Here are 100 books that Visual Thinking fans have personally recommended if you like
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I'm a designer, a teacher, a father, a husband, and a friend. I love beautiful things and personally want to know why I find certain things more beautiful than others. I love learning about the world and finding connections between everyday experience and art. When I say “art” I really am blending art, design, architecture, landscape architecture, product design, etc. I believe everything is connected in some way. If I were to pigeonhole myself in any way I would call myself a generalist design thinker. I draw, I write, I make little objects, I make big objects – I see very little difference in any of these things.
This book provides the reader with a foundation as to how we think through our bodily experience in the world. It argues that we think through the body and through experience and that bodily engagement with the world (organism-environment interaction) is used to develop more abstract modes of thought.
I find this key to understanding design generally.
In "The Meaning of the Body", Mark Johnson continues his pioneering work on the exciting connections between cognitive science, language, and meaning first begun in the classic "Metaphors We Live By". Johnson uses recent research into infant psychology to show how the body generates meaning even before self-consciousness has fully developed. From there he turns to cognitive neuroscience to further explore the bodily origins of meaning, thought, and language and examines the many dimensions of meaning - including images, qualities, emotions, and metaphors - that are all rooted in the body's physical encounters with the world. Drawing on the psychology…
I'm a designer, a teacher, a father, a husband, and a friend. I love beautiful things and personally want to know why I find certain things more beautiful than others. I love learning about the world and finding connections between everyday experience and art. When I say “art” I really am blending art, design, architecture, landscape architecture, product design, etc. I believe everything is connected in some way. If I were to pigeonhole myself in any way I would call myself a generalist design thinker. I draw, I write, I make little objects, I make big objects – I see very little difference in any of these things.
This book is essential to anyone who wants to come into the meaning of art, design, and architecture.
Give it time and it will undoubtedly change your life. Dewey’s central argument is that experience itself is aesthetic, that we need to pay deep attention to the quality inherent in every experience.
Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.
I'm a designer, a teacher, a father, a husband, and a friend. I love beautiful things and personally want to know why I find certain things more beautiful than others. I love learning about the world and finding connections between everyday experience and art. When I say “art” I really am blending art, design, architecture, landscape architecture, product design, etc. I believe everything is connected in some way. If I were to pigeonhole myself in any way I would call myself a generalist design thinker. I draw, I write, I make little objects, I make big objects – I see very little difference in any of these things.
Where Arnheim provides a psychological foundation for art as experience, Kepes deconstructs the visual field graphically and shows us how all of its elements operate.
This is another book that doesn’t get enough attention anymore. Kepes shows many diagrams as examples but also shows work produced by artists and graphic designers and discusses how the visual field is operating in each case.
My two copies of this book are so littered with underlines and marginalia that I may have to buy a third!
I'm a designer, a teacher, a father, a husband, and a friend. I love beautiful things and personally want to know why I find certain things more beautiful than others. I love learning about the world and finding connections between everyday experience and art. When I say “art” I really am blending art, design, architecture, landscape architecture, product design, etc. I believe everything is connected in some way. If I were to pigeonhole myself in any way I would call myself a generalist design thinker. I draw, I write, I make little objects, I make big objects – I see very little difference in any of these things.
This is outside the box a little for design-related books but there is an important reason why I list it.
I began with Johnson’s The Meaning of the Body and end with The Strange Order of Things because they are both body-based studies. Ultimately, we feel the way we do about art and design because of our bodies, our sensing, and our interaction with the world.
It is important to know as a designer, but also simply as a human, that the foundation of our feeling about art and design is the same as our feeling about the taste of a good soup (Dewey reference) or the feeling of a nice breeze.
We do a bit of damage to art and design when we attempt to separate it from everyday living.
'Damasio undertakes nothing less than a reconstruction of the natural history of the universe ... [A] brave and honest book' The New York Times Book Review
The Strange Order of Things is a pathbreaking investigation into homeostasis, the condition of that regulates human physiology within the range that makes possible not only survival but also the flourishing of life.
