design & graphic arts 2014

2014Design & Graphic Arts

BloomsburyDesign_UK.indd 1 11/02/2014 12:43

Contents

Design & Graphic Arts 2014

Introductory Textbooks 2Theory and Practice 7Graphic Design 9Illustration 14Typography 16Colour 17Interactive Design 18Animation 20Photography 21Advertising 28World History of Design 29History and Culture 30Digital Art and Visual Culture 38Journals 39Index 42Representatives and Agents 43

UK, Europe and Rest of WorldBloomsbury Publishing50 Bedford Square, London, WC1B 3DP, UK T +44 (0)207 631 5600F +44 (0)207 631 [email protected]

UK Trade OrdersMacmillan Distribution (MDL)Brunel Road, Houndmills, Basingstoke, RG21 6XT, UKT +44 (0)1256 302692F +44 (0)1256 812521 / [email protected]

US, Canada, Central and South AmericaBloomsbury Academic1385 Broadway, 5th floorNew York, NY 1098, USAT +1 212 419 [email protected]

US Trade OrdersBloomsbury USAMPS/BUSA Orders16365 James Madison Highway, Gordonsville, VA 22942, USAT +1 888 330 8477F +1 800 672 [email protected]@mpsvirginia.com

Bloomsbury head offices and distributors

TextbookBooks with this symbol are available on inspection / as exam copies and are particularly suitable for course use. You can request them directly from www.bloomsbury.com. If you would like to request any other paperback books on inspection please contact us at [email protected] (North and South America) or [email protected] (UK and rest of world).

www/TextbookIn addition to the above, books with this symbol also have a companion website or online resources.

EBooksAvailable for your e-reader or library for many titles. Please consult our website for pricing availability.

Inspection/exam copies & Ebooks

Review copiesFor copies of books for review in journals, please email [email protected] in North and South America and [email protected] in the UK and rest of world.

ProposalsIf you have a book proposal, please submit your proposal using forms available at www.bloomsbury.com/academic/forauthors

Contact us

Whilst we endeavour to ensure that prices, publication dates and other details in this catalogue are correct on going to press, they are subject to change without further notice.

Translation rights for all titles are available unless otherwise indicated.

Bloomsbury Academic is a division of Bloomsbury Publishing Plc. Registered in England No. 01984336.


2

Textbook

UK November 2014US January 2015

208 pages200 colour illus270 x 210mm / 10.6 x 8.3 inchesPB 9781472534408£29.99 / $49.95Series: Required Reading RangeFairchild Books

Introduction

Chapter 1 - BrandSystems • In Conversation with Mason Wells, Bibliothéque Design • Strategy • In Conversation with Mat Heinl, Moving Brands • Ecosystems • In Conversation with Simon Manchipp, SomeOne • Authenticity • Heritage

Chapter 2 - ExperienceMotion Graphics • In Conversation with Shane Walter, onedotzero • Communication Environments • In Conversation with Designer and Director Kate Dawkins • In Conversation with Kevin Palmer and Matt Wade, Kin • Touch • User Experience

Chapter 3 - ConversationCollaboration • In Conversation with Matt Webb, Berg London • Iteration • Prototyping • In Conversation with Mills, UsTwo • User Testing

Chapter 4 - ParticipationAlternative Cultural Feeds • In Conversation with Adrian Ho • User Generation • In Conversation with Haah De-De • Participatory Advertising • Open Source

Chapter 5 - NavigationData Overload • Curation • In Conversation with Will Hudson, It’s Nice That • Visualizing Data • In Conversation with Max Gadney • Information is Beautiful • In Conversation with Stef Posavek

Chapter 6 - AdvocacyActivism • In Conversation with Lucienne Roberts, Graphic Design+ • Social Responsibility • In Conversation with Tara Austin & Paco Conde, Ogilvy & Mather • Sustainability • In Conversation with Nat Hunter

Chapter 7 - CritiqueDesign Discourse • Design Publishers • In Conversation with Adrian Shaughnessy • Speculative Design • In Conversation with Anthony Dunne and Fiona Raby, Dunne & Raby • Content • In Conversation with Lindsay Liu

BibliographyFurther ReadingIndex

Contents

A guide to the contemporary creative employment landscape, giving knowledge and inspiration to students wishing to build a sustainable career in the communication design industry:

• Leading practitioners, from Moving Brands, Wolff Olins, It’s Nice That, among many others, provide their own insight into the creative industries

• Includes handy ‘Search Terms’ throughout, so that readers can further their own research as they read

Derek Yates is course leader for FDA Graphic Design/Illustration at Camberwell College of Arts, UK.

Jessie Price works as a researcher at the University of the Arts, UK, and as a freelance designer.

Communication DesignInsights from the Creative IndustriesDerek Yates and Jessie Price

Introductory Textbooks


3

Contents

UK November 2014US September 2014

356 pages250 colour illus216 x 279mm / 8.5 x 11 inchesPB 9781609014964£74.99 / $121.00Fairchild Books

www/Textbook

Part I: The Nature, Elements and Principles of Design

Chapter 1: What is Designing?Chapter 2: A Brief History of

DesigningChapter 3: The Elements of

DesignChapter 4: The Principles of

Design

Part II: Informing DesignChapter 5: Researching and

Planning for DesignsChapter 6: Creating and

Presenting Designs

Part III: Thinking DesignChapter 7: Thinking “Print”:

Graphic Design and Elements in Two Dimensions

Chapter 8: Three-Dimensional Thinking

Chapter 9: Time and Experience: Design and Culture/Design in Culture

Chapter 10: Thinking “On-Screen”

Appendix 1: Notable Designers

Appendix 2: Resources for Design

GlossaryIndex

A current and comprehensive introduction to design fundamentals including 2D and 3D design concepts:

• Illustrated with numerous images from a variety of fields: industrial, apparel, interior, automotive, landscape, Web, graphic, fine arts, artisanal, and more

• Sidebars and end-boxes place focus on topics, such as networking, ergonomics, timelines, and sustainability

• Includes chapter summaries, lists of objectives and key terms, exercises, assignments, and questions for classroom discussion

• Teaching resources: Instructor’s Guide and PowerPoint presentation available

Karl Aspelund is an Assistant Professor at the University of Rhode Island, USA.

DesigningAn IntroductionKarl Aspelund



4

Contents

contents

Design Genius celebrates the creative thought processes of several leading artists, designers, creative agencies, animators, illustrators and typographers. While highlighting key design techniques and theories, the visual curiosities presented in this book aim to engage, provoke and inspire.

Whether you are new to design, or a seasoned expert, the many layers of information provided by this book mean it has something for everyone. Readers will delight in the visual and tactile effects of a number of subtle design features, as well as the vast array of illustrations on display. In-depth discussions with the creatives themselves as well as more practical design tips will also help you to discover the power of your own creative problem-solving skills.Explores, through a series of interviews, the tools that visual communicators use to facilitate imaginative thinkingA visual tour de force, with an eclectic set of works from some of the highest quality creative individuals and agencies to appeal to both professional and student audiences across a broad range of visual arts subjects

Features an exceptionally varied pool of contributors, from art directors to illustrators, artists to photographers and writers, including KesselsKramer, Studio Myerscough, 3 Deep Design and AKQA

Gavin Ambrose is a practising graphic designer whose client base includes the art sector, galleries, publishers and advertising agencies. He has written and designed several books on graphic design, branding and packaging.

Alexander Singh / Webb & Webb / Thomas Manns / A Practice For Everyday Life / Ian Bogost / hat-trick design / Robbie Conal / Crispin Finn ambrose & harris Malika Favre / Ann Willoughby / Miha Artnak / Erik Kessels / Michael Lebowitz / Mouse Graphics / NB Studio / Tanner Christiansen / Anthony Burrill / John. P Desserau / Wout de Vringer / Nicolas Feltron / Swine Studio / 3 deep / Pacifica / Mark Leeds / Kitsch Nitsch Design Genius Julian Oliver / James Brown / Hin / Thomas Matthews / Vince Frost / Ken Garland / Poulin + Morris / Blast theory / April Greiman / Mint Digital / Jonathan Harris / Michael Salmond / Appshaker / Chris Bigg / Vesna / Marion Gotti / Second Story / SEA / Studio Myerscough / Jean Jullien / James Kape & Brtion Smith / Rachael Ashe / Gabor PAlotai / Brian Rea / multipraktik / True North / Mucho / Morse / F and B Happy / Studio Output / Vast / Studio Thomson / Crispin Finn / Aufuldish & Warinner / BOY BASTIAENS The Ways and Workings of Creative Thinkers

design geniusAm

brose / harris

Mark Leeds, UKwww.yandz.com

You have a prestigious background in editorial design. Does this have it’s own set of ‘rules’ or ‘approaches’ when dealing with text and image?Yes I think it does. Editorial design - especially on a daily or weekly - is a fluid process, it requires flexibility (of the mind as well as of the design) - stories and priorities change - sometimes very quickly. It means words, images and design are subject to editing, cropping and sometimes dropping entirely in the pursuit of effective story-telling. I see text and images as the raw ingredients - a starting point - which are then shaped to fit the ethos of the publication, not the other way round. It can be a collaborative, argumentative and a competitive process. Contributors sometimes need to refile, or perhaps do more, as a story develops. As deadline nears, we start settling on our decisions, refining the design and text as we go, bringing it closer into focus at each stage. We look at the running order, think about pacing, scale, images and overall tone, to give the publication a satisfying ebb and flow. Many of the covers for FT Weekend Magazine and Bloomberg Businessweek are ideas based. The juxtaposition of images and type aims to convey a unique message and, if successful, becomes greater than the sum of their parts. For stories where images do not exist, or where people do not wish to be photographed, the design needs to be inventive, an approach born of necessity - frequently using typography and manipulated images to assert the individual personality of the magazine. (see New York, Businessweek, FT) In a pure news context I am careful about how images are cropped - retaining their meaning - and i avoid photoshopping them. I would say that this is an unwritten rule - that readers need to be able to trust what they see is an accurate representation of what happened. There are also ethical decisions to be made, these vary from publication to publication and across cultures. Do you show horrific imagery associated with a terrorist attack? Is it ok to use paparazzi shots?, Do those decisions change with time? What’s in the public interest? Its a grey area where the publication’s ethos, context of the event and personal experience inform the decision

46_47

Both the written word and the image have gravity and meaning. Do you have a particular preference or working pattern with type and images.? Are you led by one over another or does this vary from project to project.? Although it varies project to project I usually like to read copy first (or at least a synopsis). It gives me an opportunity to consider how best to visualise it; reportage, portrait, graphic, illustration etc. For images already commissioned its a prism through which I can judge the most appropriate selection to complement the article. I don’t really think its possible to art direct (well) in isolation, you need to know the angle the article is taking to do it justice. Done well, you’ve summed it up in one image, the reader primed.

Some of the designs you have produced are instantly regognisable as being ‘newsworthy’. The Bloomberg Businessweek for example. Are there conventions and vernaculars of type and image that you consciously try and tap into? As readers and consumers we all buy into

some of these conventions. The power of black and white photography that creates a sense of reportage, or the use of authoritative typography (through weight or colour).Sometimes it is a conscious decision. Not every project needs to redesign the wheel and working with common-held conventions means we’re all speaking the same language. Designers, readers and consumers are intertwined with the history of design. Conventions exist and i suppose what we do is evolve the language, playing at the edges, pushing boundaries. Its a constant state of flux, with the wider world influencing the look: Pervading social mood, fashions, and changing technology all have an impact. Although readers may not be able to articulate it, they are visually literate - picking up on subtle differences between types of content (features, news, columnists, reportage) tone (stylish, austere, fun, gossipy) images (commissioned, stock, illustrated) typography (serif, sans, calm, energetic, centred, ranged left, bold, discreet) and colour (traditional, sharp, modern, etc). Then, after we have established

‘Space is a precious commodity in news publications. Competition for that space gives a density to news publications – and white space has to work hard to be justified’

f

True Northhttp://thisistruenorth.co.uk/

46_47

UK July 2014US September 2014

320 pages350 colour illus270 x 210mm / 10.6 x 8.3 inchesPB 9782940411962£32.99 / $56.95Series: Creative CoreFairchild Books

Introduction

Chapter 1: Thinking in WordsWhere Words Come From......and Where They Are Going

Chapter 2: Thinking in Images

Looking CloselyLooking From a DistanceWhat to Leave in and What to

Take OutConstructing Meaning

Chapter 3: Thinking in Numbers

Understanding ProportionUsing Numbers in DesignPoints of ReferenceUsing and Breaking Rules

Chapter 4: Thinking in FormHow We ‘See’ ShapesUsing Form to Control DesignControlling User Reactions

Chapter 5: Thinking in ColourWhat Colours MeanColour as a Tool

Chapter 6: Thinking Processes

Design ProcessesBusiness ProcessesMarket Processes

GlossaryBibliographyIndex

Design Genius celebrates the creative thought processes of several leading artists, designers, creative agencies, animators, illustrators and typographers:

• Explores, through a series of interviews, the tools that visual communicators use to facilitate imaginative thinking

• A visual tour de force, with an eclectic set of works from some of the highest quality creative individuals and agencies

• Contributors include KesselsKramer, Studio Myerscough, 3 Deep Design and AKQA

Gavin Ambrose is a practising graphic designer.

Textbook

Design GeniusThe Ways and Workings of Creative ThinkersGavin Ambrose



5

a visual language, we can have some fun by subverting it.

Space is a precious commodity in news publications. Competition for that space gives a density to news publications - and white space has to work hard to be justified. Typography too has to be hardworking, efficient, easy to read at small sizes. Everything takes an edit and I think that distillation gives a tightness to the whole publication - in turn giving it a unique design vernacular. Production processes also drive the visual language. The design components are a kit of parts, able to be assembled quickly - and by different people - but still retain a coherent look. That’s very much the bricks and mortar of a publication, the underlying rythmn, on top of which different notes are added to keep it interesting. How much can be created from scratch depends on personal choice, staff and deadlines.

As a designer do you feel you need to be fully aware of what it means to be a consumer? is that part of the thinking and designing process?It certainly helps. An idea will connect much more deeply if you understand your readers. Its vital to create a rapport

with them - reflecting their interests - and to some extent their visual culture. Ideally though, you do more than merely reflect: you bring them new ideas, you challenge and surprise. The readers are likely to already have a shared history and passion for that publication, so what you do is part of an ongoing relationship and dialogue. Its exciting to be a part of that, to be innovative - sometimes revolutionary - and bring them with you. My design process is framed by ‘Who is this for?’, When will they encounter it? Are they already committed to it? (like a subscriber) or are you grabbing their attention. Lots of questions to eliminate what its not. Narrowing the options creates a manageable starting point. I don’t know if it always works but its certainly my intention to get to a point where its in the right sort of area quickly and from there explore. Can you give an indication of some of the processes you use when working. For example some people choose to sketch, while others the starting point is more about Empirical research, or emersing themselves in an environment or concept. I like to have a number of simple briefs, ahead of time, so I can be thinking of them in the background. Once i start, I work very quickly, throwing different ideas into the

mix and try not to become too precious. I imagine an end point; what is the short-cut visual for the reader? There’s an immediacy and energy at this stage - often the seed of a good idea is present (although it can take some time for it to dawn on me what it is). However , for a new publication the cover can end up being the last thing worked on - as it takes a while to grapple with the identity of a new magazine - so it becomes a culmination of the understanding built up during the project. I also think its essential to have an opinion on the editorial, suggesting ideas, writing dummy headlines, helping to find an effective solution I draw simple stick men style ideas on paper but also happily sketch on the computer using type, colour and images to get my ideas across. Sometimes I will drill down to a small detail which may end up becoming a defining detail of the publication. There are lots of dead ends but they resurface on other projects. I print out the ideas, full size, larger, and smaller, cut them up - put them inside other magazines - look at them in a mirror, ask people who know nothing of the project - anything to ‘see’ them fresh. I enjoy approaching from the macro and micro, attempting to find a solution

from both directions. I encourage the designers i work with to produce lots of ideas and then we see what’s best, merging, refining until we run out of time. For the FT covers I step back from the detail to look at the big picture whereas during the latter stages of a redesign (like Businessweek) its fully immersive - creating a toolkit of parts and developing a visual grammar – knowing the language completely, from the point size of a picture credit upwards.

