{"product_id":"graphic-design-history-9780205219469","title":"Graphic Design History","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eJohanna Drucker is the Breslauer Professor of Bibliographical Studies at the University of California, Los Angeles. She has been on the faculty of Yale University, SUNY Purchase, Columbia University, and the University of Virginia, as well as holding a Mellon Faculty Fellowship at Harvard, a Fulbright Fellowship, and a Getty Fellowship. Her previous publications include \u003cem\u003eThe Alphabetic Labyrinth\u003c\/em\u003e (1995), \u003cem\u003eThe Century of Artists' Books\u003c\/em\u003e (1995), \u003cem\u003eThe Visible Word\u003c\/em\u003e (1994), and \u003cem\u003eSweet Dreams\u003c\/em\u003e (2005). She is also known for her work as a book artist and visual poet.\u003c\/p\u003e \u003cp\u003eEmily McVarish is Associate Professor of Graphic Design at California College of the Arts, where she teaches experimental typography and writing, design history and theory, and topical studios. A writer, designer, and book artist, she has maintained a hybrid practice in San Francisco since 1990. Her work has been exhibited internationally, published by Granary Books, and collected by Harvard \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eGood typeface choices and settings. It never feels text-heavy, so it visually makes for a non-threatening read, which is important for today's students. The use of the red text within each chapter helps to emphasis important concepts. The use of the timeline and list of tools at the end of each chapter is very good in placing graphic design within the larger context of human history. - John Luttropp, Montclair State University An excellent critical overview. Somewhat inclined toward sweeping generalizations, but a refreshing re-calibration of graphic design history texts. - Peter Hall, University of Texas at Austin Thorough, easy reading, it's almost like reading a \"novel\" it's so fascinating. The author's love for the subject matter shines through. - Grace Fowler, Palomar College\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIn this Section:\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003col\u003e\n\u003cli\u003eBrief Table of Contents\u003c\/li\u003e\n\u003cli\u003eFull Table of Contents\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e 1. BRIEF TABLE OF CONTENTS \u003cul\u003e\n\u003cli\u003eChapter 1 From Prehistory to Early Writing 35,000—500 BCE\u003c\/li\u003e\n\u003cli\u003eChapter 2 Classical Literacy 700 BCE—400 CE\u003c\/li\u003e\n\u003cli\u003eChapter 3 Medieval Letterforms and Book Formats 400—1450\u003c\/li\u003e\n\u003cli\u003eChapter 4 Renaissance Design: Standardization and Modularization in Print 1450—1660\u003c\/li\u003e\n\u003cli\u003eChapter 5 Modern Typography and the Creation of the Public Sphere 1660—1800\u003c\/li\u003e\n\u003cli\u003eChapter 6 The Graphic Effects of Industrial Production 1800—1850\u003c\/li\u003e\n\u003cli\u003eChapter 7 Mass Mediation 1850—1900s\u003c\/li\u003e\n\u003cli\u003eChapter 8 Formations of the Modern Movement 1880s—1910s\u003c\/li\u003e\n\u003cli\u003eChapter 9 Innovation and Persuasion 1910—1930\u003c\/li\u003e\n\u003cli\u003eChapter 10 The Culture of Consumption 1920s—1930s\u003c\/li\u003e\n\u003cli\u003eChapter 11 Public Interest Campaigns and Information Design 1930s—1950s\u003c\/li\u003e\n\u003cli\u003eChapter 12 Corporate Identities and International Style 1950s—1970s\u003c\/li\u003e\n\u003cli\u003eChapter 13 Pop and Protest 1960s—1970s\u003c\/li\u003e\n\u003cli\u003eChapter 14 Postmodernism in Design 1970s—1980s and Beyond\u003c\/li\u003e\n\u003cli\u003eChapter 15 Digital Design 1970s—2000s\u003c\/li\u003e\n\u003cli\u003eChapter 16 Graphic Design and Globalization\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e 2. FULL TABLE OF CONTENTS \u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 1: From Prehistory