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Stop, Think, Go, Do

Book Description

This revolutionary guide is not only the first to look at how typography in design creates a call to action, but it also explores type and image as language.

Table of Contents

  1. Cover
  2. Title
  3. CONTENTS
  4. INTRODUCTION: STOP, GO, READ THIS!
  5. CHAPTER 1 INFORM: Graphic design focuses our eyes and mind on what is already instinctively hardwired. (1/8)
  6. CHAPTER 1 INFORM: Graphic design focuses our eyes and mind on what is already instinctively hardwired. (2/8)
  7. CHAPTER 1 INFORM: Graphic design focuses our eyes and mind on what is already instinctively hardwired. (3/8)
  8. CHAPTER 1 INFORM: Graphic design focuses our eyes and mind on what is already instinctively hardwired. (4/8)
  9. CHAPTER 1 INFORM: Graphic design focuses our eyes and mind on what is already instinctively hardwired. (5/8)
  10. CHAPTER 1 INFORM: Graphic design focuses our eyes and mind on what is already instinctively hardwired. (6/8)
  11. CHAPTER 1 INFORM: Graphic design focuses our eyes and mind on what is already instinctively hardwired. (7/8)
  12. CHAPTER 1 INFORM: Graphic design focuses our eyes and mind on what is already instinctively hardwired. (8/8)
  13. CHAPTER 2 ADVOCATE: The language of advocacy has a common goal: alter behavior and act upon instincts, whatever the outcome may be. (1/6)
  14. CHAPTER 2 ADVOCATE: The language of advocacy has a common goal: alter behavior and act upon instincts, whatever the outcome may be. (2/6)
  15. CHAPTER 2 ADVOCATE: The language of advocacy has a common goal: alter behavior and act upon instincts, whatever the outcome may be. (3/6)
  16. CHAPTER 2 ADVOCATE: The language of advocacy has a common goal: alter behavior and act upon instincts, whatever the outcome may be. (4/6)
  17. CHAPTER 2 ADVOCATE: The language of advocacy has a common goal: alter behavior and act upon instincts, whatever the outcome may be. (5/6)
  18. CHAPTER 2 ADVOCATE: The language of advocacy has a common goal: alter behavior and act upon instincts, whatever the outcome may be. (6/6)
  19. CHAPTER 3 PLAY: Play adds dimension to design, enabling the viewer to have more active participation in it. (1/6)
  20. CHAPTER 3 PLAY: Play adds dimension to design, enabling the viewer to have more active participation in it. (2/6)
  21. CHAPTER 3 PLAY: Play adds dimension to design, enabling the viewer to have more active participation in it. (3/6)
  22. CHAPTER 3 PLAY: Play adds dimension to design, enabling the viewer to have more active participation in it. (4/6)
  23. CHAPTER 3 PLAY: Play adds dimension to design, enabling the viewer to have more active participation in it. (5/6)
  24. CHAPTER 3 PLAY: Play adds dimension to design, enabling the viewer to have more active participation in it. (6/6)
  25. CHAPTER 4 CAUTION: Cautionary messages force the receiver to go somewhere or do something to avoid dangerous consequences. (1/6)
  26. CHAPTER 4 CAUTION: Cautionary messages force the receiver to go somewhere or do something to avoid dangerous consequences. (2/6)
  27. CHAPTER 4 CAUTION: Cautionary messages force the receiver to go somewhere or do something to avoid dangerous consequences. (3/6)
  28. CHAPTER 4 CAUTION: Cautionary messages force the receiver to go somewhere or do something to avoid dangerous consequences. (4/6)
  29. CHAPTER 4 CAUTION: Cautionary messages force the receiver to go somewhere or do something to avoid dangerous consequences. (5/6)
  30. CHAPTER 4 CAUTION: Cautionary messages force the receiver to go somewhere or do something to avoid dangerous consequences. (6/6)
  31. CHAPTER 5 ENTERTAIN: Much graphic design cannot afford neutrality; it must grab attention in crowded environments. (1/7)
  32. CHAPTER 5 ENTERTAIN: Much graphic design cannot afford neutrality; it must grab attention in crowded environments. (2/7)
  33. CHAPTER 5 ENTERTAIN: Much graphic design cannot afford neutrality; it must grab attention in crowded environments. (3/7)
  34. CHAPTER 5 ENTERTAIN: Much graphic design cannot afford neutrality; it must grab attention in crowded environments. (4/7)
  35. CHAPTER 5 ENTERTAIN: Much graphic design cannot afford neutrality; it must grab attention in crowded environments. (5/7)
  36. CHAPTER 5 ENTERTAIN: Much graphic design cannot afford neutrality; it must grab attention in crowded environments. (6/7)
  37. CHAPTER 5 ENTERTAIN: Much graphic design cannot afford neutrality; it must grab attention in crowded environments. (7/7)
  38. CHAPTER 6 EXPRESS: A manifesto should be a declaration of war against complacency. At the very least it should trigger thinking. (1/8)
  39. CHAPTER 6 EXPRESS: A manifesto should be a declaration of war against complacency. At the very least it should trigger thinking. (2/8)
  40. CHAPTER 6 EXPRESS: A manifesto should be a declaration of war against complacency. At the very least it should trigger thinking. (3/8)
  41. CHAPTER 6 EXPRESS: A manifesto should be a declaration of war against complacency. At the very least it should trigger thinking. (4/8)
  42. CHAPTER 6 EXPRESS: A manifesto should be a declaration of war against complacency. At the very least it should trigger thinking. (5/8)
  43. CHAPTER 6 EXPRESS: A manifesto should be a declaration of war against complacency. At the very least it should trigger thinking. (6/8)
  44. CHAPTER 6 EXPRESS: A manifesto should be a declaration of war against complacency. At the very least it should trigger thinking. (7/8)
  45. CHAPTER 6 EXPRESS: A manifesto should be a declaration of war against complacency. At the very least it should trigger thinking. (8/8)
  46. CHAPTER 7 EDUCATE: Graphic design arguably is itself a grand portal to the process of education. (1/3)
  47. CHAPTER 7 EDUCATE: Graphic design arguably is itself a grand portal to the process of education. (2/3)
  48. CHAPTER 7 EDUCATE: Graphic design arguably is itself a grand portal to the process of education. (3/3)
  49. CHAPTER 8 TRANSFORM: Transformation is not more than making the real abstract and vice versa. It is about taking something familiar and making it serendipitous. (1/3)
  50. CHAPTER 8 TRANSFORM: Transformation is not more than making the real abstract and vice versa. It is about taking something familiar and making it serendipitous. (2/3)
  51. CHAPTER 8 TRANSFORM: Transformation is not more than making the real abstract and vice versa. It is about taking something familiar and making it serendipitous. (3/3)
  52. ABOUT THE AUTHORS
  53. ACKNOWLEGMENTS