DEAR READER
Years ago, I took a week-long workshop with famed graphic designer Paul Rand. I was in such awe of Rand that when he assigned his first project, I felt creatively immobilized. He came over to give me a one-on-one desk critique, but I had nothing to show him, confessing that I didn’t know where to begin. Rand looked me straight in the eyes, put his hand under my chin, and with a thick Brooklynese accent said, “Think.”
Guide to Graphic Design emphasizes what Rand stated so genuinely—no matter the context or problem, one starts any graphic design project by thinking. This fundamental is why graphic design is so “cool” (sorry, I just don’t know how else to say it). There’s hardly a better job than one that pays you to think (to go through an intellectual process) and then to play (to work ideas out in aesthetically inventive ways). As my mentor, Charlie Goslin, used to say, “An idea is the hat rack that everything hangs on.” My own design practice and simultaneous teaching are based on this approach. The result is an integration of meaning and form. It’s the way to go.
The eclectic spirit of Guide to Graphic Design is no accident. Throughout the book, designers have contributed short essays on their work styles, studio habits, and inspirations. Each designer offers a new perspective and approach to possible working methods. At the same time, they all show a passion for design and communication.
Guide to Graphic Design is supplemented by VIDEO PROFILES of talented graphic designers—in other words, great thinkers (see the link below). Every student who reads this book has the same core talent that they began with. Do something with your talent as these designers did; learn the mechanisms used to convey information, integrate ideas, and form into full concepts, but most importantly, learn how to think like a graphic designer. When you do, the identities you create for companies and organizations will define your own personal identity. You will care more about the work you do, and that care will make your work better.
—Scott W. Santoro, Guide to Graphic Design; Adjunct Professor, Pratt Institute, Brooklyn, NY; Principal, Worksight
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Click this link to see a free set of Guide to Graphic Design videos:
12 Designer Videos including: George Tscherny, Steven Heller, Luba Lukova, and Hillman Curtis.
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DOWNLOAD: Table of Contents (pdf).
VIRTUAL CRITWALL (Instagram): http://instagram.com/guide2graphicdesign
EYE Magazine: Lessons I learned producing a design textbook: From cave to code
REVIEW: From Switzerland: Designer-Daily
RENT or ORDER: ebook or softcover: Pearson
TRANSLATIONS: Available in CHINESE and ARABIC
EMAIL: Get in touch with any questions, problems, or comments
WHY A GRAPHIC DESIGN TEXTBOOK?
Student concerns about the rising costs of design essentials, including typefaces, laser prints, and design applications, are understandable. I experienced the frustrations of expensive materials while a design student, too, except the tools back then were Letraset sheets, photostats, and mounting boards. While adding a textbook to school expenses might feel overwhelming, consider it a valuable investment in the education process. Here’s why:
1) The textbook, Guide to Graphic Design is analogous to “spotting” a weightlifter. It offers security and a little extra help to push harder. Throughout this book, students will find examples that illuminate the design language and the mechanisms designers use to generate ideas, thereby accelerating their understanding.
2) Most design books are either design monographs or collections of logos and posters. What sets Guide to Graphic Design apart is its comprehensive approach, unifying topics like the layers of the profession, graphic design history, research, concept creation, formal composition, typography, grids, visual coding, interaction, motion, and even practical advice on how to “be a designer” in today’s world.
3) What sets Guide to Graphic Design apart is its commitment to providing a genuine textbook for the profession. I’ve witnessed students’ enthusiasm firsthand, with many jumping ahead to unassigned chapters. They’re driven by a desire to generate intellectual throughts and transform them into tangible designs. It’s crucial for me that my students remain curious and well-informed, ensuring they’re seen as more than just decorators. This book presents global perspectives, solidifying graphic design as a vital activity that empowers businesses and organizations worldwide.
For educators: If you’re weighing the decision of whether to include a textbook in your graphic design curriculum, I strongly encourage you to consider Guide to Graphic Design. I’m very proud of this text and the incredible work it features.
Please feel free to email me if you have any questions; I always enjoy connecting with fellow educators and design students.
Sincerely,
Scott W. Santoro
Adjunct Professor, Pratt Institute
Principal, Worksight
<ssantoro@pratt.edu>.
Below are two design ideas for a literacy campaign by Pratt Institute sophomore Tianhui Yu, using the montage/mashup explained in Chapter 3.
textbook design: worksight.com
© 2025 Scott W Santoro