Your all have to work hard to earn their place. Do you fid this level of design is as much about what to take out as what to leave in?Its important that all elements combine to reinforce a single idea. I think there are very powerful covers with a lot going on (like this NYT cover) and covers which are deliberately oblique but still work for their knowing audience. For me removing unnecessary elements and distilling an idea makes for a more compelling cover, connecting quickly with our readers. We are trying to entice them to engage with our magazine - it shouldn’t be hard work. Unless of course, you want it to be.

Bloomberg Businessweek

48_49

‘An idea will connect much more deeply if you understand your readers. Its vital to create a rapport with them – reflecting their interests – and to some extent their visual culture’

f

48_49


6

Textbook

www/Textbook


256 pages40 bw illus246 x 189mm / 9.7 x 7.4 inchesPB 9781472569394£19.99 / $34.95HB 9781472571144£65.00 / $112.00Bloomsbury Academic

“A unique and valuable contribution to an emerging field and I applaud the way it was put together ... potentially of good use to courses in Experience Design and possibly for user experience, interaction design, ux [or] digital media design courses” Karen Cham, The Design School, Kingston University, UK

An introduction to key approaches and issues within the emerging field of Experience Design.

Contributors use real-life case studies drawn from a range of national and disciplinary contexts to explore the meaning of ‘experience’; ways in which specific ‘experiences’ can be designed; which methodologies and practices are employed in this process, and how experience design interrelates with other academic and professional disciplines.

Peter Benz is Assistant Professor, Academy of Visual Arts at Hong Kong Baptist University, PRC.

Experience DesignKey Concepts and ApproachesEdited by Peter Benz

Contents summary

Inspiration • Identification • Conceptualization • Exploration/Refinement • Definition/Modeling • Communication • Production • Appendices


320 pages160 colour illus216 x 279mm / 8.5 x 11 inchesPB 9781609018382£54.00 / $80.00Fairchild Books

Karl Aspelund takes readers on a guided tour of seven key stages of design. ‘Perspectives’ features highlight individual designers and artists, and end-of-chapter exercises help transform design projects to reality.

Instructor’s Guide and Power Points available.

Karl Aspelund is an Assistant Professor in the Department of Textiles Fashion Merchandising and Design at the University of Rhode Island, USA.

The Design ProcessKarl Aspelund


3rd edition

New to this edition

• New cumulative storyboards in each chapter• Added coverage of globalization, sustainability and collaborative teamwork• New ‘Perspectives’ features with additional design fields and real-life artists and

designers• Thoroughly updated illustrations


Textbook

7

Contents summary

Introduction • PART I: The Essence of Design • PART II: Being in a Designed World • PART III: The Ethos of Design • PART IV: Design as Practice • PART V: What Technology Designs • PART VI: Designed Appearances • PART VII: Design, Culture and Otherness • PART VIII: Relationality, Categories and Disruptions • Guide to Further Reading • Bibliography • Index


320 pages246 x 189mm / 9.7 x 7.4 inchesPB 9780857853509£24.99 / $44.95HB 9780857853493£75.00 / $120.00Bloomsbury Academic

The Design Philosophy Reader presents and explains the recent emergence of Design Philosophy, why it is needed, what it can do and where it is going.

It comprises eight thematic sections, with texts ranging from writing on design that is informed by philosophy; philosophically informed writing on culture, relevant to the thinking of design; ancient and contemporary philosophy that directly, or by implication, addresses design; and exegesis and commentary on philosophical texts relevant to design.

Anne-Marie Willis is Professor of Design Theory at the German University in Cairo, Egypt.

The Design Philosophy ReaderEdited by Anne-Marie Willis

Theory and Practice

Key Title

Design FuturingSustainability, Ethics and New PracticeTony Fry

2008288 pages189 x 150mm / 6 x 7.1 inches50 bw illusPB 9781847882172£16.99 / $29.95HB 9781847882189£50.00 / $99.95Berg Publishers

“Design Futuring defines redirective practice as a critical new paradigm for design – a way of engaging design and sustainability as they are implicated in and essential to our very survival. Broad. Accessible. Timely.” Eli Blevis, Indiana University at Bloomington, Indiana, USA

“Forceful, convincing, persuasive, and ultimately refreshing, leaving the reader with renewed investment in the role of designers for a sustain-able future.” Interiors: Design, Architecture, Culture

Textbook

Students

Chapters include editorial introductions and annotated bibliographies.


8

“This book proves that Nigel Cross is truly one of the leading thinkers who are working hard to establish the body of knowledge for design.” Lee, Kun-Pyo, Korea Advanced Institute of Science and Technology, South Korea

“A highly accessible read that will doubtless help many designers to better understand – and perhaps also to question – the things they do in their work life, and why they do them.” The Designer Magazine

“A useful resource for people wanting to get a deeper insight into how designers go about designing things and systems, and a great first year student handbook.” Curve

Design ThinkingUnderstanding How Designers Think and WorkNigel Cross

2011

192 pages40 bw illus189 x 150mm / 7.4 x 5.9 inchesPB 9781847886361£14.99 / $24.95HB 9781847886378£45.00 / $79.95Berg Publishers

Textbook

An inspiring resource for design students, professionals or anyone else who could benefit from a fuller appreciation of the design process, By Design vividly shows how design affects our most significant human activities.

A network of engrossing stories illuminate the process as it applies to industrial design, interior design, fashion design, graphic design and the design of business and social situations. It is the perfect accompaniment to a broad area of foundation courses for designers-in-training.

By DesignWhy There Are No Locks on the Bathroom Doors in the Hotel Louis XIV and Other Object LessonsRalph Caplan

2004

267 pages45 colour illus229 x 152mm / 9 x 6 inchesPB 9781563673498£35.00 / $57.00Fairchild Books

Textbook

A collection of 69 essays that looks at just about everything in design: clothes, hardware, posters, cars, airports, chairs, lighting, vending machines, cities and bathrooms. They are about how we use design, language and instinct to navigate our everyday world from eating, relating to others, maintaining traditions and advancing our causes.

Previously published in distinguished forums ranging from ID Magazine, Print, and Interior Design to The New Yorker, The New York Times, and The Nation, Caplan brings to these essays an erudition tempered by clarity, charm and humour.

Cracking the WhipEssays on Design and Its Side EffectsRalph Caplan

2005

240 pages229 x 152mm / 9 x 6 inchesPB 9781563673900£25.00 / $44.00Fairchild Books

Textbook

Theory and Practice Key Titles

2nd edition


Textbook

9

GRADESISuStainable GRaPHiCDeSiGnPrinciples and Practice

Peter Fine

Contents summary

IntroductionChapter 1: MessagesThe Durability of IdeasEverything NewMachined AestheticsInventing the NaturalFinding Meaning in DestructionThe Revolution will be DigitizedShrouds and SkinsWhat RemainsAll Things Being EqualPreservationDe-Naturalized: The Case for

a Critical Methodology for Sustainability

SUMMARY of Case Studies Chapter 2: SpaceThe Collective SelfConstant CrisisMining the RemainsBeyond the LimitsResituating WordsThe Forest for the TreesWasted, Spent and Drained

SpacesInterlocking PlanesBuildings as SignifiersWhat RemainsVoices Across the LandscapeSUMMARY of Case Studies Chapter 3: PackagesDesigning Over TimeIdeas in MotionLocal and UniqueCommunicating ValueMemoryRe-Mediating RelationshipsPeeling Away the LabelEthical RepresentationEmbodying ConsumptionBetween Consumption and

WasteThe Iconography of

Representation

On-the-Go PackagingTo Signify or to ObscurePlastic is a NounSUMMARY of Case Studies Chapter 4: ProcessCollective Utility and MeaningSustainable Use-ValueFraming the ProblemBeyond the Vanishing PointCuriosity Made VisibleThe Power of Multiple IdeasSynthesizing MeaningBeautiful and MeaningfulSUMMARY of Case Studies Chapter 5: Social DesignVisualizing Rather than

TheorizingThe Notion Unlimited SupplyThe Value of Design as ThinkingIn-Equal DesignSurplus CreativityBlind SpotsPlace, Race and WasteSelf-imposed IgnoranceThe SyntheticThe Ephemeral and EternalThe VernacularSaturationSUMMARY of Case Studies Chapter 6: Teaching Graphic

Design at a Human ScaleThe Ideology of the IdealStyle and the VernacularHuman-Centered PedagogiesThe Politics of DesignMaterial and MaterialismIncubators of Critical ExplorationGreening the Graphic Design

Education ConclusionBibliographyIndex


384 pages200 colour illus210 x 297mm / 8.3 x 11.7 inchesPB 9780857850638£24.99 / $39.95HB 9780857850621£60.00 / $99.95Bloomsbury Academic

Sustainable Graphic Design outlines graphic design’s relationship to production and consumption, demonstrating how designers can contribute solution-orientated responses to consumption through tools and methodologies applicable to both education and practice:

• Presents cutting-edge work from practitioners, educators and students from North America, United Kingdom, Japan, Australia and East Asia

• Helps students visualise their future roles engaging with the field in response to ecological concerns, social justice and present design systems

• Includes case studies with step-by-step instructions adapted for use by instructors

Peter Fine is an Assistant Professor of Graphic Design at New Mexico State University, USA.

Sustainable Graphic DesignPrinciples and PracticesPeter Fine

Graphic Design


10

Textbook

Textbook

UK January 2014US March 2014

200 colour illus184 pages230 x 160mm / 9.1 x 6.3 inchesPB 9782940496532£23.99 / $41.95Series: Basics DesignFairchild Books

A guide to the printing and finishing techniques employed by graphic design studios all over the world. A thorough understanding of these techniques will equip the designer with the ability to harness the creative potential of these processes and add creative elements to a design in order to increase its impact and functionality.

Showcasing seven different paper and ink stocks and finishes, the book is an invaluable reference tool.

Gavin Ambrose is a practising graphic designer teaching at the University of Brighton, UK.

Paul Harris is a freelance writer and editor.

Basics Design: Print and FinishGavin Ambrose and Paul Harris

UK December 2014US January 2015

184 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 9781472572714£23.99 / $41.95Series: Basics DesignFairchild Books

“Beautifully designed and filled with excellent examples.” Richard Barlow, St Cloud State University, USA

Design Thinking for Visual Communication identifies methods and thought processes used by designers in order to start the process that eventually leads to a finished piece of work. Step-by-step guidance for each part of the process is highlighted by real-life case studies, enabling the student to see teaching in practice.


2nd edition

Design Thinking for Visual CommunicationGavin Ambrose

Graphic Design

2nd edition

Key Titles

Basics Design 01: FormatGavin Ambrose and Paul Harris

2012

208 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 9782940411795£23.50 / $34.50Series: Basics DesignAVA Publishing

Basics Design 07: GridsGavin Ambrose and Paul Harris

2012


2nd edition Textbook 2nd edition Textbook

New to this edition

• Contributions from a broader international range of design practices• Updated with more in-depth examinations of the case studies• New ‘Design Brief’ feature, enabling readers to put what they’ve read into practice• Now includes a host of online resources, including assignments and videos

New to this edition

• Updated to include discussions with design studios about printing and finishing techniques used on past projects

• New content: studio interviews and student activities


11

Print and finish Size: 160 x 230Hmm U160890_ISO39L_U13-027_GP4B(CYS)

print-finish-4_ga.indd 37 10/10/2013 16:03



Text Black

37

Dupl

exin

g | I

ndus

try

view

: SEA

Des

ign

CM

YK

Gre

y-co

lour

ed s

tock



Text Black

36 Industry view: SEA Design

Industry view: SEA Design

Pictured are launch materials for a new range of papers by Robert Horne called Fabriano. Featuring iconic images by photographer Lee Funnell, each paper type is represented by a different insect.

SEA Design is a multidisciplinary studio working for clients in the arts, cultural and corporate sectors. They have become famous for reinterpreting how branding and identity are approached and have a clear graphic identity.www.seadesign.co.uk

The studio’s work often celebrates the various qualities of stocks and printing techniques. Can you elaborate on this?How we start a project and how it gets produced/finished work hand in hand – there is no point having a wonderful idea if it gets poorly produced on paper. There are more opportunities to express the tactile qualities within a digital age and our identity work always take these opportunities. For example the finish of the packaging board, the choice of texture and weight all convey emotional triggers that are lost on screen or any other medium.

Can you elaborate the collaborative relationship between designer, client and printer?How we produce a campaign and specifically print is all about working closely with the last person involved! We work very closely with every printer over the past decade in an almost obsessive way... Obsessing over every detail of production which I'm sure annoys some of them! However we are lucky in having some extremely passionate clients such as Monotype and Fedrigoni paper, both have produced some amazing printed productions.


print-finish-4_ga.indd 36 10/10/2013 15:28Print and finish Size: 160 x 230Hmm U160890_ISO39L_U13-027_GP4B(CYS)


Print and fi nish Size: 160 x 230Hmm U160890_ISO39L_U13-027_GP4B(CYS)


Text Black

127

Chan

nels

and

pla

tes

| Ov

erpr

intin

g te

chni

ques

| H

alfto

nes

This is a Magazine (above and opposite)These are spreads taken from This is a Magazine use vector and raster image elements. The different components of the design overprint; creating a textured graphic tapestry of colour and form.

807

Mat

t art

CM

YK



Text Black

126 Overprinting techniques

Client: This is a Magazine

Design: Andy Simionato

& Karen Ann Donnachie

(Donnachie, Siminonato

& Sons)

Technical overview:

Radical overprinting




12

Textbook

UK December 2014US January 2015


2nd edition

The Layout Book explains the hows, whys and why-nots of the placing of elements on a page or screen layout. A historical overview of the subject is followed by a systematic look at key theoretical principles and practical applications.

Offering a huge array of potential layout options and with over 250 colour illustrations from some of the world’s leading design studios, this is a uniquely inspiring guide to graphic design.


Paul Harris is a freelance writer and editor.

The Layout BookGavin Ambrose and Paul Harris

Graphic Design

UK September 2014US November 2014

568 pages600 colour illus165 x 240mm / 9.4 x 6.5 inchesPB 9781472567543£49.99 / $85.95Series: Basics Graphic DesignFairchild Books

This box set contains all three books from the Basics Graphic Design series: Approach and Language, Design Research and Idea Generation.

Together, they cover the key ideas and processes that underpin successful graphic design, covering topics such as: key styles, movements and debates in the history of graphic design; design vocabulary; idea generation; design research; and presentation techniques.


Neil Leonard is a designer and educator.

Nigel Aono-Billson is a designer, educator and writer.

