01586nam a2200217Ia 4500003000500000005001700005008004100022017001400063020002200077040000900099041000800108050001500116245008600131250000700217260002400224300005100248520099200299650002301291700002401314700003001338299820261019102623.0201202s9999||||xx |||||||||||||| ||und||  acopyright  a978-84-96954-78-6  cB000  aeng  aNC997bR3210aRGB :bReviewing Graphics in Britain /cEditado por Marc Valli y Richard Brereton  a1a  aUSA :bActar,c2010  a288 p. :bfotografías a color ;c24 x 30 cm.  aIs there such a thing as British graphic design? There is certainly a lot of it: from the high degree of sophistication, erudition and conceptualization of London-based practitioners such as Mark Farrow, Browns, Bibliotheque, Studio8, Sea, Spin, Proud Collective, NB Studio, Shaz Madani and William Hall, to the relentless visual experimentation of image-markers such as Build, Ehquestionmark, Universal Everything, Julian House, Famili, Hellovon, James Joyce, Tom Hingston, Me Company, Village Green, Yes and Studio Output, not to mention the wonderfully eclectic work of hopelessly cosmopolitan entities such as Winkreative, Non-Format, Fuel, Tomato, MattDent, FI@33 and the designers under the Pentagram umbrella, whose sophisticated internationalism is typified in the work of Domenic Lippa & Angus Hyland. Put al these types together and you get a heady mix. So what happened to British graphics in the last few years? Who did what? With whom? When? Where? Open this book. Find out.  aDiseño gráfico  aValli, Marceeditor  aBrereton, Richardeeditor