Bloomsburydesign Uk Cropped LR

Design & Graphic Arts
2014
Design & Graphic Arts 2014

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

Derek Yates and Jessie Price
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, Its 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.
UK November 2014 US January 2015 208 pages 200 colour illus 270 x 210mm / 10.6 x 8.3 inches PB 9781472534408 29.99 / $49.95 Series: Required Reading Range Fairchild Books
Contents Introduction Chapter 1 - Brand Systems In Conversation with Mason Wells, Bibliothque Design Strategy In Conversation with Mat Heinl, Moving Brands Ecosystems In Conversation with Simon Manchipp, SomeOne Authenticity Heritage Chapter 2 - Experience Motion 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 - Conversation Collaboration In Conversation with Matt Webb, Berg London Iteration Prototyping In Conversation with Mills, UsTwo User Testing Chapter 4 - Participation Alternative Cultural Feeds In Conversation with Adrian Ho User Generation In Conversation with Haah De-De Participatory Advertising Open Source Chapter 5 - Navigation Data Overload Curation In Conversation with Will Hudson, Its Nice That Visualizing Data In Conversation with Max Gadney Information is Beautiful In Conversation with Stef Posavek Chapter 6 - Advocacy Activism 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 - Critique Design 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 Bibliography Further Reading Index
www/Textbook
Designing An Introduction
Karl Aspelund
A current and comprehensive introduction to design fundamentals including 2D and 3D design concepts: Illustrated with numerous images from a variety of elds: industrial, apparel, interior, automotive, landscape, Web, graphic, ne 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: Instructors Guide and PowerPoint presentation available Karl Aspelund is an Assistant Professor at the University of Rhode Island, USA.
UK November 2014 US September 2014 356 pages 250 colour illus 216 x 279mm / 8.5 x 11 inches PB 9781609014964 74.99 / $121.00 Fairchild Books
Contents Part I: The Nature, Elements and Principles of Design Chapter 1: What is Designing? Chapter 2: A Brief History of Designing Chapter 3: The Elements of Design Chapter 4: The Principles of Design Part II: Informing Design Chapter 5: Researching and Planning for Designs Chapter 6: Creating and Presenting Designs Part III: Thinking Design Chapter 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 OnScreen Appendix 1: Notable Designers Appendix 2: Resources for Design Glossary Index
Textbook
Design Genius The Ways and Workings of Creative Thinkers

Gavin Ambrose
Design Genius celebrates the Design Genius celebrates the creative thought processes of several leading creative thought processes artists, designers, creative agencies, animators, illustrators and typographers. of several leading artists, While highlighting key design techniques and theories, the visual designers, creative agencies, curiosities presented in this book aim to engage, provoke and inspire. animators, illustrators and Whether you are new to design, or a seasoned expert, the many layers of typographers: information provided by this book
tactile effects of a number of subtle Explores, through a series of design features, as well as the vast array of illustrations on display. In-depth interviews, the tools that visual discussions with the creatives themselves as well as more practical design tips will alsocommunicators help you to discover the power of use to facilitate your own creative problem-solving skills. Explores, through a series of interviews, imaginative thinking the tools that visual communicators use to facilitate imaginative thinking A visual tour de force, with A visual tour de force, with an eclectic set of works from some of the highest an eclectic set of works from quality creative individuals and agencies to appeal to both professional and some ofa broad the highest quality student audiences across range of visual arts subjects creative individuals and Features an exceptionally varied pool of contributors, from art directors to agencies illustrators, artists to photographers and writers, including KesselsKramer, Studio Contributors include Myerscough, 3 Deep Design and AKQA KesselsKramer, Studio Gavin Ambrose is a practising graphic designer whose client base includes theMyerscough, art sector, galleries, publishers and 3 Deep Design advertising agencies. He has written AKQA andand designed several books on graphic design, branding and packaging. mean it has something for everyone. Readers will delight in the visual and
UK July 2014 US September 2014 320 pages 350 colour illus 270 x 210mm / 10.6 x 8.3 inches PB 9782940411962 32.99 / $56.95 Series: Creative Core Fairchild Books
Gavin Ambrose is a practising graphic designer.
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
contents
design genius Ambrose / harris
Contents Introduction
Mark Leeds, UK
Chapter 1: Thinking in Words Where Words Come From... ...and Where They Are Going Chapter 2: Thinking in Images Looking Closely Looking From a Distance What to Leave in and What to Take Out Constructing Meaning Chapter 3: Thinking in Numbers Understanding Proportion Using Numbers in Design Points of Reference Using and Breaking Rules Chapter 4: Thinking in Form How We See Shapes Using Form to Control Design Controlling User Reactions Chapter 5: Thinking in Colour What Colours Mean Colour as a Tool Chapter 6: Thinking Processes Design Processes Business Processes Market Processes Glossary Bibliography Index
www.yandz.com
You have a prestigious background in editorial design. Does this have its 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? Whats in the public interest? Its a grey area where the publications ethos, context of the event and personal experience inform the decision
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
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 dont 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, youve 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 were 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
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http://thisistruenorth.co.uk/
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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. Thats 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
mix and try not to become too precious. I imagine an end point; what is the short-cut visual for the reader? Theres 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
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
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 dont 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 from both directions. I encourage the designers i work with to produce lots of ideas and then we see whats 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 shouldnt be hard work. Unless of course, you want it to be. Bloomberg Businessweek
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3rd edition
www/Textbook 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. Instructors 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. UK November 2014 US September 2014 320 pages 160 colour illus 216 x 279mm / 8.5 x 11 inches PB 9781609018382 54.00 / $80.00 Fairchild Books
The Design Process