Basics Graphic Design Box SetGavin Ambrose, Nigel Aono-Billson and Neil Leonard

Contents

Approach and Language / Gavin Ambrose and Nigel Aono-Billson / PB 9782940411351Design Research / Neil Leonard and Gavin Ambrose / PB 9782940411740Idea Generation / Neil Leonard and Gavin Ambrose / PB 9782940411818

Key Title

The Production ManualA Graphic Design HandbookGavin Ambrose and Paul Harris

2008

192 pages200 illus300 x 220mm / 11.8 x 8.7 inchesPB 9782940373635£37.50 / $52.50Series: Required Reading RangeAVA Publishing

“Informative, up-to-date and well structured, with easily understood diagrams and good illustrative content. An excellent underpinning for all those engaged in graphic design.” Douglas Wilson, Nottingham Trent University, UK

Textbook

New to this edition

• Revised and updated to include new examples from and interviews with Pentagram, Morag Myerscough and April Greiman

• New study points, to help readers to develop their own exploration of layout


13


176 pages100 illus240 x 150mm / 9.4 x 5.9 inchesPB 9781408191873£22.99 / $39.95HB 9781408191880£70.00 / $130.00Bloomsbury Visual Arts

A highly practical guide to the graphic representation of quantities, locations, connections and other forms of data, founded on solid design principles.

Easy to understand, the book has been created to assist designers, researchers, and writers in expressing visually through points, lines, and areas that which by words, letters, and numbers alone often have difficulty communicating. It describes problems, principles, and solutions for the visual display of information, and presents real-world didactic examples, taken from publications such as the Financial Times and the Wall Street Journal.

Per Mollerup is Professor of Communication Design at Swinburne University of Technology, Melbourne, Australia.

Data DesignVisualising Quantities, Locations, ConnectionsPer Mollerup

Graphic Design

Key Titles

The Fundamentals of Graphic DesignGavin Ambrose and Paul Harris

2008

200 pages200 colour illus230 x 200mm / 9.1 x 7.9 inchesPB 9782940373826£26.50 / $38.50Series: FundamentalsAVA Publishing

The Visual Dictionary of Graphic DesignGavin Ambrose and Paul Harris

2006

288 pages300 colour illus160 x 120mm / 6.3 x 4.7 inchesPB 9782940373437£16.95 / $24.95Series: Visual DictionariesAVA Publishing

Textbook Textbook


14

Textbook

Contents

Introduction

Chapter One, Getting StartedIdeas GenerationResearch SketchbooksInspiration

Chapter Two, Ways of Drawing

A History of IllustrationOutsider Art The PortraitLife Drawing

Chapter Three, Experimenting

Print WorkshopCross-media and Cultural

Cut-ups

Chapter Four, Types of Illustration

The DecorativeSocial Comment CaricatureReportageUnderground Urban Street ArtStorytellingFantastic Worlds

Chapter Five, The New Digital Paradigm

The Next Big Thing in IllustrationThe Future is NowFlexibility

Chapter Six, A Career in Illustration

CollaborationBriefs and DeadlinesIndustry InsightsConclusion

Appendix20 ProjectsGlossaryCanonBibliographyConclusionIndexAcknowledgements

UK August 2014US October 2014

192 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 9781472527493£23.99 / $41.95Series: Basics IllustrationFairchild Books

Thinking Visually for Illustrators explores the importance of ideas, research, drawing and experimentation for the illustrator. Contemporary illustrators from all over the world have contributed their artwork and commentaries on visual thinking and the working process. The text also features the work of recent graduates, present students and observations from educators past and present.

Mark Wigan is a Lecturer at Hull College, UK.

Thinking Visually for IllustratorsMark Wigan

Illustration

2nd edition

New to this edition

• New chapter on illustration for the digital domain• Newly designed pages, featuring work from illustrators including Rob Ryan (UK), Anthony Burrill (UK)

and Louisa St. Pierre (US)• A host of new contributors broaden the international scope of the book• Includes 20 project briefs, enabling the student to develop and practise their own techniques


15


176 pagescolour illus250 x 280mm / 9.8 x 11 inchesPB 9781408171790£25.00 / $34.95Bloomsbury Visual Arts

Understanding Illustration asserts the continued power of illustration as a vehicle for meaning and message by offering an in-depth examination of a selection of great images by a broad range of artists.

The book focuses in on a selection of work by 37 artists with an analytical and in-depth approach, showing how illustrators communicate through their images in order to narrate a story or stimulate thought.

Looking at a broad range of illustration, from journalistic reportage to children’s books, it offers an insight into how an artist might tackle a brief, or build up layers of information within their image in order to get a message across.

Derek Brazell and Jo Davies are both practising illustrators and editorial board members of Varoom.

Understanding IllustrationDerek Brazell and Jo Davies

Illustration

Key Title

The Fundamentals of IllustrationLawrence Zeegen

2012


“The book truly lives up to its title: it’s all about the fundamentals, and it covers all the bases ... Great for a young student who might be thinking about getting into illustration, or perhaps someone who wants to start a new craft with a clear view of how the illustration industry operates.” Illustration Friday

A fresh introduction to the important elements of the discipline that takes the reader step-by-step through the key processes, themes and applications in illustration.

Lawrence Zeegen is Head of School for the School of Communication Design at Kingston University, UK.

Textbook2nd edition

Students

Includes a chapter on the professional practice of a freelance designer, contemporary case studies featuring the work of John Clementson, Tim Vyner, Olivier Kugler, Damian Gascoigne, Ben Kelly and Howard Read, and a series of interviews with practising illustrators such as Autumn Whitehurst, Stina Persson and Anthony Burrill.


16

Transforming Type examines kinetic, or moving type, in a range of fields including film, television, typographic animation, and motion graphics, with examples including film and television title sequences, television idents, advertising, interactive poetry and experimental animation.

Barbara Brownie addresses different kinds of kineticism and the issues that arise when type transforms itself, challenging the boundaries between type and image.

Barbara Brownie is a Lecturer in Visual Communication and the online co-ordinator in the School of Creative Arts, University of Hertfordshire, UK.

UK October 2014US December 2014

240 pages14 bw and 16 colour illus246 x 189mm / 9.7 x 7.4 inchesPB 9780857856333£19.99 / $34.95HB 9780857857675£65.00 / $112.00Bloomsbury Academic

Transforming TypeNew Directions in Kinetic TypographyBarbara Brownie

Typography

Key Titles

Basics Design 03: TypographyGavin Ambrose and Paul Harris

2005


The Fundamentals of TypographyGavin Ambrose and Paul Harris

2011


Textbook Textbook2nd edition


17

2013

296 pages216 x 279mm / 8.5 x 11 inches355 colour illusPB 9781609015312£54.99 / $90.00Fairchild Books

www/Textbook

A full-colour interactive and experimental guidebook for understanding colour in all its dimensions, the Set includes 11 Munsell colour charts, 15 interactive charts, 14 packets of colour chips, and a textbook, all designed to facilitate hands-on learning of colour’s aspects and effects.

The text provides a complete study of colour use and colour science, including extended discussion of visual perception, optical effects, and practical application of colour phenomena in fine and applied art practices.

2011

176 pages110 colour illus189 x 244mm / 8 x 10 inchesHB 9781609011567£45.00 / $79.00Fairchild Books

Textbook

This textbook trains students’ eyes to develop a visual understanding of colour and the principles of design through guided observation and engaging activities. Lavishly illustrated with full-colour graphics and photos, the book demonstrates how colour and other design elements are combined in nature and the visual arts.

• Chapter elements include vocabulary and key concepts, workbook activities, and suggested assignments to supplement student learning

• Teaching resources: companion website and Instructor’s Guide available

Designing with ColorConcepts and ApplicationsChris Dorosz and J.R. Watson

2010

384 pages700 colour illus270 x 210 mm / 11 x 8.5 inchesPB 9781563678592£60.00 / $99.00Fairchild Books

www/Textbook

Key Titles

Color Studies is a complete introduction to colour theory and application for students in a broad range of disciplines, from painting and other fine arts to interior design, architecture, fashion design, textile design, and graphic design.

Color StudiesEdith Anderson Feisner and Ron Reed

3rd edition

The New Munsell® Student Color SetJim Long

Colour

3rd edition

New to this edition

• New chapter objectives, key terms, end of chapter summaries and beginning and advanced exercises

• New Internet Resources in Appendix• Up-to-date discussion of sustainable colour applications and green materials as the

underlying component of colorants, dyes, and inks in textiles, printmaking and paints• New chapter on colour and digital technology• Teaching resources: Instructor’s Guide and PowerPoint presentation available


18

Contents

Textbook

Current A head p Next A head

153152

Casual games In contrast to the high premium shrink wrapped box games, casual games is a loose term used to describe a plethora of online games and downloadable phone app games that have simple rules and require little commitment to play. They typically appeal to an older and often more female demographic.

For these reasons the user experience and user interface need careful consideration to appeal to this less traditional games market. The game must have clear goals and rules. User interface needs to have instant visceral appeal and be easy to learn and play. Touch screen controls for smartphones and tablets will require much simpler controls than a PC or dedicated games console.

Games user interface tips Good games user interfaces should:1. Do what the player expects it to do2. Provide positive confirmation of player actions3. Provide relevant and timely information to the player4. Avoid clutter – no unnecessary or obtrusive

UI elements5. Only be visible when necessary6. Icons should have a clear association with what they

represent7. Use common conventions for status icons, such as

hearts for health8. Adapt or evolve with game play9. Avoid placing UI elements in screen areas hidden

by player’s fingers and thumbs10. Be mindful that touch screen inputs are not precise

and need large active areas

6.53–6.56 ǀ Anthill Developed by Image & Form, this is a strategy game with an intuitive interface, based on the real-world behaviour of ants. By drawing pheromone trails, you direct your ground forces to different destinations, working with streams of units rather than individuals. The game incrementally builds players’ knowledge and skills before putting their strategic ability to the test. Each mission is also time limited which is ideal for a casual game.

The game play must have a strong intrinsic motivation to play with challenges that match the skill level of the player. This is an important aspect of designing successful user experience and interaction and is based on the psychological concept of ‘flow’.

External games communities may provide further incentive to continue playing, for example, leader boards are a motivation for casual gamers but multiplayer games are less popular to the casual often time limited nature.

6.57–6.60 ǀ Desafio ChampionsDeveloped by Kotoc and TVE, Desafio Champions is an online game where two players face each other in a battle of fantasy football. The player controls four characters with unique characteristics and skills. Easy to learn but difficult to master amuses both to appeal to both casual and hard-core players. The game is updated each week with new features, content and competitions

72 73

Using colour systems p Encoding and decoding images

Using colour systems

3.26–3.27 The Tommy portfolio siteCreative agency Tommy has used a colour scheme based on the style of 1970s automobile manuals for its own portfolio site.

3.28 The various schemesMonochromatic, analogous, complementary, split and triadic schemes

3.29 Colour guide is a feature of Adobe Illustrator.

3.30 colorschemedesigner.com

Colour can both harmonize and organize graphic elements and information. Using colours based on a working knowledge of the colour wheel will provide your design with balance, harmony and organization. The basic colour schemes are explained below.

Monochromatic schemes are created by taking a single colour and adding neutral colours to create shades. Monochromatic schemes are harmonious and easy on the eye but are weaker at highlighting areas of interest.

Analogous schemes typically use colours that are adjacent in the colour wheel. Analogous schemes are harmonious in the same way as monochromatic, but they have the benefit of being able to accent or highlight areas of interest.

Complementary schemes use pairs of colour that are opposite each other in the colour wheel. They are good for highlighting features, and work best when one colour is more dominant than the other where the less dominant colour is used as the accent colour.

Split complementary schemes are made from three colours. Choose a colour then select colours from either side of its natural complementary colour. Split commentary schemes create impact but are often hard to balance.

Triadic schemes are created by choosing three colours that are equidistant on the colour wheel. As with split complementary, triadic schemes are dynamic but difficult to balance, and often work best when one colour is dominant.

Adjacent colours Although colour values can be set, their appearance will change dependent on their surroundings, in particular adjacent colours. In general, colours appear brighter on dark backgrounds and more muted when placed next to a colour of a similar hue.

[Insert Author Tip Box]In Adobe Illustrator you can use the ‘Colour Guide’ panel (accessible from the Window menu) to help you find colour schemes based on your current fill colour. Alternatively, use online resources to find or create colour schemes:colorschemedesigner.com kuler.adobe.comweb.colorotate.orgpictaculous.comcolorsontheweb.comcolourlovers.com[End Author Tip Box]

IntroductionChapter 1: Research for

InteractionChapter 2: Design DevelopmentChapter 3: Colour and ImageChapter 4: Digital TypographyChapter 5: Grids and LayoutsChapter 6: Interactive FormatsChapter 7: Presenting Your

IdeasConclusionIndex



A snapshot of the essential areas of digital design, introducing students to best practices for creating within this medium and packed with practical exercises:

• Covers the design essentials from a digital perspective: user-based design research and development, digital colour and image, typography and hypertextuality, working with digital formats, screen-based grids and layouts, and storyboards and system mapping

• Featured contributors include Moving brands, The Chase, Happy Cog, Red Bee, BBC iPlayer, Imaginary Forces, and Bibliotheque Design

Jamie Steane is the Head of Visual Communication and Interactive Media Design at Northumbria University, UK.

The Principles and Processes of Interactive DesignJamie Steane

Interactive Design


19

Textbook

Contents

Textbook


192 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 9782940411993£23.99 / $41.95Series: Basics Interactive DesignFairchild Books

“This book is easy to follow, provides a clear understanding of what to expect in each chapter, offers insight into key questions to be asked throughout the UI process and is loaded with relevant and applicable content and insight. This is not only a book, but also an incredibly useful learning tool that can be utilized on a daily basis.” Sean Brennan, Project Manager, Haneke Design, USA

If you want to design successful user interfaces then you need clear and effective visual communication. Interface Design will help you achieve this using a range of incisive case studies, interviews with professional designers and clear hands-on advice to help you produce user-focused front-end designs for a range of digital media interfaces. This book introduces the major elements of graphic design for digital media — layout, colour, iconography, imagery and typography.

Dave Wood is a UK-based digital design and visual communication Lecturer.

Interface DesignAn Introduction to Visual Communication in UI DesignDave Wood

Introduction Chapter 1: What is User Experience Design? Chapter 2: Users Chapter 3: Experience Design Chapter 4: Design Process Chapter 5: Design Methods Standards and checklistConclusionGlossaryIndex

UK February 2014US April 2014

184 pages230 x 160mm / 9.1 x 6.3 inches200 colour illusPB 9782940496136£23.99 / $41.95Series: Basics Interactive DesignFairchild Books

User Experience Design shows how researching and understanding users’ expectations and motivations can help you develop effective, targeted designs. The authors explore the use of scenarios, personas and prototyping in idea development, and will help you get the most out of the latest tools and techniques to produce interactive designs that users will love.

Includes practical projects and stunning examples from some of today’s most innovative studios.

Gavin Allanwood is Course Leader in Digital and Interactive Media at the University of Central Lancashire, UK.

Peter Beare is teaches Media Technology at the University of Central Lancashire, UK.

