Area

There is something amazing in the way consumerism has birthed its own brand of art. In the 1880’s, when Coca-Cola pushed their first few dollars across the table and asked for a slogan, I wonder if anyone ever dreamed what their industries would become and how much they would owe to this type of expression? I wonder if the idea that Frank L. Balm had about The Storefront Window, saying it was more than a place to keep a store’s useless stuff, went beyond the United States becoming the frontrunner in glass consumption and into a field all its own? I ask because the field of Marketing Psychology intrigues me and, accordingly, the things we’ve birthed to sell items also intrigues me. Maybe “intrigue” isn’t even the right world – maybe I should say that they captivate me, forcing me to search high and low for the best lightbulbs burning in the brightest phosphorescent starlight so to influence the migratory patterns of items that are pushed forth by a culmination of thought and a well-oiled pen.
That is what is so beautiful about Area; it breathes what we are, what we consume, and how this meshes with the very fabric of how we conceive pitch and pitches, ticking and timeless, making up the very definition of art that is more than pictures generated “for art’s sake.” Looking here, it really reflects how the world has become vibrant and how pictures have shaped the world.
Locked inside this book is more than a few pictures – its a blueprint of an overlooked history that America wears all over its geography.

When I look at the field of graphic design, I am always tantalized by the creations that come from it, wanting to pour myself into page after page and see the “next big idea.” It is somewhat like listening to the heartbeat of millions of people thumping in unison; if it clicks it happens to click, and you know what started the motion. Area proves that, too, showing you how far we’ve moved past the simple pixel lay-outs and into the realm of technological highs and really ingenious methods of salesmanship, making so many things seem desirable. In Marketing Psychology it is called tapping into the “ideal self” and making people buy a dream that the “actual self” doesn’t seem to be able to supply.
The idea seems easy enough to understand, too, and sometimes people laugh at the power wielded by the pen and call the “needing” lemmings. Here, in this book, I find a lot of laughter falling short of its mark and even the bigger birds of prey noticing things they adore and why they learned to adore it.

When I first bought this book I thought it would simply feed my tastes and purse my lips with the hum of more curiosity, but lately I’ve noticed how much influence the book has. It has thousands of pictures, quite literally, and sometimes I catch my friends standing with their eyes glued to an item and that blank stare of “something remembering something” coming out as they slow move through the pages. Its as if Ford’s comments on the heart of the new type of manufacturing, “machinery is the new messiah,” have found application in ways he never intended.
If you want to see how great that can become, how powerful advertising can become, then you should look at this book and see what I mean. Currently the one I own has been in my clutches for well over a year, and I still have around one hundred pages tabbed just so I can look back over them and marvel at the creativity that thrives in make-believe places orbiting some very real horizons.

Even if you know nothing about art, you know what beauty is and this book comes highly recommended in that department.

Excellent overview of current state of design. Although the book is a bit too heavy, don’t try reading this in bed or on a plane, it is worth every penny. Compared to Area (the non-numbered first issue) this book focuses not only on paper based graphic design and I really don’t know how one can assess or put a value on such a broad field of possibilities. It is still brilliant. For anyone assuming an investment in graphic design be it a box, a shop, a book, stationery or whatever needs an outside with colours or patterns, this book is a must-have, must read.

Some great works, some not.
Probably the selection, after some years, will illustrate the trend and the specificity of the 2000-10s. Like a time capsule.
With the extension of the book and the numerous images you will have a somewhat good reference of inspiration, at least varied.

This book is an incredible asset to anyone involved in design professions or the creative process as a means of income.
There is little text, but lots and lots and lots of visualizations. The graphics are stunning, from the cutting edge to the everyday of the New York Times. The point is that this book runs the spectrum of graphic arts – and these are very fine arts on display. Each graphic artist was hand selected by a jury of critics – the format is similar to many of Phaidon’s (the publisher) other titles in related design/art professions. 10 x 10 in architecture, Vitamin P in contemporary painting, Cream3 and Fresh Cream as well. I happen to own many of these other titles and find them all fascinating, artistically enriching and visually compelling.
I cant say that everyone will be as awe struck as I, nor can I say that all will have some sort of deep, penetrating and profound revelation viewing this book. What I can say is that this is a quality piece. Even if these artist/professionals are not new to you, or the mediums and concepts employed are old news, the book is still well made and keenly organized.
I know nothing of the finer points to graphic design. Sure I know a few names such as Paul Rand, but I know that I enjoy opening this book and examining the contents. Good design is good design and I am very fascinated by the thought of applying the visual stimulation and pleasure, gleaned from this book, to the work I do as an architect.

I am an artist and instructor who needs an occasional design inspiration for myself or my students. This book features artwork from artists and designers around the world. It is good to see some pieces that depict an idea I’ve had and an artist has already created it. This gives me the motivation to keep my creative fluids active. I can also compare my work with other artists worldwide.