Book Description
This book was written for statisticians, computer scientists, geographers, researchers, and others interested in visualizing data. It presents a unique foundation for producing almost every quantitative graphic found in scientific journals, newspapers, statistical packages, and data visualization systems. While the tangible results of this work have been several visualization software libraries, this book focuses on the deep structures involved in producing quantitative graphics from data. What are the rules that underlie the production of pie charts, bar charts, scatterplots, function plots, maps, mosaics, and radar charts? Those less interested in the theoretical and mathematical foundations can still get a sense of the richness and structure of the system by examining the numerous and often unique color graphics it can produce. The second edition is almost twice the size of the original, with six new chapters and substantial revision. Much of the added material makes this book suitable for survey courses in visualization and statistical graphics.
"This fascinating book deconstructs the process of producing graphics and in doing so raises many fascinating questions on the nature and representation of information...This second edition is almost twice the size of the original, with six new chapters and substantial revisions."
Short Book Reviews of the International Statistical Institute, December 2005
"When the first edidtion of this book appeared in 2000 it was much praised. I called it a tour de force of the highest order. (Wainer, 2001), Edward Wegman (2000) argued that it was destined to become a classic. Now, six years later this very fine book has been much improved."
Howard Wainer for Psychometrika
"...The second edition is an impressive expansion beyond a quite remarkable first edition. The text remains dense and even more encyclopedic, but it is a pleasure to read, whether a novice or an expert in graphics...this book is a bargain...The second edition is a must-have volume for anyone interested in graphics."
Thomas E. Bradstreet for the Journal of the American Statistical Association, December 2006
"I find myself still thinking about the book and its ideas, several weeks after I finished reading it. I love that kind of book."
Mark Bailey for Techometrics, Vol. 49, No. 1, February 2007
"Warts and all,
The Grammar of Graphics is a richly rewarding work, an outstanding achievement by one of the leaders of statistical graphics. Seek it out."
Nicholas J. Cox for the Journal of Statistical Software, January 2007
Customer Reviews:
covers a wide array of graphics.......2001-06-01
A good book with lots of actual graphical examples to illustrate the different concepts. Coverage of many different kinds of graphs and how they are related and transformed into each other.
Book Description
Life in the image world has made us all voracious, if not always deliberate, consumers of visual messages. Easy access to computer graphic tools has turned many of us into either amateur or professional image producers. But without a basic understanding of visual language, a productive dialogue between producers and consumers of visual communication is impossible. Visual Grammar can help you speak and write about visual objects and their creative potential, and better understand the graphics that bombard you 24/7. It is both a primer on visual language and a visual dictionary of the fundamental aspects of graphic design.
Dealing with every imaginable visual concept—from abstractions such as dimension, format, and volume; to concrete objects such as form, size, color, and saturation; to activities such as repetition, mirroring, movement, and displacement; to relations such as symmetry, balance, diffusion, direction, and variation—this book is an indispensable reference for beginners and seasoned visual thinkers alike. Whether you simply want to familiarize yourself with visual concepts or whether you're an experienced designer looking for new ways to convey your ideas to a client, Visual Grammar is the clear and concise manual that you've been looking for.
Customer Reviews:
I Found It Facinating.......2007-08-02
I stumbled on this book at the local library and found it a very fascinating read. I've been involved in graphic production for years and can push the objects around on the comp, but never really knew the basics and foundation of visual language.
This is a great primer to learn the basic concepts that lead one to want to learn the syntax and the structure of the visual nouns learned.
This is something I will purchase and pore over until I learn the concepts.
If you missed out in 5th grade..........2007-03-29
Wow. Thats just it for this book. Seriously, someone wanted a publication and farted this thing out. I mean, it gives you the vocab of the elements...thats it. Im a college design teacher and this book would be great for a middle-school art/design class.
If you want simplistic...this may be for you.
A book with few words.......2006-12-03
This book certainly takes the simplicity route. It is ruthlessly straightforward in regards to expressing it's information, in a layout that is without a doubt concise and efficient. The nadir? It also unfortunately reads like stereo instructions and the knowledge it tries to impart is thoroughly basic at best. Simple shapes and the like may be the building blocks of structure, but without any really tangible information to be gleaned we are left with an attractive skeleton. Yes there are some bits of wisdom in this book as well as some fetching Adobe Illustrator rendered graphics, but by and large we're just left with more white space than a snowstorm. I really do think people should form their own opinions about reference materials however, maybe you could learn a great deal from this work. Buy it, try it, but I honestly can't envision the need for this volume in light of so many other exemplary works on the subject.
Very Nice.......2006-11-10
Everything was excellent except the quality of the binding on the book. it isn't bad enough for me to want to return it but it is something to mention.
Focussing the visual mind.......2006-08-18
The standard for visual literacy was set by Dondis A. Dondis in 1973 with "A Primer of Visual Literacy". However, it was (is) a heavy read. Christian Leborg's "Visual Grammar" gives us a more visual approach to the subject. His thesis is that we cannot understand the visual images that assault our eyes unless we share a common understanding of the symbols involved. Leborg enlightens us with a symplified but nonetheless complex view of symbols that are abstract, concrete, active, and relative. It's an interesting exploration using only basic geometric shapes. This is a "must have" book for those who teach design and a desirable book for students. All you need to know is that it is published by Princeton Architectural Press. Princeton publishes some of the most important books on design. Their positive discrimination is evident in all of their publications.