User Experience DesignCreating Designs Users Really LoveGavin Allanwood and Peter Beare

Interactive Design


20


224 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 9781472521903£23.99 / $41.95Series: Basics AnimationFairchild Books

Praise for the first edition:“The must-have book for the stop-motion animator who wants to learn what it is to be a professional.” Pike Baker, StopMotionMagazine.com

“To say this book is a perfect companion for anyone interested in stop-motion at any level is a tremendous understatement.” Mark Osborne, co-director of DreamWorks Animation’s Oscar-nominated Kung Fu Panda (AWN.com)

• Teaches beginner animation students the essential skills for producing great stop-motion animation

• Packed with beautiful examples from stop-motion pioneers and contemporary animators from all over the world

• Explores camerawork, characterization, colour, lighting, editing, music and storytelling in stop-motion animation

Barry Purves is an English animator, director and writer of puppet animation television and cinema and theatre designer and director, primarily for the Altrincham Garrick Playhouse in Manchester, UK.

Stop-motion AnimationFrame by Frame Film-making with Puppets and ModelsBarry Purves

Animation

2nd edition Textbook

Contents summary

Foreword, Adrian Kohler, Artistic Director of Handspring Puppet Company

Chapter 1: What is Stop-Motion?The Beginnings • The Illusion of Movement • Physicality • A Continuous Performance • Special Effects • Wholly Animated Films • Project 1: Find Your Style

Chapter 2: Focusing the Idea Stories and Themes • Approaching the Story • A Change of Perspective • Out of the Mouths of... Talking Umbrellas? • Atmosphere and Substance • Economics • Project 2: What’s the Story?

Chapter 3: The PuppetsTelling the Story with Puppets • The Physical Puppet • Telling Characteristics • Stylised Movement • Replacements 3D Printing • Eyes • Hands • Puppet Size • Clay • Other Techniques • Project 3: Find Your Leading Man (or mouse)

Chapter 4: PreparationsWorking with Others • Sets • Costume • Colour • Project 4: Set the Scene

Chapter 5: Chapter Tools and Techniques Practicalities • The Camera • Apps and other Low-Cost Options • Lighting • Sound • Dialogue • Special Effects • Editing

Chapter 6: Movement and PerformanceAnimating on the Set • Lively Movement • Helping the Movement • Performance • Project 6: Make it Read!

ConclusionA Brief History of Stop-MotionPicture CreditsAcknowledgementsGlossaryIndex

188 189

Mov

emen

t and

per

form

ance

Movement and performance

In this final chapter we will not only look at how to get clear readable animation, but also how to make it mean something. We’ll talk about the particular qualities and quirks of stop-motion, its unpredictability and its physicality, and how to make sure that every frame counts. We’ll try to encourage inventive, imaginative animation, rather than straightforward literal animation. We’ll look at how to give the illusion of elements such as weight and inertia, which help produce credible animation, and we’ll stress the important aspects of performance, timing, and acting, essential to any movement. Finally we will look at how shooting digitally has liberated animation.

6.1

A Midsummer Night’s Dream 1959

director Jirí Trnka This beautiful film contains some outstanding performances. It was originally released without dialogue, telling the story through music, pantomime and dance. Later an English language version was released, narrated by Richard Burton. Trnka’s multi-layered film The Hand (1965) also features a wonderful reversal of the creator and created story, with the eponymous Hand telling the sculptor what to create: a huge monstrous image of the Hand.

6.1

130 131

Pre

para

tions

4.1

Preparations

Here we’ll look at all the preparation that is necessary for an easy shoot, and what sort of problems and pleasures you’ll encounter on a film set. The process at this stage of film-making is very different from any other form of animation, with much more physicality involved. Detailed preparation before shooting will save so many problems later and is an essential stage to go through.

4.1

Mary and Max 2009

animator Adam Elliot This sums up everything that is glorious about stop-motion; enjoying all the elements of design, texture, lighting, colour, depth, detail and character to produce something very stylized but instantly credible and recognizable. Every element is working in harmony with the others and the purpose of every element has been considered.

Students

The new edition includes an extended project to help readers produce their own one-minute movie.


Textbook

21

Contents

The portrait < | Photofictions | > Memory and the archiveChapter 3: THEMES AND THEIR WORKFLOWS

94 95

Research the fictional world of Bernard Faucon

French photographer Bernard Faucon’s seminal project ‘Summer Camp’ evoked childhood memories, but were played out by a team of vintage mannequins sometimes joined by a single human participant. Arranged in complex groupings across the beautiful French countryside of the Luberon and Camargue, Faucon’s vision is embodied entirely in the pre-photography phase. www.bernardfaucon.net

3.13

Richard Tuschman’s image evokes a bygone era, using focus blur and colour editing.

PROJECT: PHOTOFICTIONS3.12

‘Photography is about finding out what can happen in the frame. When you put four edges around some facts, you change those facts.’ Garry Winogrand

The brief Many practitioners nowadays devise and direct scenarios that are less about observation of the environment, but more about conveying their own personal ideas and concepts. We consume constructed images everyday, from the fashion photo-story through to celebrity portraits and advertising imagery, all produced to hook our attention.

What makes structured reality TV shows so compelling is the blurring between observation and performance. Staged photography promotes a similar paradox: do we believe what we see is for real and if it is fake, does it really matter? Constructed images can carry just as potent a message as an ethical documentary, so your task is to control both the subject and the way it’s represented, choosing one of the following themes:

1 The staged environment Explore the work of sculptor and photographer Thomas Demand, who creates life-sized environments, which are usually bland, corporate spaces. His work plays tricks with our perceptions of fact and fiction.

Using an empty studio space as a starting point, try and recreate a photograph you have found. Put all your effort into creating the set and approach the photography as a documentation task.

2 Living dollMannequins, dolls and model soldiers have been used by many artists and photographers to participate as characters in invented scenarios. David Levinthal’s use of toy characters, staged and lit in a dramatic manner, create a curiously twilight version of historical events, imbuing the toys with human characteristics.

Source a toy figure and devise a scenario which parallels a real event. Use the toy to play out a role, standing in for a real person.

3 InterspeciesAsger Carlsen’s first photo book, Wrong, projects a terrifying vision of Western culture. Nightmarish scenarios of animal species mixing with human forms are created with deadpan, but slick digital retouching.

Make a photograph of a person, then try and merge some other life form element into your composition using Photoshop. Aim for an unsettling, subtle end result or your work will look contrived.

OutputProduce two final images with an accompanying title.

3.12

Lee Avison’s staged photograph suggests something is about to happen.

3.13

153152

Non-destructive editing < | Core image editing | > Monochrome conversionChapter 5: TREATMENT

5.9b5.9a 5.10

Making dark images lighterOpen your Levels dialog and work on the Input sliders found at the base of the histogram shape. Drag the central grey midtone slider to the left until your image becomes brighter. This will not change your highlight and shadow points.

Making lighter images darkerWhen faced with images that are lighter than you want them to be, use the Input sliders to make your corrections. Drag the central grey midtone slider to the right until your image becomes darker and loses it’s washed out look. Avoid going too far or your printouts will look dark and heavy (see images 5.9a and 5.9b).

5.10

Careful image editing permits the actual lighting atmosphere to be conveyed in the final print or screen display, as this example shows.

Chapter 1: How Equipment WorksDigital SLR • Compact Cameras • Medium Format Camera • Lens Essentials • Computers and Monitors • Adobe Photoshop • Image Editing Software: Adobe Lightroom • ProjectChapter 2: Shooting SkillsCamera Quality Settings • File Formats • Aperture • Shutter Speeds and Movement • Exposure and How to Measure it Properly • Camera Metering Modes • Camera Program Modes • The Lens and Focussing • Depth of Field • Viewpoint • Composing your Image; Seeing the World in Monochrome • ProjectChapter 3: Themes and their WorkflowsBasic Observational Documentary: Urban Texture • Culturally Aware Documentary: Out of Season • Candid/Street Photography: People on the Street • Eco/Political Study: The Threatened Landscape • Photo Essay Narrative: A Day in the Life • Location Portrait: Public/Private • Studio Portrait: Alter-Ego Collaboration with Others: Constructed Reality • Current Issue Story: Signs of the Times • ‘Late’ Photography: The Aftermath • Staging/Performance: A Re-Enactment • Developing own Work: A Personal Project

Chapter 4: Project DevelopmentResearching your Project • Planning and Prep • Testing and Review • Shaping your Project • ProjectChapter 5: TreatmentEssential Software Skills • Creative Emphasis • Project: Sample Files to Test EditChapter 6: Output and FinishingDesktop Printing • Remote Printing Services • Onscreen Use • Project

BibliographyGlossaryIndex

By embedding the text within project themes rather than presenting it as a complex data processing activity, this book takes a different view of the relationship between technology and practice in digital photography, synchronizing simple and efficient digital workflows with inspirational practical projects. Readers will become confident software users, while developing all-important visual and conceptual skills.

Tim Daly teaches Photography at the University of Chester, UK, and leads practical workshops for the Royal Photographic Society in Bath, UK.

UK December 2013US February 2014

200 pages200 colour illus230 x 200mm / 9.1 x 7.9 inchesPB 9782940496068£26.99 / $46.95Series: FundamentalsFairchild Books

The Fundamentals of Digital PhotographyTim Daly

Photography


22

Textbook

8 9where is The LandscaPe ?

The urge to represent our surroundings might be described as a human instinct that crosses cultures and presents itself as far as our earliest ancestors. The

hunting scenes, animals and topographic features depicted on the walls of caves, some of which date back as far as 30,000 years, could be considered the first examples of landscape art. Today, landscape pictures still fill our homes, as well as our workplaces; depicting places we have visited, or locations we aspire to travel to, or that generally evoke some kind of escapism from our actual environment.

Since photography’s discover in the nineteenth century, landscape has been a popular subject for both amateur and professional photographers alike. Landscape art can of course be found in museums and galleries across the world, however, landscape imagery can be seen in many other everyday contexts, such as within advertising, on calendars, in books and magazines, and even on logos and product packaging.

The long history associated with landscape art has played a role in our understanding of landscape imagery, specifically what may or may not be accepted as a ‘landscape’ picture. Many contemporary photographers have attempted to shake off this history and produced work that is contrary to established styles. Others have engaged with this history yet with a more critical line of enquiry, such as by embracing traditional conventions to engage their audience’s attention, to then present them with the subjects, themes and ideas that they feel needs to be seen.

Perspectives on Place aims to develop your practical photographic skills and enable you to realise photo opportunities more proficiently through a discussion of specific techniques, equipment and approaches that are used by today’s professional landscape photographers. However, we will also explore the many different ways that photographers and artists have explored and continue to expand the boundaries of this exciting genre.

It is easy to be inspired by visually arresting photographs made by photographers working in far-flung locations. Many students and amateurs hold the preconception that in order to make interesting landscape images they must have access to exotic or dramatic locations. As we shall see in Chapter 2, travel is often a component to landscape photography, however, this is not always the case. What the examples of other photographers discussed within this book will demonstrate, is that interesting landscape imagery exists wherever we are. Hopefully their work will inspire you to see more of these opportunities, whatever is on your doorstep.

inTroducTionwhere is The ‘LandscaPe’?

fig. 0.1 hans van der meer budapest. hungary, 2000 from the series European Fields In 1988, Hans van der Meer had a chance encounter with a photo archive in the Netherlands and was struck by a collection of vintage press photographs of football matches. Some of these photographs were taken from the kind of high vantage point that van der Meer adopted for his own later investigations. These kinds of elevated views seemed remarkable to the photographer who like the rest of us, are mainly familiar with sports photography being predominantly about the details of the match or tournament (close up and action shots), rather than imagery that gives a sense of the event itself. Van der Meer’s project, which has expanded considerably over the years, reclaims the significance of the actual place in which these amateur league football matches take place. Such an approach has led to a unique body of photographic work in relation to both sports and landscape photography. The photographer has provided us with records of these matches, which are completely eclipsed by the sport’s more glamorous leagues, and show the games in the context of the landscapes which the players are connected to.

fig. 0.1

Contents

IntroductionWhere is the Landscape? Distinction as a GenreWhy explore landscape art? Health/Safety/Law/Ethics Giving and Receiving FeedbackChapter 1: TAMING

THE VIEWGeography, Metaphor,

AutobiographyFrames and FormatsLenses for LandscapesTripod or Handheld?The Zone SystemManaging Dynamic RangeCompositional ConventionsLandscape NarrativesAssignment 1Chapter 2: DEFINING

NATUREWhat is ‘beauty’?The Pastoral and the

PicturesqueThe Qualities of LightThe SublimeWhere is the Wilderness?Voyages in the LandscapeAssignment 2

Chapter 3: SYNTHETIC VISIONS

Depth-of-field and focal planesThe ‘Temperature’ of LightAnalogue and Digital FiltersInfrared LightLighting the LandInterpreting TechnologiesPictorialism vs. ‘Straight’

PhotographyAssignment 3Chapter 4: LANDSCAPE,

POLITICS and POWERLandscapes of IndustryNew TopographicsEnvironmental PoliticsGender and the LandscapePersonal and National IdentitiesAssignment 4Chapter 5: The PRESENCE

of ABSENCELandscape and MemoryLandscapes of ConflictThe AftermathLiminal SpacesFrom Spaces to ‘Places’Assignment 5

GlossaryBibliographyWebographyIndex

UK December 2014US February 2015

192 pages200 colour illus270 x 210mm / 10.6 x 8.3 inchesPB 9781472533890£37.99 / $65.95Fairchild Books

Perspectives on Place provides an inspiring and challenging insight into the territory of contemporary landscape photography, which will help foundation level and undergraduate students to improve the visual qualities of their landscape images as well as develop their understanding of how to represent the landscape more meaningfully.

The book bridges theory and practice by exploring how particular visual approaches have been adopted by photographers and artists to facilitate the communication of ideas and themes, as well as more abstract concepts. Practical issues, such as effective composition and managing challenging lighting conditions are also discussed.

Jesse Alexander is a freelance photographer, writer and educator.

Photography

Students

Explores and explains key technical principles, like controlling depth-of-field, using filters and making the most of natural light through examples from leading contemporary landscape photographers.

Perspectives on PlaceTheory and Practice in Landscape PhotographyJesse Alexander


23

1 1where is The LandscaPe? / your heaLTh, safeTy and The Law

“ ‘Landscape’ … can be seen, as it was in nineteenth-century debates, as a general name for substances – it can mean bricks and mortar, leaves and fields, the desert, automobiles on a street, overcast or sunny skies, rural and suburban trees, concrete architecture, ghettos, a seascape at night, a seaside resort, the post-conflict rubble of a war-torn city, a tourist resort, industrial spaces, interiors or panoramic views. ‘Landscape’ is not all things to all people, but a highly differentiated discourse on representing space. david baTe 2

your heaLTh, safeTy and The LawExploring the landscape can be immensely rewarding, particularly if you are inclined towards working outdoors and you enjoy the challenges associated with this. Landscape photography is not a hazardous activity and generally speaking, no more or less dangerous than other kinds of photography. However, if you are working in more remote or exposed locations, you should always take extra time to consider any potential risks. Make sure to check the weather forecast, know when it will get dark and if working around the seashore or estuaries, the tide times. Don’t forget any additional equipment or supplies that might come in useful. Landscape photography is often considered a solitary pursuit although in practice this is not always the case. Recruiting the assistance of a peer can help lighten the burden of camera equipment if you need to walk any distance, and also offer moral support if any problems arise ‘in the field’. If you are working in remote or unsafe places, it is a good idea to tell a reliable person where you are going and how to raise the alarm if you are not back according to schedule.

