Books). Search Press, 2003.

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21

Fink, Joanne. Design Originals-Zenspirations Dangle Designs. Design Originals, 2013.

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22

Hill, Elaine. Christmas Designs (Design Source Books). Search Press, 2002.

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23

Pinder, Polly. Medieval Designs (Design Source Books). Search Press, 2003.

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24

Pinder, Polly. Tudor Designs (Design Source Books). Search Press, 2005.

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25

Hill, Elaine. Chinese Designs (Design Source Books). Search Press, 2003.

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26

Greenwood, Jane. Persian Designs (Design Source Book). Search Press(UK), 2004.

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27

Hill, Elaine. Halloween Designs (Design Source Books). Search Press, 2003.

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28

Brown, Penny. Aboriginal Designs (Design Source Books). Search Press, 2007.

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29

Davis, Courtney. Celtic Designs (Design Source Books). Search Press, 2001.

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30

Hill, Elaine. Victorian Designs (Design Source Books). Search Press, 2002.

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31

Brown, Penny. Aztec Designs (Design Source Books). Search Press, 2005.

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32

Cook, Amber Marisa. Digital Design for Custom Textiles. Routledge, 2019. http://dx.doi.org/10.5040/9781351380485.

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Digital Design for Custom Textiles: Patterns as Narration for Stage and Film is a beginner’s guide for creating custom textile patterns for performing arts production, with an emphasis on storytelling through design using hand and digital design techniques. The book offers essential information for the beginning digital designer, such as: methods of designing patterns, appliqués, and unique textures for custom textiles;custom textile examples including various styles of pattern repeats, digital embroidery, and cut and sew textiles;full-color, step-by-step instructions and practice exercises;production timelines;a textiles and patterns glossary. Digital Design for Custom Textiles will allow students and design professionals to embrace digital media to enhance their work, apply digital alternatives to find the perfect fabrics and embellishments, and create more meaningful and personalized designs for the stage.
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33

Luna, Paul. Design. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199574797.003.0008.

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The Press’s approach to the design of its publications between 1970 and 2004 developed in parallel to its editorial policy. When the publishing departments were reorganized in Oxford in the mid-1970s, the design operations for general trade, educational, and academic books were consolidated. The increasing demand for design-intensive publications and the widely differing requirements of different titles soon necessitated the creation of individual design departments within each publishing department. Each design studio responded to the design challenges of its books, which were very different, and there were no centralized design standards until the implementation of the corporate identity in 1998. The chapter discusses how designers approached OUP books and considers the success of their designs, taking into account typefaces, typesetting, cover design, format, and illustration.
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34

Donnelly, Daniel. WWW Design: Flash: The Best Web Designs from Around the World (WWW Design) (WWW Design). Rockport Publishers, 2002.

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35

Lloyd, Ian J. 19. Design rights. Oxford University Press, 2017. http://dx.doi.org/10.1093/he/9780198787556.003.0019.

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This chapter considers two forms of design right available in the United Kingdom: registered and unregistered design rights. The former is the older concept and was initially applicable to designs intended to be imprinted on linen; the system was extended to other forms of product by the Copyright and Design Act of 1839. This offered protection for ‘the ornamentation and for the shape and configuration of any article of manufacture’. The notion of unregistered design right was introduced to the United Kingdom in the Copyright, Designs and Patents Act 1988. Design rights in tablet computers are also discussed.
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36

Koyama, Yuki y Takeo Igarashi. Computational Design with Crowds. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198799603.003.0007.

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Computational design is aimed at supporting automating design processes using computational techniques. However, some classes of design tasks involve criteria that are difficult to handle only with computers. For example, visual design tasks seeking to fulfil aesthetic goals are difficult to handle purely with computers. One promising approach is to leverage human computation; that is, to incorporate human input into the computation process. Crowdsourcing platforms provide a convenient way to integrate such human computation into a working system. In this chapter, we discuss such computational design with crowds in the domain of parameter tweaking tasks in visual design. Parameter tweaking is often performed to maximize the aesthetic quality of designed objects. Computational design powered by crowds can solve this maximization problem by leveraging human computation. We discuss the opportunities and challenges of computational design with crowds with two illustrative examples: (1) estimating the objective function to facilitate the design exploration by a designer and (2) directly searching for the optimal parameter setting that maximizes the objective function.
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37

Group, Supron Design. See Design, Hear Design, Speak Design (Supon Design Group). HarperCollins Design International, 2002.

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38

Group, Supon Design. See Design, Hear Design, Speak Design. Watson-Guptill Publications, 2002.

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39

Glegg. Design of Design. Cambridge University Press, 2009.

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40

Peto, James. Design (Design Museum). Editado por James Peto. Design Museum, 1999.

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41

Doors (Design) (Design). P I E Books, 2005.

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42

Glegg. Design of Design. Cambridge University Press, 2010.

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43

Farrand, Scott. Design & in Design. Cognella, 2011.

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44

Stoops, Jack y Jerry Samuelson. Design Dialogue (Design). 2a ed. Davis Publications, 1990.

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45

Pila, Justine. The Design. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688616.003.0007.

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This chapter defines the terms used to denote the subject matter protectable by European and UK registered and unregistered design right with reference to legal officials’ understanding of each type of subject matter. Starting from a recognition of the intersection of the design right and other intellectual property regimes, the chapter considers several aspects of design law before concluding that designs are authorial works within the meaning of European or traditional UK copyright authorities, albeit with a different history of production than that traditionally required of such works by UK legal officials. The chapter concludes with a summary of the categories and essential properties of registered and unregistered designs, an account of legal officials’ methods for individuating them, and a discussion of the relationship between legal officials’ methods of establishing the existence of individual registered and unregistered designs and their tokens respectively.
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46

Stolterman, Erik, Friedman Ken, Ezio Manzini y Rachel Coad. Design, When Everybody Designs: An Introduction to Design for Social Innovation. MIT Press, 2015.

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47

Manzini, Ezio y Rachel Coad. Design, When Everybody Designs: An Introduction to Design for Social Innovation. MIT Press, 2015.

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48

Manzini, Ezio y Rachel Coad. Design, When Everybody Designs: An Introduction to Design for Social Innovation. MIT Press, 2015.

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49

Design, When Everybody Designs: An Introduction to Design for Social Innovation. MIT Press, 2015.

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50

Ray, Sumantra (Shumone), Sue Fitzpatrick, Rajna Golubic, Susan Fisher y Sarah Gibbings, eds. Clinical trial design. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780199608478.003.0014.

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This chapter outlines the various study designs and their uses. The phases of drug development are described and the appropriate study design employed at each phase of development is identified Elimination of bias is critical to the study design and methods of eliminating bias are discussed, defining the population, randomisation and blinding. A summary of the elements to be considered when designing a study are presented including the types of control, placebo or active, and their uses, Non comparative and comparative designs are presented. In the comparative design both within and between patient designs are discussed including crossover, parallel, sequential, factorial and left right comparisons. Patient outcomes measures as well as efficacy measurement are required for new treatments. There is a brief review of pharmaeconomic study designs. Other types of study design, dose escalation and dose response studies are also discussed. As well as reducing bias in studies another critical element is the recording of the primary assessment methods. The choice of methods will affect other aspects of the study such as the statistical considerations. The methodology must be standardised and validated.
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