Already renowned for his work on data visualization, editor Nicholas Felton examines the past and present realms of photographic visualization and points to innovative possibilities for the future. He is best known for his work on Facebook’s Timeline and his Felton Personal Annual Reports.
Whether as a complement to written content or a stand-alone attention getter, illustration is being used more and more often to set prominent accents. Illustrations have become a key component of advertising, communication, reporting, and other media. Because visual storytelling gets messages across more effectively in our age of information overload, illustration is gaining in importance. It’s no wonder that the current spectrum of creative expression represented by this technique is so vast.
Mind the Map features a stunning selection of outstanding contemporary maps that help us find our way around. The book shows how they are being used to communicate what makes a region special, to put a specific location into context, to create moods, or to tell stories. Some maps help us to orient ourselves in a foreign country or an unfamiliar city, while others make pathways clear and logical that might otherwise seem confusing.
Stars on the international scene give their personal insights into the hands-on aspects of working in specific areas of illustration. Editorial illustrator Olaf Hajek and fashion illustrator Liselotte Watkins, for example, explain how a subject must not only be depicted with savvy, but also in the style of the publication in which the work will appear. Information graphics specialists Jan Schwochow and Francesco Franchi explain why the content of their work must be absolutely correct—and how it often needs to be researched and visually dissected with dogged perseverance.
In recent years, illustration has evolved from a purely service-oriented trade to an expressive, poetic, and esteemed voice in contemporary visual culture. Today it continues to burgeon as a creative discipline––especially in its more artistic forms. Editorial design increasingly uses illustration in place of photography because it depicts and enriches content in a way that offers an expanded dimension of communication.
After going through an eclectic, baroque, and iconic phase, today’s design is again taking its visual cues from functionalism and pragmatism. Young graphic designers and illustrators are working in a way that is influenced by the principles of classic modernism. They avoid excess or exaggeration to create enduring work of the highest quality.
Building further upon the success of our editions of illustrated fairy tales by the Brothers Grimm and Hans Christian Andersen, we have now asked talented young illustrators to visually update exotic stories from 1001 Nights. The popular combination of the traditional texts with these contemporary images gives all fairy tale fans the opportunity to rediscover these narratives anew.
Nach unseren beliebten Editionen der Illustrierten Märchen der Brüder Grimm und Hans Christian Andersen haben wir nun auch die exotischen Geschichten aus 1001 Nacht von jungen Illustrator/innen visuell aufarbeiten lassen. Die populäre Kombination von originalen Texten und zeitgemäßen Bildern gibt allen Märchenfans die Möglichkeit, die vertrauten Erzählungen ganz anders zu erleben.
Oliver Jeffers is a world famous creator of picture books for children. International bestsellers such as How to Catch a Star, Lost and Found, The Incredible Book Eating Boy, and Stuck are not only beloved by children and parents alike, but are also highly acclaimed by critics and have won numerous respected awards.
Olaf Hajek is currently one of the world’s most successful and well-known illustration artists. His work can be seen in newspapers including the Washington Post and the New York Times, in magazines such as Rolling Stone and Time, in advertisements for international brands, and on stamps for Great Britain’s Royal Mail. Despite the diversity of his clientele, Hajek makes no aesthetic compromises. His characteristic style is what makes his work appealing to a broad audience and range of clients.
Today, illustration appears in design-related projects in a wide range of styles. One can find drawings done fleetingly by hand just as often as polished vector graphics created on computers. Motifs are not only being produced in pencil, chalk, airbrush and marker but also by mixing media, for example by combining illustration, photography and wallpaper. But when so many alluring possibilities currently exist in illustration, how can one stay up to date and how should one evaluate new developments?