In recent years, there have been well-documented accounts of photographers being unjustly challenged by police and security guards whilst taking pictures in public. Specific laws vary between countries, however, in the UK and the USA for example; generally speaking, the law does not prohibit you from photographing most things, as long as you are on public property. But in terms of what may or may not be published and in what context, matters are more complicated. You should familiarise yourself with the law in your area (and the laws of other countries if you are travelling abroad) and respect them. If you anticipate that you will be being challenged whilst working and will be within the law, you should take evidence with you that confirms your right to photograph at that place, such as a copy of the legislation or written permission from the property or landowner.

As we shall see in Chapter 4, for some people, trespassing is part of their practice. If you are photographing on private property – even if it is publically accessible – then it is prudent to obtain permission from the land- or property-owner first, to negate the possibility of problems arising during the shoot or at a later date. This is extremely important when working within a commercial context. Understanding your rights – as well as your responsibilities – as a photographer is a key component to professional practice. fig. 0.4

Jo meTson scoTT and nicoLa yeoman from the series And ThenLorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

fig. 0.4

chapter 1Taming The view

“to the complaint, ‘there are no people in these photographs,’ i respond, ‘there are always two people: the photographer and the viewer’. anseL adamsfig. 1.1

Jo Metson Scott and Nicola Yeoman: Formations, 2010 from the series And Then

Suzanne Mooney: Benna Bela from the series Behind The Scenes


24

Textbook

Packed with inspiring full-colour images, the Basics Photography Box Set is a one-stop guide to composition, lighting and exposure for photographic projects.

• Technical diagrams sit alongside stunning imagery by master photographers such as Henri Cartier-Bresson, Ruth Bernhard, Murdo Macleod, Harry Callahan and Martin Parr

• Image captions include information about the type of camera and technical settings used to create each photograph

• In-depth case studies and practical exercises show readers how key techniques and concepts can be applied to different forms of photographic practice, such as still life, portrait, documentary, action/sports, fine art and advertising

Basics Photography Box SetDavid Präkel


728 pages600 colour illus165 x 240mm / 9.4 x 6.9 inchesPB 9781472578136£64.99 / $111.95Series: Basics PhotographyFairchild Books

UK July 2012US September 2012

184 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 9782940411771£23.50 / $34.50Series: Basics PhotographyAVA Publishing

“Superlative book on a subject often too lightly dismissed but of the utmost importance. Clearly written, cleverly illustrated, thorough but straight to the point. A must for... well, everyone!” Armando Vilas-Boas, IADE, Portugal

The second edition of Composition is divided into six core chapters covering the historical background and the formal elements of composition, how to organize space and time within the photographic frame, how to apply composition in real-world situations and, beyond that, how to use the ideas presented in the book to create original, compelling images through an active and enquiring approach to composition.

David Präkel has taught photography at the prestigious Kodak Imaging Centre in the US and in his own workshops in Northumberland, UK.

CompositionDavid Präkel

Photography

2nd edition

Praise for the first edition: “Exceptional. A number of students I know have bought this and so they should. Informative and inspiring.” K. J. Shepherdson, Canterbury Christ Church University, UK

“One of the best [texts] I have come across thus far; thorough, clear, well-designed, great examples.” Michelle Given, Murray State University, USA

The second edition of Lighting includes new case studies, work from contemporary photographers, and a selection of exercises to explore a photographer’s creativity.

LightingDavid Präkel

UK February 2013US March 2013

192 pages200 illus230 x 160mm / 9.1 x 6.3 inchesPB 9782940411955£23.99 / $37.95Series: Basics PhotographyAVA Publishing

Textbook2nd edition

Students

Fully updated and revised with exciting new work, informative case studies and practical exercises.

Box contents

Composition, 2nd Ed / David Präkel / PB 9782940411771Lighting, 2nd Ed / David Präkel / PB 9782940411955Exposure / David Präkel / PB 9782940411054Working in Black and White / David Präkel / PB 9782940373857


25

Textbook

Textbook


736 pages800 colour illus165 x 240mm / 9.4 x 6.9 inchesPB 9781472567529£69.99 / $120.95Series: Basics Creative PhotographyFairchild Books

Packed with stunning full-colour images from students and professionals, the Basics Creative Photography Box Set is an inspiring guide to creating meaningful photographs.

• Covers critical theory as well as the more practical aspects of creating meaningful images

• Includes 24 in-depth case studies and 18 activities

• Features 800 stunning full-colour images from both well-known photographers and students

Natasha Caruana is a lecturer of Photography at the University for the Creative Arts, Farnham, UK. Anna Fox is Professor of Photography at the University for the Creative Arts, Farnham, UK. Richard Salkeld is Senior Lecturer in the Art and Design department at the University of Gloucestershire, UK. Maria Short is a photographer, educator and writer. Jeremy Webb is a photographer and tutor with over 25 years’ experience.

Basics Creative Photography Box SetNatasha Caruana, Anna Fox, Richard Salkeld, Maria Short and Jeremy Webb

UK March 2012US May 2012

176 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 9782940411665£23.50 / $34.50Series: Basics Creative PhotographyAVA Publishing

“An important and timely book. Broad in scope, with focused examples, this is an effective and engaging introduction to the convergences of practice and theory; spontaneity and systematic enquiry; critical engagement and creative exploration that research in photography involves.” Fergus Heron, Artist and Senior Lecturer in Photography, University of Brighton, UK

“The book is an excellent way to teach students about the process of research in the creative field.” Elisabeth Strunk Effron, The Art Institute of Raleigh Durham, US

“If you are looking for guidance in establishing a research process for your next photographic project, then this book is for you.” Clive Waring, Silvershotz Magazine

Natasha Caruana is a lecturer of Photography at the University for the Creative Arts, Farnham, UK. Anna Fox is Professor of Photography at the University for the Creative Arts, Farnham, UK.

Behind the ImageResearch in PhotographyAnna Fox and Natasha Caruana


184 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 9782940411894£23.99 / $41.95Series: Basics Creative PhotographyFairchild Books

Striking visual examples, engaging case studies, and brief activity points make this a clear and inspiring introduction to theories of representation and visual analysis and how they can be applied to photography. Introducing the development of photography as well as different approaches to reading images, the book looks at elements such as identity, gaze, psychoanalysis, voyeurism, and aesthetics.

Richard Salkeld is Senior Lecturer in the Art and Design department at the University of Gloucester, UK.

Reading PhotographsAn Introduction to the Theory and Meaning of ImagesRichard Salkeld

Photography

Box contents

Design Principles / Jeremy Webb / PB 9782940411368Context and Narrative / Maria Short / PB 9782940411405Behind the Image / Anna Fox and Natasha Caruana / PB 9782940411665Reading Photographs / Richard Salkeld / PB 9782940411894


26

the other BrownieS

The Brownie name did not, as might be thought, have any link with that of its designer, Brownell. Instead, it came from a series of well-known children’s book characters, the Brownies, which had been popular since 1881. Created by the Canadian illustrator and author Palmer Cox, they were used by Kodak to advertise the camera, and even appeared on its packaging until around 1907 (see left). Kodak’s marketing department used the characters reputedly with no acknowledgment or payment to Cox, which is ironic considering the lengths Kodak went to in preserving its own trademarks.

26 Kodak Brownie

an inStant hitThe camera began shipping on February 1st, 1900, for the price of $1 in the United States and 5 shillings (25 pence) in the United Kingdom. The first 15,000 cameras had a push-on back, but following feedback from customers and dealers a re-designed version with a strengthened back was being sold by June.

If the original Kodak camera of 1888 had taken the photographer away from the darkroom, then the Brownie brought photography within the reach of everyone. The camera itself was affordable even for the working classes, and the six-exposure films cost just 25 cents. A network of chemist shops and photographic dealers offered developing and printing services, although the camera was also supported with a processing kit and a range of accessories that would allow the owner to produce his or her own photographs. The resulting photographs could then be put in to Brownie albums. In many

respects the camera itself was unremarkable. What made it successful, other than the price, was the associated marketing. The Brownie was advertised extensively in newspapers and magazines to reach its intended market. In June 1900, magazines carrying Brownie advertisements had a combined circulation of 6 million in the US alone. In addition, dealers supported by Kodak were supplied with printed circulars, banners, and show cards for shop windows.

In Britain, Kodak Limited’s Trade Circular proclaimed that the Brownie would “bring into photography thousands of new workers and users, and—as with all our inventions, simplifications and advertising—will create new customers for our dealer friends.” The company envisaged it as being everyone’s first camera, after which they would move on to more expensive models. It was deliberately aimed at children and women rather than men, who had hitherto been the main buyers of cameras. To support sales the Kodak company quickly announced a Brownie Prize Competition in 1901, which was open to members of its Brownie Kodak Club. Membership was limited to boys and girls under 16 years old. Prizes totalled £100, and over 3,000 entries were received.

The response from the public was exceptional. “They are selling like wildfire,” the company announced one month after its introduction, as it struggled to supply its dealers’ orders. By the time the original Brownie was superseded by the No. 1 Brownie in October 1901, around 245,000 had been sold. Needless to say, other camera manufactures quickly brought out their own models copying the simplicity of the Brownie and aiming at the same markets that Kodak was targeting. They used names such as Buster Brown, Kewpie, Nipper, and Scout, but none had the impact of the Brownie, which was underpinned by Kodak’s massive advertising and marketing budget.

27

below and right the popularity of the Brownie was due in large part to careful marketing. it was the first camera specifically to target women and children in its advertising.

12 Kodak Brownieproduced: 1900–1980 | country: United States | manufacturer: Kodak

Name the camera that transformed amateur photography, and for most people it would be the humble Brownie box camera. For much of the

twentieth century the Brownie was the first camera a person bought, and even in a digital age the name continues to be used as shorthand for an amateur camera.

Between 1900 and 1980 a vast range of camera models—more than 125 in total, depending on definition—were sold under the Brownie name. Variations included box and folding models, and the original cardboard body was later switched to molded plastic. But while the camera changed over the years, three core concepts remained throughout: they were well designed, simple to operate, and low in price. In no small part due to these qualities, the Brownie camera was the most successful range of all time. It introduced photography to many millions of people across the world, and even well known photographers, such as Ansel Adams, Mary Ellen Mark, and John Chillingworth, all started their careers with a Brownie camera.

BacK to BaSicSThe original Kodak camera of 1888 (see page 00) had done much to simplify the process of photography, but it was expensive and sold in relatively low numbers. The Pocket Kodak of 1895 took the idea of a simple box-type camera further and was more popular, selling some 100,000 in its

24 Kodak Brownie 25

first year. In 1898, realizing that he needed to go back to basics in terms of camera design and production in order to keep the cost of manufacturing down, George Eastman asked Frank Brownell to design a camera that would be cheaper and easier to use than any Kodak had yet made. He recognized that if he could produce a cheap, reliable camera for under a dollar, it would encourage more people, particularly children and woman, to take up photography, and this in turn would boost the sales of film and paper, where most of Eastman Kodak Company’s profits were made.

The Brownie camera was the result. It was the subject of several United States patents in 1899 and 1900, of which number 622955 related to the shutter and 725035 described the main features of the camera. The camera was little more than a cardboard box with a lens mounted at the front. It was innovative in simplifying the device to a bare minimum. The camera body was made of jute board, reinforced with wood and covered in imitation black leather. The few controls were nickel-plated. At one end was a simple meniscus lens of 100mm focal length with an aperture of f/14 and a simple single-speed rotary shutter. The camera back was held on by two metal springs and was removed to allow a newly introduced daylight-loading roll film, later designated 117, to be inserted. This allowed for six exposures, each 2.25 x 2.25 inches. The shutter release and winding key to advance the film were located on top of the camera. To take a picture, the camera was simply pointed at the subject and the exposure made. From July 1900 a separate clip-on waist-level viewfinder was available for an additional 20 cents. With no other controls, it was the first point-and-shoot camera to produce acceptable results in sunshine.

FranK Brownell

Frank Brownell—the designer of the original Brownie—had been working for George Eastman since 1885, making the Eastman-Walker roll-film holder and undertaking woodworking for Kodak cameras. In 1892 Eastman built a factory in Rochester, NY, which he called the Camera Works. This he rented to Brownell, who began designing and making cameras for Eastman’s rapidly expanding company. By the time Brownell retired ten years later in 1902, more than sixty new camera models and designs had come out of the Camera Works, prompting Eastman to describe Brownell as “the greatest camera designer the world has known.”

below two diagrams of the Box Brownie camera from US patent 725034, filed on July 25, 1900, and listing Frank Brownell as the inventor.

The History of Photography in 50 Cameras relates the exciting story of this ground-breaking tool by selecting 50 key camera models and investigating them in chronological order. The origin and development of each model is described in detail, along with its impact on the science, consumption and art of photography.

• Covers cameras of all forms, from the first ‘mousetrap’ camera of 1835 to the latest camera-phone

• Illustrated throughout with a wide range of iconic photographs taken by the models described, as well as studio shots of all fifty cameras and related equipment

• Traces the stories of the photographers who used and popularized these cameras

Michael Pritchard FRPS was a photography specialist and Director at Christie’s, London, UK, for over twenty years and is currently Director General of the Royal Photographic Society, UK.

UK October 2014

224 pages227 x 170mm / 8.9 x 6.7 inches150 colour illusHB 9781472575388£20.00Bloomsbury Visual ArtsEurope rights onlyNot for sale outside Europe

The History of Photography in 50 CamerasMichael Pritchard

Photography


27

Contents


240 pages200 illus210 x 270mm / 8.3 x 10.6 inchesPB 9781472525109£37.99 / $65.95Fairchild Books

Train Your Gaze is a primer on the theory and practice of portrait photography introducing students to key concepts, techniques and artists. The book includes detailed discussion of images made by a range of contemporary and classic photographers.

Roswell Angier is currently a faculty member at the School of the Museum of Fine Arts, Boston, USA.

Train Your GazeA Practical and Theoretical Introduction to Portrait PhotographyRoswell Angier

Photography

2nd edition

New to this edition

• Fully updated throughout to account for advances in creative work and technology• Chapter 12, ‘Digital Personae’ includes a discussion of the role of social media in the practice of

portraiture• New assignments at the end of each chapter, expanded captions throughout to contextualize the

images and 25% new visuals

Introduction • About Looking • Self-portrait/No Face • People at the Margin: The Edge of the Frame • Behaviour in the Moment: Picturing Eventfulness • You Spy: Voyeurism and Surveillance • Portrait, Mirror, Masquerade • Confrontation: Looking through the Bull’s Eye • Out of Focus: The Disappearing Subject • Darkness. Flash! • Figures in a Landscape: Tableaux • Commentary: Digital personae • Appendices: Camera and Camera Controls • Exposure and Metering • Using Flash • Critical Bibliography • Index

Key Text

PhotographyThe Key ConceptsDavid Bate

2009

224 pages20 bw illus234 x 156mm / 9.2 x 6.1 inchesPB 9781845206673£14.99 / $24.95HB 9781845206666£50.00 / $99.95Series: The Key ConceptsBerg Publishers

“Brilliantly engages students in the essential theoretical debates around contemporary photography. ... It strikes just the right balance between erudition and plain explanation.” Michael O’Brien, Roehampton University, UK

An ideal guide to the place of photography in our society and to the extraordinary range of photographic genres. Outlining the history of photography and explaining the body of theory which has built up around its use, the book guides the reader through the genres of documentary, portraiture, landscape, still life, art and global photography.