to Early Writing 35,000—500 BCE\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003eMark-making\u003c\/li\u003e\n\u003cli\u003ePrehistory\u003c\/li\u003e\n\u003cli\u003eProto-writing\u003c\/li\u003e\n\u003cli\u003eEarly writing\u003c\/li\u003e\n\u003cli\u003eThe spread of writing as idea and script\u003c\/li\u003e\n\u003cli\u003eThe alphabet\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 2: Classical Literacy 700 BCE—400 CE\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003eVariations of literacy and the alphabet\u003c\/li\u003e\n\u003cli\u003eThe function of graphic codes\u003c\/li\u003e\n\u003cli\u003eModels of writing: gestural and constructed\u003c\/li\u003e\n\u003cli\u003eWriting at the end of the Classical age\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 3: Medieval Letterforms and Book Formats 400—1450\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003eMedieval culture and graphic communication\u003c\/li\u003e\n\u003cli\u003eGraphic media and contexts\u003c\/li\u003e\n\u003cli\u003eThe codex book\u003c\/li\u003e\n\u003cli\u003eLetterforms, manuscript hands, and pattern books\u003c\/li\u003e\n\u003cli\u003eGraphic forms of knowledge\u003c\/li\u003e\n\u003cli\u003ePublishing communities and graphic arts\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 4: Renaissance Design: Standardization and Modularization in Print 1450—1660\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003eEarly print design\u003c\/li\u003e\n\u003cli\u003eGraphic communication in Renaissance culture\u003c\/li\u003e\n\u003cli\u003ePrint technology and type design\u003c\/li\u003e\n\u003cli\u003eGraphic forms of knowledge\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 5: Modern Typography and the Creation of the Public Sphere 1660—1800\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003ePrinted matter and the public sphere\u003c\/li\u003e\n\u003cli\u003eNewsbooks, broadsheets, and newspapers\u003c\/li\u003e\n\u003cli\u003ePolitics and the press\u003c\/li\u003e\n\u003cli\u003eGraphic arts and design\u003c\/li\u003e\n\u003cli\u003eModern type design\u003c\/li\u003e\n\u003cli\u003eOn the edge of industrialization\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 6: The Graphic Effects of Industrial Production 1800—1850\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003eIndustrialization and visual culture\u003c\/li\u003e\n\u003cli\u003eIllustrated papers\u003c\/li\u003e\n\u003cli\u003eBook design for mass production\u003c\/li\u003e\n\u003cli\u003ePrinting images\u003c\/li\u003e\n\u003cli\u003eAdvertising design and typography\u003c\/li\u003e\n\u003cli\u003eFine art and graphic art\u003c\/li\u003e\n\u003cli\u003eCritical issues\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 7: Mass Mediation 1850—1900s\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003ePrinted mass media\u003c\/li\u003e\n\u003cli\u003eChanges in print technology\u003c\/li\u003e\n\u003cli\u003eChanging patterns in the use of graphic media\u003c\/li\u003e\n\u003cli\u003eMedia networks\u003c\/li\u003e\n\u003cli\u003eGraphic design and advertising\u003c\/li\u003e\n\u003cli\u003ePosters and public space\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 8: Formations of the Modern Movement 1880s—1910s\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003eResponses to industrialism\u003c\/li\u003e\n\u003cli\u003eArts and Crafts publications\u003c\/li\u003e\n\u003cli\u003eArts and Crafts dissemination\u003c\/li\u003e\n\u003cli\u003eArt Nouveau\u003c\/li\u003e\n\u003cli\u003eJugendstil\u003c\/li\u003e\n\u003cli\u003eViennese design\u003c\/li\u003e\n\u003cli\u003eDecadence and Aestheticism\u003c\/li\u003e\n\u003cli\u003eThe private press movement and modern design\u003c\/li\u003e\n\u003cli\u003eIntegration of design and industry\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 9: Innovation and Persuasion 1910—1930\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003eVisual