Karl Aspelund
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 Contents summary Inspiration Identification Conceptualization Exploration/Refinement Definition/Modeling Communication Production Appendices
Textbook
Experience Design Key Concepts and Approaches

Edited by Peter Benz
A unique and valuable contribution to an emerging eld 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 eld 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.
UK November 2014 US January 2015 256 pages 40 bw illus 246 x 189mm / 9.7 x 7.4 inches PB 9781472569394 19.99 / $34.95 HB 9781472571144 65.00 / $112.00 Bloomsbury Academic
Theory and Practice
Textbook
The Design Philosophy Reader

Edited by Anne-Marie Willis
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.
UK November 2014 US January 2015 320 pages 246 x 189mm / 9.7 x 7.4 inches PB 9780857853509 24.99 / $44.95 HB 9780857853493 75.00 / $120.00 Bloomsbury Academic
Students Chapters include editorial introductions and annotated bibliographies. 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
Key Title
Textbook
Design Futuring Sustainability, Ethics and New Practice

Tony Fry
2008 288 pages 189 x 150mm / 6 x 7.1 inches 50 bw illus PB 9781847882172 16.99 / $29.95 HB 9781847882189 50.00 / $99.95 Berg Publishers
Design Futuring denes 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
Theory and Practice
Key Titles
Textbook
Design Thinking Understanding How Designers Think and Work

Nigel Cross
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 rst year student handbook. Curve
2011 192 pages 40 bw illus 189 x 150mm / 7.4 x 5.9 inches PB 9781847886361 14.99 / $24.95 HB 9781847886378 45.00 / $79.95 Berg Publishers
2nd edition
Textbook An inspiring resource for design students, professionals or anyone else who could benet from a fuller appreciation of the design process, By Design vividly shows how design affects our most signicant 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. 2004 267 pages 45 colour illus 229 x 152mm / 9 x 6 inches PB 9781563673498 35.00 / $57.00 Fairchild Books
By Design Why There Are No Locks on the Bathroom Doors in the Hotel Louis XIV and Other Object Lessons
Ralph Caplan
Textbook
Cracking the Whip Essays on Design and Its Side Effects

Ralph Caplan
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.
2005 240 pages 229 x 152mm / 9 x 6 inches PB 9781563673900 25.00 / $44.00 Fairchild Books
Graphic Design
Sustainable Graphic Design Principles and Practices