Textbook


28

Textbook


400 pages950 colour illus300 x 220mm / 11.8 x 8.7 inchesHB 9781472528452£40.00 / $68.00Series: EpicaBloomsbury Visual ArtsWorld English

Praise for the Epica series:“[Sets] standards for new thinking, for intelligent problem solving and for refreshing insights ... Enjoy!” Amir Kassaei, Chief Creative Officer, DDB Group, Germany

“This is the closest you’ll get to a ‘how to’ book on creative advertising.” John Pallant, Regional Creative Director, Saatchi & Saatchi, ME

Epica Book 27: Creative Communications is a lasting record of the 2013 Epica Awards and a unique source of information and inspiration for all those interested in contemporary worldwide advertising trends.

Created in 1987, the annual Epica Awards recognizes outstanding creativity in all main communication disciplines, including: TV and radio, poster design, direct marketing, branded content, PR, design, packaging, interactive and integrated campaigns.

Epica Book 27Creative CommunicationsEpica Awards


184 pages200 colour illus230 x 200mm / 9.1 x 7.9 inchesPB 9782940496075£26.99 / $42.95Series: FundamentalsFairchild Books

This informative introduction to advertising today explains the modernization of the advertising industry. Focusing on real-life examples, it looks at how advertising creatives have responded to the different demands of digital campaigns, giving a crucial insight into this dynamic industry. Clear and engaging explanations help readers to develop their own new and innovative campaigns.

Chris Linford is Principal Lecturer and Head of Digital Media at the University of the Arts at the London College of Communication, UK.

Jo Hodges is currently Course Director for the BA (Hons) Advertising course at the London College of Communication, UK.

The Fundamentals of Digital AdvertisingChris Linford and Jo Hodges

Advertising

Key Titles

The Fundamentals of Creative AdvertisingKen Burtenshaw, Nik Mahon and Caroline Barfoot

2011


Kiss & Sell: Writing for Advertising(Redesigned & Rekissed)Robert Sawyer

2006

184 pages300 x 220mm / 11.8 x 8.7 inches250 colour illusPB 9782940373468£37.50 / $39.95Series: Required Reading RangeAVA Publishing

Textbook Textbook2nd edition


29


1,600 pages880 bw and 120 colour illus246 x 189mm / 9.11 x 7.7 inches2-volume HB Set 9781472569288£395.00 / $680.00Bloomsbury Academic

Authored by pre-eminent design scholar Victor Margolin, World History of Design is an indispensable new multi-volume work, providing a comprehensive and detailed historical account of design from prehistory to the end of the 20th century.

The first two volumes contain almost 800,000 words and 1,000 images, featuring all world regions across all periods up to the end of World War II, including substantial new material on design in Latin America, Asia, the Middle East and Africa.

The third and last volume, covering the period from World War II to the present, will be released later in 2016.

Victor Margolin is Professor Emeritus of Design History at the University of Illinois, Chicago, USA.

World History of DesignVictor Margolin

World History of Design

The definitive global history of design

Contents

Volume 1Prehistoric Times to World

War I1. The Prehistoric Age2. The Earliest Civilizations,

7000 BCE - 900 BCE3. The Classical Age and Early

Byzantium, 900 BCE - 800 CE

4. Medieval Europe and the Islamic World, 800 CE - 1200 CE

5. Africa, the Americas, and Asia, 900 BCE - 1200 CE

6. Renaissance Europe and the Ottoman Empire, 1200-1750

7. Cross-Cultural Encounters, 1200-1750

8. The Industrial Revolution: Europe and America, 1750 CE - 1830 CE

9. Chapter 9 The Age of Exhibitions: Great Britain 1830 CE - 1900 CE

10. The Craft Ideal and the Art Movement: Britain and Elsewhere, 1861-1915

11. The Age of Exhibitions: Europe Outside Great Britain, 1830 CE - 1900 CE

12. Art Nouveau and the

Decorative Impulse, 1890-1914

13. The United States, 1840-1900

14. Canada, Australia, New Zealand, 1300 CE - 1900 CE

15. Protoindustrialization in Diverse Regions, 1750 CE - 1900 CE

16. Colonies and Pre-industrial Nations in Asia and Africa, 1750 CE - 1900 CE

17. Modern Design in Europe and America, 1900-1917

18. Art and Literature of the Avant-Gardes, 1897-1918

19. World War I, 1914-1918

Volume 2World War I to World War II20. Design in the Soviet Union,

1905-192821. Weimar Germany, 1918-

193322. France, 1918-193923. Great Britain 1918-193924. Western and Southern

Europe 1900-193925. Central and Eastern Europe,

1900-1939

26. Scandinavia, 1917-194527. Italy, Germany, Portugal,

Soviet Union, 1922-194028: The United States,

1917-194129. Latin America: Cuba,

Mexico, Brazil, 1900-193930. Latin America: Chile,

Argentina, Colombia, Venezuela, Uruguay, 1900-1939

31. Commonwealth Countries; Canada, Australia, New Zealand, 1917-1939

32. The Near and Middle East, 1900-1939

33. Colonies: Africa: 1900-1945

34: Colonies: India, Hong Kong, and Burma 1900-1945

35. Asia: China and Siam, 1900-1939

36: Asia: Japan and its Colonies, 1900-1937

37. World War II, 1939-1945


30

Contents

VOLUME ONE: DESIGN REFORM, MODERNISM AND MODERNIZATION

Introduction, D.J. HuppatzPart 1: Design ReformPart 2: Modernism and

ModernizationPart 3: Reflections

VOLUME TWO: PROFESSIONAL PRACTICE AND DESIGN THEORIES

Introduction, D.J. HuppatzPart 1: The DesignerPart 2: Methods, Theory and

ThinkingPart 3: Services and SystemsPart 4: Management

VOLUME THREE: SOCIAL INTERACTIONS

Introduction, D.J. HuppatzPart 1: ExperiencePart 2: InteractionPart 3: ConsumptionPart 4: Ethics

VOLUME FOUR: DEVELOPMENT, GLOBALIZATION AND SUSTAINABILITY

Introduction, D.J. HuppatzPart 1: Design and DevelopmentPart 2: GlobalizationPart 3: BrandingPart 4: Sustainability

Index

This reference set brings together 100 essential texts on design from the mid-19th century to the present day, covering key thinkers, movements and issues for design. Each volume features an editorial introduction and articles are grouped into thematic sections within the volume.

• 100 essential texts on design• Addresses foundational topics

alongside exciting new areas such as service design and design for sustainability

• Writings by key designers, cultural critics and scholars, including Ruskin, Le Corbusier, Charles and Ray Eames, Baudrillard, Wally Olins, Victor Margolin and many more

Daniel Huppatz is a Lecturer in the Faculty of Design at Swinburne University, Australia.


1,024 pages244 x 172mm / 9.6 x 6.7 inches4-volume HB setHB 9781472539366£550.00 / $990.00Bloomsbury Academic

DesignCritical and Primary SourcesEdited by Daniel Huppatz

History and Culture


31

Contents

1. A Cultural History of Gardens in Antiquity (600 BCE - 600 CE)

2. A Cultural History of Gardens in the Middle Ages (600 - 1400)

3. A Cultural History of Gardens in the Renaissance (1400 - 1700)

4. A Cultural History of Gardens in the Age of Enlightenment (1700 - 1800)

5. A Cultural History of Gardens in the Age of Empire (1800 - 1900)

6. A Cultural History of Gardens in the Modern Age (1900 - 21st Century)

UK May 2013US July 2013

244 x 169mm / 9.6 x 6.7 inches6-volume HB set / 1,600 pages HB 9781847882653 / £350.00 / $550.00

Series: The Cultural HistoriesBloomsbury Academic

A Cultural History of Gardens Edited by Michael Leslie and John Dixon Hunt

History and Culture

A Cultural History of Gardens presents an authoritative survey from ancient times to the present. This set of six volumes, now available individually, covers over 2500 years of gardens as physical, social and artistic spaces.

Each volume discusses the same themes in its chapters. This structure means readers can either have a broad overview of a period by reading a volume or follow a theme through history by reading the relevant chapter in each volume.

Superbly illustrated, the full six volume set combines to present the most authoritative and comprehensive survey available on gardens through history.

Michael Leslie is Professor of English at Rhodes College, USA.

John Dixon Hunt is Professor Emeritus at the University of Pennsylvania, USA.


32

This collection of essays comes from an international roster of leading designers and theorists who share a new understanding of design as a socio-material practice embedded within a multiplicity of ways of making the world.

Issues such as social justice, environmental health, political agency, education and even the right to pleasure and play are customarily thought of as dematerialised ideas and values. Yet, each of those realms of daily life are affected by — indeed, determined by — their physical and virtual contexts. Design as Future-Making argues that design is not only integral to social issues, but it is also an integrated mode of thought and action — one that variously draws on and informs disciplines such as philosophy, sociology, anthropology, political science and psychology.

Susan Yelavich is an Associate Professor and Director of the MA in Design Studies program in the School of Art and Design History and Theory at Parsons The New School for Design, USA.

Barbara Adams teaches at The New School for Design, Eugene Lang and Parsons, USA.


256 pages50 bw & 25 colour illus234 x 156mm / 9.2 x 6.1 inchesPB 9780857858399£22.99 / $39.95HB 9780857858382£70.00 / $120.00Bloomsbury Academic

Design as Future-MakingEdited by Susan Yelavich and Barbara Adams

History and Culture

Key Titles

The Design History ReaderEdited by Grace Lees-Maffei and Rebecca Houze

2010


Design HistoryUnderstanding Theory and MethodKjetil Fallan

2010


Textbook Textbook


33

Design and the Question of History offers a new perspective on the historical significance of design, showing how design is an agent of historical change rather than a single aspect.

The book covers the issue of history and how design in history needs to be understood by recognising that design is always historically embedded in a relational context; the efficacy of design history as a sub-discipline within design; and the delivery of a more substantial historical sensibility to emergent designers, identifying the pedagogic problems it presents and discussing the agency of such knowledge in practice.

Clive Dilnot is professor of Design Studies at Parsons The New School for Design, New York, USA.

Susan Stewart is a senior lecturer and acting director, Design Studies Unit, University of Technology, Sydney, Australia.

Tony Fry is professor of Design, Design Futures Program, QCA, Griffith University, USA.

Design and the Question of HistoryClive Dilnot, Susan Stewart and Tony Fry


224 pages189 x 150mm / 7.4 x 5.9 inchesPB 9780857854773£17.99 / $30.95HB 9780857854766£55.00 / $94.00Series: Design Histories and Futures SeriesBloomsbury Academic

Steel has, over centuries, played a crucial role in shaping our material, and in particular, urban landscapes. This books undertakes a cultural and ecological history of the material, examining the relationship between steel and design at a micro and macro level – in terms of both what it has been used to design and how it has functioned as a ‘world-making force’, necessary to the development of technologies and ideas.

The research is informed by diverse fields of literature including industry journals, contemporary accounts and technical literature – all framed by rich, early accounts of iron and steel-making from the middle ages to the opening of the industrial age, and most notably, the crucial works of Vannoccio Biringuccio, Georgius Agricola, Andrew Ure and Harry Scrivenor.


Tony Fry is professor of Design, Design Futures Program, QCA, Griffith University, USA.

SteelA Design, Cultural and Ecological HistoryAnne-Marie Willis and Tony Fry


256 pages50 illus189 x 150mm / 7.4 x 5.9 inchesPB 9780857854803£19.99 / $34.95HB 9780857854797£65.00 / $120.00Series: Design Histories and Futures SeriesBloomsbury Academic

History and Culture

Design Histories and FuturesEdited by Tony Fry, Lisa Norton and Anne-Marie Willis

The series investigates the agency of design across time and cultures to enrich critical thinking about design history and theory.

Tony Fry is Director of the sustainment consultancy Team D/E/S and Professor of Design, Griffith University, Queensland College of Art, Australia. Lisa Norton is a full-time faculty member at the School of the Art Institute of Chicago, USA. Anne-Marie Willis is Professor of Design Theory at the German University in Cairo, Egypt.

New Series


34


192 pages52 bw illus246 x 189mm / 9.7 x 7.4 inchesPB 9781472517197£19.99 / $29.95HB 9780857858467£65.00 / $120.00Bloomsbury Academic

Love Objects investigates how we embody love in material form by exploring the emotional potency of objects in our lives. How do objects become fetishes, symbols and representations; active participants in and mediators of our relationships, as well as tokens of affections, symbols of virility, triggers of nostalgia, replacements for lost loved ones, and symbols of lost places and times?

Addressing both designed ‘things with attitude’ and the ‘wild things’ of material culture, Love Objects explores a wide range of objects, from 19th-century American portraits displaying men’s passionate friendships to the devotional and political meanings of religious statues in 1920s Ireland.

Anna Moran is Coordinator of the MA in Design History and Material Culture at the National College of Art and Design, Ireland.

Sorcha O’Brien teaches design history and theory to Product and Furniture Design students in Kingston University, UK.

Love ObjectsEmotion, Design and Material CultureEdited by Anna Moran and Sorcha O’Brien


240 pages50 colour illus246 x 189mm / 9.7 x 7.4 inchesHB 9780857853523£25.00 / $39.95Bloomsbury Visual Arts

Iconic Designs presents a beautifully designed and illustrated guide to 50 classic ‘things’ – designs that we find in the city, in our homes and offices, on page and screen, and in our everyday lives. Grace Lees-Maffei’s introduction to the volume explores the idea of iconicity and what makes a design ‘iconic’, and 50 essays by leading design and cultural critics address the development of each iconic ‘thing’, its innovative and unique qualities, and its journey to classic status.

This handsome volume provides a treasure trove of ‘stories’ that will shed new light on the iconic designs that we use without thinking, aspire to possess, love or hate (or love to hate) and which form part of the fabric of our everyday lives.

Grace Lees-Maffei is Reader in Design History in the School of Creative Arts at the University of Hertfordshire, UK.

Iconic Designs50 Stories about 50 ThingsEdited by Grace Lees-Maffei

History and Culture

Contents

Eiffel Tower • Ford Model T • London Underground Map • Tuk Tuk • Sydney Opera House • McDonald’s Golden Arches • Mobility Scooter • Concorde • The London Eye • The Palm Islands • Isotype • Metropolis • Penguin Books • Helvetica • Sgt. Pepper’s Lonely Hearts Club • Bennetton Advertising Campaigns • World Wide Web • Ray Gun • Ebay.com • Facebook • Paper clip • Wooton Desk • Incandescent Light Bulb • Streamlined Pencil Sharpener • Bic Cristal pen • Polyprop Chair • Valentine Typewriter • Rubik’s Cube • Post-It Note • iMac G3 • Jasperware • Heinz Brand • ‘Strawberry Thief’ furnishing fabric • Frankfurt Kitchen • Model B3 ‘Wassily’ Chair • Princess Telephone • LEGO • Barbie • Juicy Salif • Dyson DC01 vacuum cleaner • Chopsticks • Zori and Flip-flop Sandal • Levis Jeans • Brownie Camera • Swiss Army knife • Chanel Suit • Coca-Cola Bottle • Hello Kitty • Sony Walkman • Wind-Up Radio


35

Katsushika, Hokusai (1760-1849), Kanagawa oki nami ura, (The great wave off shore of Kanagawa), colour woodcut print. 1826-1833. Library of Congress

Love Objects, 10.4, Christine Edwards, ‘Material Memories’, 1970 family photograph printed as an ambrotype, 2008.


