近四十年来，兰尼·索曼斯已在平面设计的世界舞台上确立了声誉，在这个领域里他是最重要的设计师之一，也是美国最受尊敬的平面设计教育家之一。同时他还是著名国际平面设计协会AGI的会员。
索曼斯的作品已在世界各地许多博物馆展出，其中包括华盛顿特区的美国国会图书馆、旧金山现代艺术博物馆、德国柏林德意志历史博物馆、日本富山现代艺术博物馆、中国香港文化博物馆、法国巴黎国家图书馆、比利时蒙斯艺术中心以及波兰华沙海报博物馆等。
他获得过许多奖项，其中包括墨西哥国际海报双年展金奖、俄罗斯莫斯科平面设计双年展金蜂奖、保加利亚索菲亚国际戏剧海报三年展金奖以及一项科罗拉多国际海报邀请双年展的最高奖。
他和妻子（同时也是设计伙伴）克莉斯汀一道经营着一个获奖的设计工作室——索曼斯设计。他们的设计作品已发表在数以百计的设计范例书籍之中，《图形》、《意念》、《传达艺术》、《设计步骤》以及《新平面设计》杂志都分别专题介绍过他们的设计作品。此外，他的作品也包括在《平面设计史》（第一版和第二版）以及中国出版的“当代世界大师设计意念丛书”之中，题为《意念的创造：兰尼·索曼斯》。
兰尼·索曼斯教授是一位国际知名的平面设计师，他在平面设计的实践、设计教学以及有关设计的著述方面积累了近40年的丰富经验。本书将他的设计和教学理念作为主题介绍给广大读者。书中大量的作品图例及评论和注释文字将有助于广大读者深入了解美国平面设计及其教育。
Although I briefl.y touched upon conceptual， analysis in my earl.letbooks， whenever I go back to review them I always am regretfulthat I didnt expand that area. Teaching graphic design in theUnited States since 2002 has offered me a good opportunityto experience and appreciate American graphic design as wellas design education in person. I have al.so had the privilege ofworking with some skillful American designers and teachers. Asa result， I revisited the idea of publishing a book with a specialfocus on the design process. And since many young Chinese are learning to speak English， I felt it was important to use bothChinese and English simultaneous[y， which would allow readerswith English skiffs to avoid ideas being "lost in translation" andapprehend more genuinely the books content.
The Pennsylvania State University， where Im presently teaching，is an important research institution in the United States andthe graphic design program at Penn State is also one of thetop programs in the country. The head of the program， LannySommese， is an internationally known designer who has beenpracticing， teaching and writing about graphic design for nearly40 years. In short.
陈放，是国际著名的平面设计师，他曾在法国肖蒙国际海报暨平面设计节、美国科罗拉多国际海报双年展以及斯洛伐克特尔纳瓦海报三年展举办过桂冠个人作品展。此外，他还编撰和出版了10多七设计书籍。现与兰尼·索曼斯一道执教于宾州州立大学。
前言
社会海报
文化海报
设计教育
宾州中央艺术节
非商业设计
设计生活
企业形象
书报刊设计
简历
设计思考
设计说明
Some students thrived in this environment， others just barelyheld on， but here is the truth： everyone I saw who entered theprogram and stuck with it emerged a better designer. Lannywould evaluate each students level of abil.ity and judge the workaccordingly. If routinely weak students real.l.y busted their buttsand made a breakthrough， theyd be praised， even if the resu！.tsneeded a lot more work. Conversely， if he sensed that one of theclass"stars" was obviousty coasting， he was merciless. I dont thinkhis criticisms would have had as much sting if he were a meretheorist. He was not. Lanny ran a thriving one-man design studioout of his omce， and he would entist seniors as apprentices onvarious projects in a program called the Practicum. This allowedus to put ideas formed in class to the test o1： actual c！.ients. It wasan eye-opening laboratory that showed us what we were to be upagainst when we left， and how to get chalJenging ideas approved.And they were——Lannys work had already been featured inCommunication Arts， Print and Idea magazines.
Added to this was his love of silkscreening posters. Even thenLannys reputation as a world-renowned poster maker was wellestabtished. He had fallen under the spelt of the Potish circusposter movement o1： the sixties， and applied that styles.
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