Antonio Damasio makes clear that we descend biologically, psychologically and even socially from a long lineage that begins with single living cells; that our minds and cultures are linked by an invisible thread to the ways and means of ancient unicellular…
If I was asked to describe the central theme of my life's work in a phrase, it would be 'geometry in the arts'. I'm an architect originally, now a professor in London, and have always loved drawing and the art of perspective. In the 1990s I became fascinated with the idea that Johannes Vermeer used the camera obscura, an obsession that led to my book Vermeer's Camera. I'm now working on Canaletto's Camera. And I have ideas for yet another book, on perspective, to be called Points of View. I've chosen five books on these topics that I've found most thought-provoking and inspiring.
Ernst Gombrich's masterpiece, published in 1960 and still in print, follows the drive in Western Art from Ancient Greece and Egypt to the present day, to achieve the illusion of realistic appearance in pictures. Kenneth Clark, himself a most accomplished art historian and writer, described Art and Illusion as 'One of the most brilliant books on art criticism I have ever read." I too admire the way the book combines great erudition with a clear conversational style and an ability to move beyond the usual confines of art history. Gombrich uses findings from psychology to illuminate his argument, supported with a surprising range of illustrations, not just from the fine arts, but from advertising, photography, caricature, and cartoons. Brilliant indeed.
Considered a great classic by all who seek for a meeting ground between science and the humanities, Art and Illusion examines the history and psychology of pictorial representation in light of present-day theories of visual perception information and learning. Searching for a rational explanation of the changing styles of art, Gombrich reexamines many ideas on the imitation of nature and the function of tradition. In testing his arguments he ranges over the history of art, noticing particularly the accomplishments of the ancient Greeks, and the visual discoveries of such masters as Leonardo da Vinci and Rembrandt, as well as the…
I’ve had a life-long love affair with the arts. I intended to become an artist, but ultimately became a psychologist researching psychological aspects of the arts. My first book, Invented Worlds, examined the key questions and findings in the psychology of the arts. In Gifted Children: Myths and Realities, I wrote about gifted child artists. My Arts & Mind Lab at Boston College investigated artistic development in typical and gifted children, habits of mind conferred by arts education, and how we respond to works of art. The walls of my home are covered with framed paintings by young children, often side by side paintings by professional artists.
This is a classic book by German-born psychologist Rudolf Arnheim, in which he lays out the principles underlying our perception and understanding of works of visual art. One of the major principles discussed is the human tendency to see the simplest form possible in any visual array. This ‘simplicity principle’ is also used to explain the intelligence and inventiveness of children’s art. In a brilliant chapter called Growth, Arnheim shows us that children are not striving towards realism; rather they are trying to create the simplest possible recognizable structural equivalent for the object they are representing. The inventiveness with which children reduce complex forms to simple structural equivalents requires far more intelligence than mindless copying.
Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.
As a writer, I’ve always been interested in ambiguity and ambivalence. How does that apply to the self? What does it mean to present myself to others? How do I appear to the world and how close is that to what I see myself to be? Are we ever truly seen—or willing to be seen? In a world where cameras exist everywhere and we are encouraged to record rather than simply be, how do we look in a mirror? Hannah Arendt said that we could tell reality from falsehood because reality endures. But I feel that nothing I experience endures; nothing remains the same, including the reflection. If anything lasts, it may be my own make-believe. Everything I write is, in some way, this question. Who is that?
This is a book of essays about the act of looking, especially looking at photographs and paintings and animals and other people. Thus these are essays about history, memory, suffering, beauty, and the self. Berger had a generous spirit; he wrote often about the lives of peasants and spent the last forty years of his life in rural France. Berger gazed upon the world in all its forms with composure and curiosity.