36

“This is not just a compendium of literary and artistic cases in which yellow takes on a powerful significance. It also offers a telling critique of cultural color theory and conceptions of color symbolism that will be inspiring to scholars in many fields.” W. J. T. Mitchell, Gaylord Donnelley Distinguished Service Professor of Art History and English, University of Chicago, USA

The Culture of Yellow combines cultural history with innovative readings of literary texts and visual artworks, providing a multilayered account of the unique role played by the colour yellow in late 19th- and 20th-century-American and European culture.

Sabine Doran is Associate Professor of German and Comparative Literature and Director of the German Program at the University of California, Riverside, USA.


224 pages16 colour and 8 bw illus140 x 216mm / 5.5 x 8.5 inchesPB 9781441185877£21.99 / $32.95HB 9781441184443£65.00 / $120.00Bloomsbury Academic

The Culture of YellowOr, The Visual Politics of Late ModernitySabine Doran


288 pagesColour illus198 x 129mm / 7.8 x 5.1 inchesHB 9781408835517£14.99 / $22.00Bloomsbury Publishing

“Sumptuous … this is a book that’ll make you look at colours in a whole new light.” Big Issue

Why is the sky blue? Why is pink for girls and blue for boys? Why do prisoners wear orange? And why can one colour have so many opposite meanings?

Each chapter in this book is devoted to a colour, opening with an infographic map that links such unlikely pairings as fox-hunting and flamingos. A reference and inspiration for everyone, Roy G. Biv will make you think about colour in a completely new way.

Jude Stewart writes about design and culture for Slate, Believer, Fast Company, Good and I.D. among others. She also writes a blog about colour for Print. She lives in Chicago.

Roy G. BivAn Exceedingly Surprising Book About ColourJude Stewart

History and Culture


37

“Saumarez Smith writes with verve and enthusiasm, evoking the period with curious anecdotes and pungent quotations. For anyone interested in the RA’s history, this is essential reading.” Giles Waterfield, RA Magazine

“It is to the art community what The First Three Minutes is to the science world.” Finch’s Quarterly Review

“Charles’ academic research is sharp, enthralling and erudite ... This book will prove a perfect resource for anyone interested in the background of this most intriguing of Britain’s artistic institutions.” Nirvana Express

Charles Saumarez Smith is former director of the National Portrait Gallery and the National Gallery. He is currently Secretary of the Royal Academy.

The Company of ArtistsThe Origins of the Royal Academy of Arts in LondonCharles Saumarez Smith


192 pages250 x 190mm / 9.8 x 7.5 inchesHB 9781408182109£25.00 / $34.95Bloomsbury ContinuumWorld English

“A compelling, absorbing account of a most vivid period in our cultural history, both high-minded and full of high gossip ... A rare treat.” Melvyn Bragg

“An experimental amuse-bouche of a book ... Fascinating ... In Plante’s account, Francis Bacon comes alive.” Spectator

David Plante has kept a diary of his life among the artistic elite for over half a century. Spanning his first fifteen years in London, from the mid-sixties to the early eighties, this first volume of memoirs draws on diary entries, notes, sketches and drawings to reveal a beautiful, intimate portrait of a relationship and a luminous evocation of a world of writers, poets, artists and thinkers.

David Plante is the author of the novels The Ghost of Henry James, The Family (nominated for the National Book Award), The Woods, The Country, The Foreigner, The Native, The Accident, Annunciation and The Age of Terror.

Becoming a LondonerA DiaryDavid Plante

September 2013 UK and US

544 pages198 x 129mm / 7.8 x 5.1 inchesPB isbn 9781408840115£8.99 / $20.00HH isbn 9781408839751£20.00 / $30.00Bloomsbury Paperbacks

History and Culture


38

“The essential guide to the art form that more than any other defines seeing over the last half century.”Sean Cubitt, Goldsmiths, University of London, UK

“A fantastic and unique resource. I highly recommend to anybody interested in the history, aesthetics, and social context of media art.” Lev Manovich, The Graduate Center, City University of New York, USA

Chris Meigh-Andrews is Professor of Electronic & Digital Art and Director of the Electronic and Digital Art Unit at the University of Central Lancashire, UK.

A History of Video ArtChris Meigh-Andrews


408 pages246 x 189mm / 9.7 x 7.4 inchesPB 9780857851789£22.99 / $39.95HB 9780857851772£70.00 / $120.00Bloomsbury Academic

Textbook

This book examines the cultural and critical response to computer art, by identifying the destabilising forces that affect, shape, and eventually fragment the computer art movement. It traces the heated debates between art and science, since the emergence of computer art in 1963. Taylor also covers the understudied period of the origination of digital art.

Grant D. Taylor is Associate Professor of Art History at Lebanon Valley College, Pennsylvania, US.

When the Machine Made ArtThe Troubled History of Computer ArtGrant D. Taylor

UK June 2014US April 2014

288 pages140 x 216mm / 5.5 x 8.5 inches50 bw illusPB 9781623568849£19.99 / $29.95HB 9781623567958£74.00 / $110.00Series: International Texts in Critical Media AestheticsBloomsbury Academic

Digital Art and Visual Culture

2nd edition

New to this edition

• Wider range of artists and works from across the globe• Expands and updates the discussion of theoretical concepts and ideas which underpin contemporary artists’ video• Superbly illustrated with work from Fluxus, John Cage, Brian Eno, Richard Serra, Zhang Peili, Takahiko Iimura, Bill Viola

and many others

Key Titles

ImagesCritical and Primary SourcesEdited by Sunil Manghani

2013

4 volumes244 x 169mm / 9.6 x 6.7 inchesHB 9780857850843£550.00 / $990.00Bloomsbury Academic

The Handbook of Visual CultureEdited by Ian Heywood and Barry Sandywell

2011

816 pages50 bw illus244 x 172mm / 9.6 x 6.8 inchesHB 9781847885739£80.00 / $140.00Berg Publishers


39

A refereed online journal dedicated to advanced, critical thinking on design. Published in partnership with Team D/E/S.

Design Philosophy Papers seeks to develop a profound understanding of design by engaging thinkers from a variety of disciplines, especially philosophy, while encouraging designers and educators to engage with deeper, philosophical issues about their practice and research. Through interdisciplinary exchange, the journal encourages and develops the debate between design theorists and cultural theorists, and philosophers with the aim of having design taken seriously as an object of philosophical inquiry.


www.bloomsbury.com/dpp

Design Philosophy PapersEdited by Anne-Marie Willis

Only available on subscription – online only

2 issues per year: May, Novembere-ISSN: 1448-7136

“The Design Journal is the essential academic journal in its field.” Margaret Bruce, Manchester Business School, UK

“The Design Journal has established itself as one of the leading journals in its discipline, with an international reputation for the quality and content of its papers.” Michael Tovey, Coventry University, UK

Established in 1998, The Design Journal is an international refereed journal covering all aspects of design. It publishes thought-provoking work that has a direct impact on design knowledge and practice. It challenges assumptions and methods, while being open-minded about the evolving role of design.

Rachel Cooper is Professor of Design Management at the University of Lancaster, UK. She is Chair of Lancaster Institute for the Contemporary Arts and also ImaginationLancaster.

Paul Atkinson is Professor of Design and Design History at Sheffield Hallam University, UK.

Louise Valentine is Senior Lecturer at the University of Dundee, UK.

www.bloomsbury.com/designjournal

The Design JournalAn International Refereed Journal for All Aspects of DesignEdited by Rachel Cooper and Paul Atkinson Associate Editor: Louise Valentine

Only available on subscription

4 issues per year: March, June, September, DecemberISSN: 1460-6925e-ISSN: 1756-3062

Journals

New in 2014

The official journal of the European Academy of Design (EAD)


40

Available to purchase as a subscription or as individual issues

3 issues per year: March, July, NovemberISSN: 1751-4517e-ISSN: 1751-4525

“Photography and Culture will create a new context for reflection on the nature of photography, its practices, meanings, and private/public worlds. In doing so it will help to redefine the study of photography as something broader than it is often taken to be.” Jennifer G. Tucker, Department of History, Wesleyan University, USA

Photography and Culture is a refereed journal that is international in its scope and inter-disciplinary in its contributions. It aims to interrogate the contextual and historic breadth of photographic practice from a range of informed perspectives and to encourage new insights into the media through original and incisive writing.

Kathy Kubicki is Senior Lecturer at the University for the Creative Arts, Farnham, UK.

Thy Phu is Associate Professor at the Western University, Canada.

Val Williams is Professor of the History and Culture of Photography, and Director of the Photography and Archive Research Centre, University of the Arts London, UK.

www.bloomsbury.com/photographyandculture

Photography and CultureEdited by Kathy Kubicki, Thy Phu and Val Williams



“A fine choice for academic libraries serving students and researchers in design or cultural studies.” Library Journal

This is the age of design. Even as recognition of its social, economic and cultural force grows, however, the design field’s largely unseen ‘edges’ are increasingly becoming its driving forces.

Peer-reviewed, full-color and handsomely designed throughout, Design and Culture examines these developments, looking for rigorous and innovative critical frameworks to explore ‘design’ as a cultural phenomenon today.

Elizabeth Guffey is Professor of Art History at the State University of New York at Purchase, USA.

Carma Gorman is Associate Professor of Art History at Southern Illinois University at Carbondale, USA.

Matt Soar is Associate Professor of Communication Studies at Concordia University, Canada.

Sarah Teasley is Reader in Design History and Theory at the Royal College of Art, UK.

www.bloomsbury.com/designandculture

Design and CultureThe Journal of the Design Studies ForumEdited by Elizabeth Guffey Associate Editors: Carma Gorman, Matt Soar and Sarah Teasley

Journals

The official journal of the Design Studies Forum (DSF)


41

“A worthy addition to collections of scholarly art journals.” Library Journal

“This journal is much needed and looks set to become one of the best journals in the wider field of crafts.” Pat Kirkham, Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, New York, USA

The first peer-reviewed academic journal to provide an interdisciplinary and international forum in its subject area. Covering craft in all its historical and contemporary manifestations, it addresses all forms of making that self-consciously set themselves apart from mass production – whether in the making of designed objects, artworks, buildings, or other artefacts.

Glenn Adamson is Director of the Museum of Arts and Design, New York, USA.

Edward S.Cooke, Jr is Professor of American Decorative Arts at Yale University, USA.

Tanya Harrod is an independent scholar.

www.bloomsbury.com/journalofmoderncraft

The Journal of Modern CraftEdited by Glenn Adamson, Edward S. Cooke Jr and Tanya Harrod

Available to purchase as a subscription or as individual issues


The Journal of Textile Design Research and Practice provides a forum to facilitate, stimulate and disseminate research in the domain of textile design and practice. The journal is interested in interdisciplinary and cross-disciplinary approaches and the role of collaboration; relationships between traditional and contemporary practices; the application of new and traditional technologies and materials from both technical and aesthetic perspectives; sustainable textile practices, interfaces between research and industry, the textile design process including the role of drawing and the significance of craft.

J.R. Campbell is Professor and Director of the Fashion School at Kent State University, USA

Faith Kane is Lecturer in textiles at Loughborough University, UK.

Janette Matthews is a researcher and textiles designer/maker at Loughborough University, UK.

Lauren Moriarty is Senior Lecturer in textiles and surface design at Buckinghamshire New University, UK.

Nancy Boiter Powell is Associate Professor at North Carolina State University, USA.

www.bloomsbury.com/textiledesignjournal

Journal of Textile Design Research and PracticeEdited by J.R. Campbell, Faith Kane, Janette Matthews, Lauren Moriarty and Nancy Boiter Powell


2 issues per year: May, NovemberISSN: 2051-1787e-ISSN: 2051-1795

Journals

Institutions

Institutions will receive both Journal of Textile Design Research and Practice and Textile: The Journal of Cloth and Culture as a single subscription.


42

Index

A A Cultural History of Gardens 31A History of Video Art 38Adams, Barbara 32Adamson, Glenn 41Advertising 28Alexander, Jesse 23Allanwood, Gavin 19Ambrose, Gavin 4, 10, 12, 13, 16Anderson Feisner, Edith 17Angier, Roswell 27Animation 20Aono-Billson, Nigel 12Approach and Language 12Aspelund, Karl 3, 6Atkinson, Paul 39

B Barfoot, Caroline 28Basics Animation Box Set 20Basics Creative Photography Box Set 25

Basics Design 01: Format, 2nd edition 10

Basics Design 03: Typography 16Basics Design 07: Grids, 2nd edition 10

Basics Design: Print and Finish, 2nd edition 10

Basics Graphic Design Box Set 12Basics Photography Box Set 24Bate, David 27Beare, Peter 19Becoming a Londoner 37Behind the Image 25Benz, Peter 6Boiter Powell, Nancy 41Brazell, Derek 15Brownie, Barbara 16Burtenshaw, Ken 28By Design, 2nd edition 8

C Campbell, J.R. 41Caplan, Ralph 8Caruana, Natasha 25Chong, Andrew 20Color Studies, 3rd edition 17Colour 17Communication Design: Insights from Creative Industries 2

Company of Artists, The 37Composition, 2nd edition 24Context and Narrative 25Cooke Jr, Edward S. 41Cooper, Rachel 39Cracking the Whip 8Cross, Nigel 8Culture of Yellow, The 36

D Daly, Tim 21Data Design 13Davies, Jo 15Design and Culture: The Journal of the Design Studies Forum 40

Design and the Question of History 33

Design as Future-Making 32Design Futuring 7Design Genius 4Design Histories and Futures 33Design History 32Design History Reader, The 32Design Journal, The 39Design Philosophy Papers 39Design Philosophy Reader, The 7Design Priciples 25Design Process, The, 3rd edition 6Design Research 12Design Thinking for Visual Communication, 2nd edition 10

Design Thinking: Understanding How Designers Think and Work 8

Design: Critical and Primary Sources 30

Designing with Color 17Designing: An Introduction 3Digital Animation 20Dilnot, Clive 33Dixon Hunt, John 31Doran, Sabine 36Dorosz, Chris 17Drawing for Animation 20

E Epica Awards 28Epica Book 27 28Experience Design 6Exposure 24

F Fallan, Kjetil 32Fine, Peter 9Fox, Anna 25Fry, Tony 7, 33Fundamentals of Creative Advertising, The, 2nd edition 28

Fundamentals of Digital Advertising, The 28

Fundamentals of Digital Photography, The 21

Fundamentals of Graphic Design, The 13

Fundamentals of Illustration, The, 2nd edition 15

Fundamentals of Typography, The, 2nd edition 16

G Gorman, Carma 40Graphic Design 9Guffey, Elizabeth 40

H Handbook of Visual Culture, The 38

Harris, Paul 10, 12, 13, 16Harrod, Tanya 41Heywood, Ian 38History and Culture 30History of Photography in 50 Cameras 26

Hodges, Jo 28Houze, Rebecca 32Huppatz, Daniel 30

I Iconic Designs 34Idea Generation 12Illustration 14Images: Critical and Primary Sources 38

Interactive Design 18Interface Design 19Introductory Textbooks 2

J Journal of Modern Craft, The 41Journal of Textile Design Research and Practice 41

Journals 39

K Kane, Faith 41Kiss and Sell: Writing for Advertising 28

Kubicki, Kathy 40

L Layout Book, The, 2nd edition 12Lees-Maffei, Grace 32, 34Leonard, Neil 12Leslie, Michael 31Lighting, 2nd edition 24Linford, Chris 28Long, Jim 17Love Objects 34

M Mahon, Nik 28Manghani, Sunil 38Margolin, Victor 29Matthews, Janette 41Meigh-Andrews, Chris 38Mills, Les 20Mollerup, Per 13Moran, Anna 34Moriarty, Lauren 41