Book Description
This second edition of the landmark book Reading Images builds on its reputation as the first systematic and comprehensive account of the grammar of visual design. Drawing on an enormous range of examples from children's drawings to textbook illustrations, photo-journalism to fine art, as well as three-dimensional forms such as sculpture and toys, the authors examine the ways in which images communicate meaning.
Features of this fully updated second edition include: new material on moving images and on color, a discussion of how images and their uses have changed through time, websites and web-based images, and ideas on the future of visual communication.
Reading Images' focus on the structures or "grammar" of visual design: color, perspective, framing and composition, provides the reader with an invaluable "tool-kit" for reading images and makes it a must for anyone interested in communication, the media and the arts.
Book Description
An excellent resource for artists, designers, architects, craftspeople, or anyone interested in the decorative arts. First published in 1856, The Grammar of Ornament remains a design classic. Its inspiration came from the pioneering architect and designer Owen Jones. His observations of decorative art on his extensive travels in Europe and the Near East were employed to improve the poor quality of Western design. His goal was to change the Victorian habit of mixing elements from a wide variety of sources and applying this mix indiscriminately to buildings, graphic design, and products. His resulting study is a comprehensive analysis of a remarkable collection of styles of ornamental design -- from Ancient Egypt and Greece to Imperial China and Renaissance Italy. With its sumptuous illustrations, its detailed survey of individual cultures, and its manifesto of "General Principles," it offered guidance to the designers of the future. In this new edition the designs are further illuminated by Iain Zaczek's perceptive commentaries. Hugely influential since its first publication, The Grammar of Ornament inspired great figures such as William Morris and Frank Lloyd Wright. Contemporary designers, entertained by the archaic charm of Jones's descriptions, are struck by the book's enduring relevance and its soundness regarding the essential principles of good design.
Customer Reviews:
Little Gem.......2006-02-08
I was disappointed when I first received this book. I had bought it as recommended reading for my design course and ordered it blindly. I don't know what I had expected but this wasn't it. Then, one day, I pulled it off my bookcase, looking for information on a certain type of design - and suddenly found myself enthralled with the beauty of this book. Let it not fool you, it's a beautiful little gem packed with design and information. Not a centimetre wasted.
Details, Details, Details..........2005-10-09
If you are looking for pure details for specific styles, this book is for you. If you are looking for overviews or full pictures, this may not be for you. If you are into design, I think it is a great resource to put on your shelf!
This CD is the best........2004-07-11
I have the thin booklet as a reference to the CD, which I purchased some years ago. If you do Webpage design this CD is a must have. Unlike other CDs of Grammar of Ornament this one has the images in EPSF, JPEG and PDF form. Others I've looked at only had PDF and that doesn't do me any good. I've used Fireworks from Macromedia's Studio MX Suite to make backgrounds and buttons for webpages made with Flash and Dreamweaver. If you can get your hands on this CD or any of the other CDs Direct Imagination has created, do it. I do think Grammar of Ornament is the best of all the ones Direct Imagination produced. Having the book for reference with it is handy, but if you can only get the CD alone, do it anyway. After a while you just know which plate has which graphic.
Pattern Paradise.......2001-10-30
This book was first published in 1856 and is a design classic! Owen Jones was born in 1809 and is a key figure in the history of British design. He was an architect and designer who taught in London during the 1850s.
He traveled in Europe and the Near East, were he helped to bring back ideas to improve the quality of Western design. This collection is a result of his comprehensive analysis of patterns. The sumptuous illustrations are presented in these sections:
Ornament of Savage Tribes
Egyptian Ornament
Assyrian and Persian Ornament
Greek Ornament
Pompeian Ornament
Roman Ornament
Byzantine Ornament
Arabian Ornament
Turkish Ornament
Moresque Ornament from the Alhambra
Persian Ornament
Indian Ornament
Hindoo Ornament
Chinese Ornament
Celtic Ornament
Mediaeval Ornament
Renaissance Ornament
Elizabethan Ornament
Italian Ornament
Leaves and Flowers from Nature
The original Preface to Owen Jones's original folio edition has been preserved and included. The general principles in the arrangement of form and color are listed so you can see which are advocated throughout this book.
If you are interested in reading about over 2,350 classic patterns (color engravings representing a vast range of ornamental styles), this is the book for you! More than likely, you will gravitate to one form of the other and concentrate your reading efforts on those sections.
The actual pictures are all numbered and the mediaeval section is especially beautiful.
Iain Zaczek has contributed to the commentaries in this work. He is an art historian and has written on a wide variety of subjects. He is also the author of The Essential William Morris, The essential Art Deco, and the Art of Illuminated Manuscripts.
