Enhanced descriptions from Syndetics:

Take a peek inside the heads of some of the world's greatest living graphic designers. How do they think, how do they connect to others, what special skills do they have? In honest and revealing interviews, nineteen designers, including Stefan Sagmeister, Michael Beirut, David Carson, and Milton Glaser, share their approaches, processes, opinions, and thoughts about their work with noted brand designer Debbie Millman. The internet radio talk host of Design Matters, Millman persuades the greatest graphic designers of our time to speak frankly and openly about their work. How to Think Like a Great GraphicDesigners offers a rare opportunity to observe and understand the giants of the industry. Designers interviewed include: --Milton Glaser --Stefan Sagmeister --David Carson --Paula Scher --Abbott Miler --Lucille Tenazas --Paul Sahre --Emily Oberman and Bonnie Siegler --Chip Kidd --James Victore --Carin Goldberg --Michael Bierut --Seymour Chwast --Jessica Helfand and William Drenttel --Steff Geissbuhler --John Maeda

Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

Table of contents provided by Syndetics

• Foreword (p. ix)
• Introduction (p. 1)
• "What actually drove me to a therapist was that I had a very unhealthy obsession with laundry." (p. 5)
• "When I was growing up, designers were anonymous. They didn't do schtick." (p. 19)
• "At the end of the day, I would pound them into oblivion and look forward to the next day when I could recreate the world." (p. 29)
• "I wanted to make wonderful things; things that other people liked, things that were important and mattered." (p. 41)
• "A famous designer is like a famous electrician." (p. 53)
• "It was time to take stock, check my shoes, buy nice clothes, live comfortably for a while, and see the world again." (p. 67)
• "The sort of weird realization I got at Pentagram-once I was in-was that they really wanted me to recant and see that they were the one true church." (p. 77)
• "We should have answered each other's questions, because I knew your answer, and I'm sure that you know mine." (p. 93)
• "I try to approach everything as a 'god job.'" (p. 103)
• "The same sensitivity you can have with an A4 sheet does not apply to people." (p. 115)
• "I thought I was going to make my fortune being like Charles Schulz." (p. 125)
• "Those are the closest moments to sex in graphic design." (p. 135)
• "I'm too obtuse one day, too vapid the next. Too abstract and intellectual. Too cultivated. Not cultivated enough." (p. 145)
• "After my mind has done its job, Mr. Hand takes over." (p. 155)
• "I would tell myself that I was not going to be embarrassed calling someone for the third time in a month." (p. 161)
• "I would like to get back my love for graphic design, because I think I've lost it." (p. 173)
• "I certainly danced a few rounds with the devil in my career, and he often took the lead." (p. 183)
• "At that moment, I felt that Milton Glaser was on par with William Shakespeare and Julius Caesar." (p. 191)
• "Am I too concerned with conventional notions of beauty and good taste?" (p. 203)
• "Love is a cake that comes in layers." (p. 213)
• Acknowledgments (p. 227)
• About the Author (p. 229)
• Index (p. 231)