N New Munsell® Student Color Set, The, 3rd edition 17

Norton, Lisa 33

O O’Brien, Sorcha 34

P Perspectives on Place 22Photography 21Photography and Culture 40Photography: The Key Concepts 27Phu, Thy 40Plante, David 37Prakel, David 24Price, Jessie 2Principles and Processes of Interactive Design 18

Pritchard, Michael 26Production Manual, The 12Purves, Barry 20

Q Quinn, Joanna 20

R Reading Photographs 25Reed, Ron 17Roy G. Biv 36

S Salkeld, Richard 25Sandywell, Barry 38Saumarez Smith, Charles 37Sawyer, Robert 28Scriptwriting 20Short, Maria 25Smith Saumarez, Charles 37Soar, Matt 40Steane, Jamie 18Steel 33Stewart, Jude 36Stewart, Susan 33Stop-motion Animation, 2nd edition 20

Sustainable Graphic Design 9

T Taylor, Grant D. 38Teasley, Sarah 40Theory and Practice 8Thinking Visually for Illustrators, 2nd edition 14

Train Your Gaze, 2nd edition 27Transforming Type 16Typography 16

U Understanding Illustration 15User Experience Design 19

V Valentine, Louise 39Visual Dictionary of Graphic Design, The 13

W Watson, J.R. 17Webb, Jeremy 25Wells, Paul 20When the Machine Made Art 38Wigan, Mark 14Williams, Val 40Willis, Anne-Marie 7, 33, 39Wood, Dave 19Working in Black and White 24World History of Design 29

Y Yates, Derek 2Yelavich, Susan 32

Z Zeegen, Lawrence 15


43

Representatives & Agents

Bloomsbury Publishing Plc50 Bedford SquareLondon, WC1B 3DP, UKT +44 (0)20 7631 5600F +44 (0)20 7631 5800E [email protected]

Orders & Customer ServicesMacmillan Distribution Ltd (MDL)Brunel Road, HoundmillsBasingstoke, RG21 6XS, UKT +44 (0)1256 302692 F +44 (0)1256 812521 / 812558E [email protected] (trade)E [email protected] (direct)

UK Academic Key Accounts ManagerPhil PrestianniBloomsbury Publishing PlcT +44 (0)7733 328663E [email protected]

South West England, South Wales, Oxfordshire and HampshireDavid SimmBloomsbury Publishing PlcT +44 (0)7714 849550E [email protected]

City of London, Northern and Eastern Home CountiesRobin BirchBloomsbury Publishing PlcT +44 (0)7775 891729E [email protected]

Central London and the Southern Home CountiesDavid FoyBloomsbury Publishing PlcT +44 (0)7824 435717E [email protected]

Midlands and Eastern CountiesMax BridgewaterBloomsbury Publishing PlcT +44 (0)7770 503641E [email protected]

Northern England, North Wales and ScotlandTerry LeeBloomsbury Publishing PlcT +44 (0)7802 617672E [email protected]

Eire and Northern IrelandLouise DobbinRep Force IrelandDublin 4, EireT +3531 364 9927E [email protected]

INTERNATIONAL SALES Jacqueline SellsHead of International SalesBloomsbury Publishing PlcT +44 (0)207 631 5869E [email protected]

John EdwardsInternational Sales ExecutiveBloomsbury Publishing PlcT +44 (0)207 631 5924E [email protected]

EUROPEBelgium, France, Germany, Italy, Luxembourg, Netherlands and SwitzerlandRachel WebsterBloomsbury Publishing PlcT +44 (0)207 631 5918E [email protected]

Austria, Greece and CyprusTyers Book Sales LtdStisilaou 1311 363 Ano KypseliAthensGreeceT +30 210 2133 436E [email protected]

Central and Eastern EuropeJacek LewinsonNowogrodzka 18m.20PL-00-511 WarszawaPolandT +48 226 283 956E [email protected]

Denmark, Finland, Iceland, Norway and SwedenColin Flint Ltd26 Harvey Goodwin AvenueCambridge, CB4 3EU, UKT +44 (0)1223 565 052E [email protected]

Spain, Portugal and GibraltarIberian Book ServicesSector Islas, 12, 1B28760 Tres CantosMadridSpainT +34 91 8034918F +34 91 8035936E [email protected]

MIDDLE EAST AND AFRICAEmily MedcalfInternational Sales Manager – Africa and Middle East (including Israel)Bloomsbury Publishing PlcT +44 (0)207 631 5819E [email protected]

Joanna VallanceInternational Sales Executive - South Africa, Australasia & CanadaBloomsbury Publishing PlcT +44 (0)207 631 5919E [email protected]

Middle East (excluding Israel), North Africa and MaltaInternational Publishers ServicesP.O. Box 27533DubaiUnited Arab EmiratesT +971 4 238 4001F +971 4 238 4005E [email protected] Southern Africa (Lesotho, Botswana, Namibia, Republic of South Africa, Swaziland)Book PromotionsP O Box 6836Roggebaai 8012South AfricaT +27 21 4698900F +27 21-4698903E [email protected]

Rest of AfricaTula Publishing LtdAristotle HouseAristotle LaneOxford, OX2 6TR, UKT +44 (0)1865 553606E [email protected] E [email protected]

ASIAJennifer CimaInternational Sales Manager - AsiaBloomsbury Publishing PlcT +44 (0)207 631 5914E [email protected]

India, Bangladesh, Nepal and Sri LankaBloomsbury Publishing India Pvt. Ltd.Ground Floor, Vishrut BuildingDDA Complex, Pocket C-6&7Vasant Kunj, New Delhi 110 070IndiaT +91 11 40574957, +91 11 40574954E [email protected]

PakistanM. Anwer IqbalBook BirdLower Ground 36B Abdalians Society, Nazaria - e - Pakistan Avenue, Lahore 54770, PakistanT +92 42 35956161M +92 313 8464747 E [email protected]

JapanJennifer CimaBloomsbury Publishing PlcT +44 (0)207 631 5914E [email protected]

South KoreaInformation and Culture Korea473-19 Seokyo-dong Mapo-kuSeoul 121-842South KoreaT +822 3141 4791F +822 3141 7733E [email protected]

Asia-Pacific RegionGeneral Enquiries, Customer Service and Orders:Singapore Sales OfficeTaylor & Francis Asia Pacific60 MacPherson RoadBlock 1 #06-09Siemens CentreSingapore 348615Tel: +65 65082888Fax: +65 6742 9356E-mail: [email protected]

ChinaTaylor & Francis Asia PacificRoom 1108B, Culture SquareNo. 59 Jia, Zhongguancun St.Haidian DistrictBeijing 100872P.R. ChinaTel : +86 (10) 82502670Jeffrey Lim, Book Sales DirectorE-mail: [email protected] Ji, Sales ManagerE-mail: [email protected]

Shanghai RegionChris Ye, Account ManagerRoom 916, Jinjiang Xiangyang Building993 Nanjing West RoadShanghai 200041P.R. ChinaTel: +86 21 62316030Email: [email protected]

Guangdong RegionCherry Wang, Sales ExecutiveEmail: [email protected]

Hong KongTaylor & Francis Asia PacificSuite 153, Somptueux Central52-54 Wellington StreetCentralHong KongTel: +852 3752 0625/3752 0626Jeffrey Lim, Books Sales DirectorE-mail: [email protected] Kwan, ManagerE-mail: [email protected]

Malaysia and BruneiDavid Yeong, General ManagerTaylor & Francis Publishing ServicesTaylor & Francis Asia PacificNo. 23-2, Jalan PJS 8/18Dataran Mentari 46150 Petaling JayaSelangor Darul EhsanMalaysiaTel: +60 (3) 5630 1361Fax: +60 (3) 5630 1732Mobile: +60 (0)16 331 9923E-mail: [email protected]

Philippines, Vietnam and Indo-ChinaJeffrey Lim, Books Sales DirectorSingapore Sales OfficeE-mail: [email protected]

Singapore and IndonesiaMohamed Feroz, Assistant Sales ManagerSingapore Sales OfficeE-mail: [email protected]

TaiwanTaylor & Francis Asia PacificRoom 629, 6F, No. 6, Sec. 4, Hsinyi RoadDa-an DistrictTaipei 10683Taiwan (R.O.C.)Tel: +886 (2) 5551 1266 ext. 6291Jeffrey Lim, Book Sales DirectorE-mail: [email protected] Lin, Sales ManagerE-mail: [email protected]

ThailandTaylor & Francis Asia PacificTel & Fax: +66 2 6391333 ext. 3612Jeffrey Lim, Books Sales DirectorE-mail: [email protected] Sawaithong, Account ManagerE-mail: [email protected]

AUSTRALIA AND NEW ZEALANDBloomsbury Publishing Pty LtdLevel 4, 387 George StSydney 2000 NSWAustraliaT +61 2 8820 4900E [email protected]

For all other international queries please contact [email protected]

JOURNALSTurpin Distribution Services LtdStratton Business ParkPegasus Drive, BiggleswadeBedfordshire SG18 8TQ, UKT +44 (0)1767 604 951E [email protected]

RIGHTSElizabeth WhiteAcademic Rights ManagerT +44 (0)207 631 5879E [email protected]

UK, Europe, Rest of World


44

Representatives & AgentsUSA, Canada, Latin AmericaMarketing, Sales, and Editorial OfficesBloomsbury USA1385 Broadway, 5th FloorNew York, NY 10018T +1 212-419-5300E [email protected]

Orders and Customer ServiceBloomsbury USAMPS/BUSA Orders16365 James Madison HighwayGordonsville, VA 22942T +1 888-330-8477F +1 800-672-2054E [email protected] [email protected]

USANorthern California, Pacific Northwest, and Mountains & PlainsRedsides Publishing ServicesGeorge Carroll4616 25th Ave NE, PMB 597Seattle, WA 98105T +1 425-922-1045F +1 425-671-0362E [email protected]

MidwestAbraham AssociatesRoy Schonfeld2084 Mirimar BlvdS. Euclid, OH 44121T +1 216-291-3538F +1 216-691-0548E [email protected]

Stu Abraham5120-A Cedar Lake RdSt. Louis Park, MN 55416T +1 952-927-7920F +1 952-927-8089E [email protected]

John Mesjak509 Edward StreetSycamore, IL 60178T +1 815-899-0079F +1 815-261-4114E [email protected]

Nevada, Arizona, Southern California, and New MexicoFaherty & AssociatesRichard McNeace1402 Highgate AvenueLos Angeles, CA 90042T +1 323-273-7763F +1 323-478-0182E [email protected]

Tom Faherty6665 SW Hampton St., Suite 100Portland, OR 97223T +1 800-824-2888 x.11F +1 503-598-9850E [email protected]

Trevin Matlock7765 Calle CasinoRancho Cucamonga, CA 91730T +1 909 263-2346F +1 613 822-5457E [email protected]

Alabama, Florida, Georgia, Mississippi, North/South Carolina, Tennessee, Virginia, West VirginiaSoutheastern Book Travelers, LLCChip Mercer1920 Valleydale Road, Suite 220Birmingham, AL 35244T +1 205-682-8570F +1 770-804-2013E [email protected]

Jim Barkley1153 Bordeau CourtDunwoody, GA 30338T +1 770-827-0488F +1 770 234-5715E [email protected]

Stewart Koontz6012 Shadow Moss CircleRaleigh, NC 27603T +1 256 483-7969F +1 770 804-2013E [email protected]

Rich Thompson576 Bentmoor Dr.Helena, AL 35080T +1 205-910-2687F +1 770-804-2013E [email protected]

Texas, Oklahoma, Louisiana, ArkansasBill McClung & Associates20475 State Hwy 46W, Suite 180Spring Branch, TX 78070T +1 214-505-1501F +1 888-311-8932E [email protected]

Theresa McClung20475 State Hwy 46W, Suite 180Spring Branch, TX 78070T +1 214-676-3161F +1 888-311-8932E [email protected]

Mid Atlantic and New EnglandParson Weems’ Publisher ServicesChristopher R. Kerr565 Broadway, #5AHastings on Hudson, NY 10706-1712T +1 914-478-5751F +1 914-478-5751E [email protected]

Eileen Bertelli48 Wawayanda RoadWarwick, NY 10990-3339T +1 845-987-7233M +1 845-492-7309F +1 866-761-7112E [email protected]

Causten Stehle, Manager55 McKinley Ave., #D214White Plains, NY 10606T +1 914-948-4259F +1 866-861-0337E [email protected]

Linda Cannon220 E. 31st St., Apt.3DBaltimore, MD 21218-3951T +1 724-513-9426F +1 866-583-2066E [email protected]

CANADAFor former Continuum and T&T Clark titles*Codasat Canada Ltd1153 - 56 StreetPO Box 19150Delta, BC V4L 2P8CanadaT +1 604-228-9952F +1 604-222-2965E [email protected]

For all other titles*Penguin Group (Canada)90 Eglinton Avenue East, Suite 700Toronto, ON M4P 2Y3CanadaT +1 416-925-2249F +1 416-925-0068E [email protected]

* until 1 February 2014. Thereafter all Academic titles will be sold through Codasat

MEXICO, CENTRAL AND SOUTH AMERICA, AND THE CARIBBEANShanta InshiqaqDirector, Field and International SalesT +1 212-419-5343E [email protected]

LIBRARY SALES (THE AMERICAS)Sonia DubinSenior Manager, Library Sales and MarketingT +1 212-419-5321E [email protected]

HUMANITIES AND SOCIAL SCIENCES ADOPTION SALESMathew NicholsInside Sales Representative, Humanities SpecialistT +1 212-419-5375E [email protected]

VISUAL ARTS ADOPTION SALESAlabama, Florida, Georgia, Louisiana, Mississippi, Puerto Rico, Texas, IADT Online, Ai OnlineMelanie SankelDirector of Sales, AdoptionsT +1 212-419-5296E [email protected]

Arizona, Arkansas, California, Kansas, Missouri, New Mexico, North Carolina, Oklahoma, South Carolina, Tennessee, VirginiaAllison JonesSenior Account ManagerT +1 212-419-5346E [email protected]

Canada, Alaska, Idaho, Maine, Michigan, Minnesota, Montana, New Hampshire, New York, North Dakota, South Dakota, Vermont, Washington, WisconsinColin KinnalyAccount ManagerT +1 212-419-5354E [email protected]

Colorado, Connecticut, Delaware, Hawaii, Illinois, Indiana, Iowa, Kentucky, Maryland, Massachusetts, Nebraska, Nevada, New Jersey, Ohio, Oregon, Pennsylvania, Rhode Island, Utah, Washington, D.C., West Virginia, Wyoming, Westwood OnlineStacey GeorgeAccount ManagerT +1 212-419-5299E [email protected]

JOURNALSTurpin Distribution Services LtdStratton Business ParkPegasus DriveBiggleswadeBedfordshire SG18 8TQUKT +44 (0)1767 604 951E [email protected]

RIGHTSElizabeth WhiteAcademic Rights ManagerT +44 (0)207 631 5905E [email protected]


web: www.bloomsbury.com / www.fairchildbooks.comfacebook: Bloomsbury Design / Fairchild Bookstwitter: @BloomsburyDsign / @FairchildBookspinterest: bbvisualartsLinkedIn: Bloomsbury Visual Artsblog: blog.bloomsburyvisualarts.com

5803827814729

ISBN 9781472580382


design & graphic arts 2014

Documents