A Gem.......2001-06-26
The Grammar of Ornament by Owen Jones is a highly regarded design classic, first published in 1856 and just as relevant today. The DK edition is a pleasure to examine (although you may need reading glasses to see the six-point type for some captions). The small format fits well in the hand and has a nice heft (504 pages at 1.3 inches thick). The paper is superb and the colored inks for the thousands of engravings brilliant and crisp. If you need a version that lays flat on your drawing table or a scanner bed, however, this one has some drawbacks. The images are very tight to the inner margins, and the glued binding difficult to keep open without breaking the back. That aside, the DK edition is beautiful and a great buy.
Book Description
This beautiful and highly influential book, long a classic in its field, includes all 100 original color plates from a rare Victorian edition. Among the nearly 3,000 copyright-free designs are exquisite Greek and Roman borders and mosaics, Celtic designs taken from manuscripts, motifs from medieval paintings and stained glass, and floral patterns from Chinese porcelain.
Customer Reviews:
THE Grammar has Remained an Influential Source .......2006-09-10
Englishman Owen Jones first published his monument to design, the Grammar of Ornament, in 1856. It was originally published in installments for subscribers. Jones's illustrated plates and design motifs drew from nineteen different cultures including the ornament of Oceania, Rome, Byzantium, ancient Greece, Renaissance Italy, Rome, and Moorish Spain.
The Grammar was adapted to architectural decoration, fabrics, textiles, tile design, furniture and wallpaper during the second half of the nineteenth century. It has remained influential among designers worldwide.
The quirky colorways are decidedly of another era and worthy of study. I have effectively used them to thwack my creativity out of occasional dead ends or potholes. This is a respected, classic reference. It is deserving of space in every designer's reference library.
Fabulous.......2005-10-01
This book is excellent for artists, web designers,students. there are well chosen designs of many countries and eras and more than just a few for each catagory.It is a reference book that is a total must.
Lovely Textures and Ornaments! Great for Webdesign.......2000-06-19
FREE use of graphics is permitted ... it is a great resource for web designers. It has great designs and textures which, if used properly, can really enhance your website. A lot of the graphics can make for lovely textures and backgrounds. The graphics are from history .... ornaments from Oceania, Egypt, Greek, Pompeian, Roman, Byzantine, Arabian, Turkish, Moorish, Persian, Indian, Chinese, Celtic, Medieval, Renaissance, Italian ... loads of Ornaments from all over. A must buy IMO!
Average customer rating:
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Lindenmayer Systems: Impacts on Theoretical Computer Science, Computer Graphics, and Developmental Biology
Manufacturer: Springer
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ASIN: 3540553207 |
Book Description
L systems are language-theoretic models for developmental biology. They wereintroduced in 1968 by Aristid Lindenmayer (1925-1989) and have proved to be among the most beautiful examples of interdisciplinary science, where work in one area induces fruitful ideas and results in other areas. L systemsare based on relational and set-theoretic concepts, which are more suitable for the discrete and combinatorial structures of biology than mathematical models based on calculus or statistics. L systems have stimulated new work not only in the realistic simulation of developing organisms but also in the theory of automata and formal languages, formal power series, computer graphics, and combinatorics of words. This book contains research papers by almost all leading authorities and by many of the most promising young researchers in the field. The 28 contributions are organized in sections on basic L systems, computer graphics, graph grammars and map L systems, biological aspects and models, and variations and generalizations of L systems. The introductory paper by Lindenmayer and J}rgensen was written for a wide audience and is accessible to the non-specialist reader. The volume documents the state of the art in the theory of L systems and their applications. It will interest researchers and advanced students in theoretical computer science and developmental biology as well as professionals in computer graphics.
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Handbook of Graph Grammars and Computing by Graph Transformation: Applications, Languages and Tools
Manufacturer: World Scientific Publishing Company
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Handbook of Graph Grammars and Computing by Graph Transformation
ASIN: 9810240201 |
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Handbook of Graph Grammars and Computing by Graph Transformations: Concurrency, Parallelism, and Distribution
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ASIN: 981024021X |
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A Grammar of Game Play: How Games Work
Raph Koster
Manufacturer: Paraglyph Press
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Theory of Fun for Game Design
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Blindsight
ASIN: 1933097159 |
Book Description
Raph Koster's "A Theory of Fun" book was hailed by critics and reviewers as "An instant classic," "The best game design book I have ever read," and "One of the best books for our industry." Following on the success of this classic book on game design, Koster now introduces readers to a new way at looking at game design in A Grammar of Gameplay. This highly creative and stimulating book uses the author's unique illustrations and commentary to help the reader develop a working "grammar" to understand how games are designed, how they communicate, how they model reality, and how they stimulate and challenge players. Anyone from game designers to game players will want to read this book for a greater understanding of how games work, while those interested in the theory and concepts will once again find extensive end notes designed to help them do deeper research.
Just as with A Theory of Fun, this book's unique approach of providing a highly visual storyboard combined with a narrative on the art and practice of designing successful games is sure to be a hit with game and interactive designers. Some of the important concepts presented in the book include using game design patterns, understanding games as models, creating a language to dissect and communicate design ideas, maximizing the use of art styles, color, storytelling, and music to create dynamic interactive environments, and much more. This unique visual guide will stimulate anyone who is interested in game design to look at game design in an entirely new way.
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