As a novelist, essayist, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to…
I'm currently an Honorary Fellow in Social Theory at the University of York, U.K. For more than five decades I've been working to promote more reflexive perspectives in philosophy, sociology, social theory, and sociological research. I've written and edited many books in the field of social theory with particular emphasis upon questions of culture and critical research in the expanding field of visual culture. Recent projects include Interpreting Visual Culture(with Ian Heywood), The Handbook of Visual Culture, and an edited multi-volume textbook to be published by Bloomsbury,The Bloomsbury Encyclopedia of Visual Culture. The passion to understand the thought and visual culture of both the ancient and modern world continues to inform my work.
Crary’s work provides a theoretical and empirically informed synthesis of the work of theorists like Berger, Debord, Baudrillard, Barthes, and Sontag. Like these earlier writers, the technological transformations of visual culture are at the heart of the social transformations of the modern world. To understand modernity is thus first to make sense of its visual logics, procedures, and practices. This general argument allowed the author to enter the granular historical details of how seeing and 'observation’ have become essential to the concerns of modern life. What he calls 'techniques of the observer’ are in fact the core sensory apparatus that has helped to shape the institutions and practices of modern life.
What can be visualized is correlated to the technical affordances and historical development of representational practices. This makes technologies of the visual central to social analysis. Some of the most powerful drivers of modern life are thus linked to…
Jonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle.
In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity.
Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing…
I have always loved to draw ever since my Dad used to sit drawing with me at the kitchen table when I was little. At Art School we had to spend the first six weeks doing a daily life drawing class before being allowed to pick up a paintbrush! I then studied graphic design setting up my own business, at a time when, without computers, drawing was essential for presenting layout and design. Nowadays, I’m constantly instilling in my students the importance of drawing and sketching. Having been a professional artist all my working life, drawing has been a fundamental element in every way, and all the way.
If you think you can’t draw, then read this book! It’s a bible for anyone wanting to draw, and is by all accounts “the world's most widely used drawing instruction book.” If you want to start drawing or have been unable to get much beyond a “childlike level,” the exercises in this book will help you gain those skills you have always sought.
I often use the “Upside down Drawing” exercise with my portrait classes; my students are usually astounded at how quickly and accurately they can produce a likeness! This is a fascinating book and whether you are an experienced artist or just starting, it will give you inspiring confidence and deepen your artistic perception.
'You will quickly amaze and delight yourself. Hands down the best and most life-enhancing thing I've done in lockdown' India Knight, Sunday Times
Drawing on the Right Side of the Brain is the world's most widely used drawing instruction book. Whether you are a professional, a student, or enjoy art as a hobby, Betty Edwards' practical step-by-step guide will give you greater confidence in your ability, deepen your artistic perception and provide a new way to appreciate the way you perceive the world around you.
This groundbreaking guide includes: - Expert advice on materials…
It’s been fantastic to work in computer vision, especially when it is used to build biometric systems. I and my 80 odd PhD students have pioneered systems that recognise people by the way they walk, by their ears, and many other new things too. To build the systems, we needed computer vision techniques and architectures, both of which work with complex real-world imagery. That’s what computer vision gives you: a capability to ‘see’ using a computer. I think we can still go a lot further: to give blind people sight, to enable better invasive surgery, to autonomise more of our industrial society, and to give us capabilities we never knew we’d have.
David Marr shaped the field of computer vision in its early days. His seminal book laid the structure for interpreting images and one which is still largely followed. He popularised notions of the primal sketch and his work on edge detection led to one of the most sophisticated approaches. His work and influence continue to endure despite his early death: we missed and miss him a lot.
Available again, an influential book that offers a framework for understanding visual perception and considers fundamental questions about the brain and its functions.
David Marr's posthumously published Vision (1982) influenced a generation of brain and cognitive scientists, inspiring many to enter the field. In Vision, Marr describes a general framework for understanding visual perception and touches on broader questions about how the brain and its functions can be studied and understood. Researchers from a range of brain and cognitive sciences have long valued Marr's creativity, intellectual power, and ability to integrate insights and data from neuroscience, psychology, and computation. This…
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