culture and avant-garde design\u003c\/li\u003e\n\u003cli\u003eThe graphic impact of Futurism and Dada\u003c\/li\u003e\n\u003cli\u003eFrom experiment to principles\u003c\/li\u003e\n\u003cli\u003ePropaganda and mass communication studies\u003c\/li\u003e\n\u003cli\u003eGraphic persuasion and its effects\u003c\/li\u003e\n\u003cli\u003eInstitutionalizing graphic design\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 10: The Culture of Consumption 1920s—1930s\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003eDesigning the modern lifestyle\u003c\/li\u003e\n\u003cli\u003eModern style in graphic design\u003c\/li\u003e\n\u003cli\u003eConsumer culture\u003c\/li\u003e\n\u003cli\u003eThe profession\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 11: Public Interest Campaigns and Information Design 1930s—1950s\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003ePublic interest and education\u003c\/li\u003e\n\u003cli\u003ePhotojournalism and documentary\u003c\/li\u003e\n\u003cli\u003eWartime propaganda\u003c\/li\u003e\n\u003cli\u003eWartime information\u003c\/li\u003e\n\u003cli\u003eCommercial and technical uses of information design\u003c\/li\u003e\n\u003cli\u003eInformation analysis and design process\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 12: Corporate Identities and International Style 1950s—1970s\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003eImage and identity systems\u003c\/li\u003e\n\u003cli\u003eInternational style\u003c\/li\u003e\n\u003cli\u003eStyle, systems, and graphic design concepts\u003c\/li\u003e\n\u003cli\u003eTechnology\u003c\/li\u003e\n\u003cli\u003eThe profession\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 13: Pop and Protest 1960s—1970s\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003ePop culture and style\u003c\/li\u003e\n\u003cli\u003eSelf-conscious graphic design\u003c\/li\u003e\n\u003cli\u003eSlick surfaces and high production values\u003c\/li\u003e\n\u003cli\u003eCounterculture and the alternative press\u003c\/li\u003e\n\u003cli\u003eRevolutionary culture and protest\u003c\/li\u003e\n\u003cli\u003eChanges in the profession\u003c\/li\u003e\n\u003cli\u003eCritical vocabulary\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 14: Postmodernism in Design 1970s—1980s and Beyond\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003ePostmodern styles\u003c\/li\u003e\n\u003cli\u003ePostmodern consumption and conservatism\u003c\/li\u003e\n\u003cli\u003eCritical theory and postmodern sensibility\u003c\/li\u003e\n\u003cli\u003ePostmodernism and activism\u003c\/li\u003e\n\u003cli\u003eChanges in the profession\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 15: Digital Design 1970s—2000s\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003eDigital technology: from punch cards and plotters to desktop computing\u003c\/li\u003e\n\u003cli\u003eMedia transitions: type design and publications\u003c\/li\u003e\n\u003cli\u003eFluidity and functionality\u003c\/li\u003e\n\u003cli\u003eThe myth of immateriality and challenges of digital design\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChapter 16: Graphic Design and Globalization\u003c\/strong\u003e  \u003cul\u003e\n\u003cli\u003eGlobalization and design\u003c\/li\u003e\n\u003cli\u003eGlobal encounters in design\u003c\/li\u003e\n\u003cli\u003eGlobal networks and technology\u003c\/li\u003e\n\u003cli\u003eConclusion\u003c\/li\u003e\n\u003cli\u003eTimeline\u003c\/li\u003e\n\u003cli\u003eTools of the trade\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e\u003c\/p\u003e","brand":"Pearson Education","offers":[{"title":"Default Title","offer_id":51017644081495,"sku":"9780205219469","price":123.44,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780205219469.jpg?v=1750774212","url":"https:\/\/bookcurl.com\/products\/graphic-design-history-9780205219469","provider":"Book Curl","version":"1.0","type":"link"}