Peter Fine
Sustainable Graphic Design outlines graphic designs 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 eld in response to ecological concerns, social justice and present design systems Includes case studies with stepby-step instructions adapted for use by instructors Peter Fine is an Assistant Professor of Graphic Design at New Mexico State University, USA.
UK November 2014 US January 2015 384 pages 200 colour illus 210 x 297mm / 8.3 x 11.7 inches PB 9780857850638 24.99 / $39.95 HB 9780857850621 60.00 / $99.95 Bloomsbury Academic
GRA DESIGN DESI

Textbook
SUSTAINABLE
GRAPHIC
Principles and Practice
Peter Fine
Contents summary Introduction Chapter 1: Messages The Durability of Ideas Everything New Machined Aesthetics Inventing the Natural Finding Meaning in Destruction The Revolution will be Digitized Shrouds and Skins What Remains All Things Being Equal Preservation De-Naturalized: The Case for a Critical Methodology for Sustainability SUMMARY of Case Studies Chapter 2: Space The Collective Self Constant Crisis Mining the Remains Beyond the Limits Resituating Words The Forest for the Trees Wasted, Spent and Drained Spaces Interlocking Planes Buildings as Signiers What Remains Voices Across the Landscape SUMMARY of Case Studies Chapter 3: Packages Designing Over Time Ideas in Motion Local and Unique Communicating Value Memory Re-Mediating Relationships Peeling Away the Label Ethical Representation Embodying Consumption Between Consumption and Waste The Iconography of Representation On-the-Go Packaging To Signify or to Obscure Plastic is a Noun SUMMARY of Case Studies Chapter 4: Process Collective Utility and Meaning Sustainable Use-Value Framing the Problem Beyond the Vanishing Point Curiosity Made Visible The Power of Multiple Ideas Synthesizing Meaning Beautiful and Meaningful SUMMARY of Case Studies Chapter 5: Social Design Visualizing Rather than Theorizing The Notion Unlimited Supply The Value of Design as Thinking In-Equal Design Surplus Creativity Blind Spots Place, Race and Waste Self-imposed Ignorance The Synthetic The Ephemeral and Eternal The Vernacular Saturation SUMMARY of Case Studies Chapter 6: Teaching Graphic Design at a Human Scale The Ideology of the Ideal Style and the Vernacular Human-Centered Pedagogies The Politics of Design Material and Materialism Incubators of Critical Exploration Greening the Graphic Design Education Conclusion Bibliography Index
Graphic Design
2nd edition
Textbook Beautifully designed and lled with excellent examples. Richard Barlow, St Cloud State University, USA Design Thinking for Visual Communication identies methods and thought processes used by designers in order to start the process that eventually leads to a nished piece of work. Stepby-step guidance for each part of the process is highlighted by real-life case studies, enabling the student to see teaching in practice. Gavin Ambrose is a practising graphic designer teaching at the University of Brighton, UK. UK December 2014 US January 2015 184 pages 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9781472572714 23.99 / $41.95 Series: Basics Design Fairchild Books
Design Thinking for Visual Communication

Gavin Ambrose
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 theyve read into practice Now includes a host of online resources, including assignments and videos
2nd edition
Textbook A guide to the printing and nishing 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 nishes, 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. UK January 2014 US March 2014 200 colour illus 184 pages 230 x 160mm / 9.1 x 6.3 inches PB 9782940496532 23.99 / $41.95 Series: Basics Design Fairchild Books
Basics Design: Print and Finish

Gavin Ambrose and Paul Harris
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
Key Titles
2nd edition Textbook 2nd edition Textbook
Basics Design 01: Format

Gavin Ambrose and Paul Harris 2012 208 pages 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940411795 23.50 / $34.50 Series: Basics Design AVA Publishing
Basics Design 07: Grids

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Industry view: SEA Design
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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.
The studios 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.
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
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Overprinting techniques
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Client: This is a Magazine Design: Andy Simionato & Karen Ann Donnachie (Donnachie, Siminonato & Sons) Technical overview: Radical overprinting
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.
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Channels and plates
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Duplexing
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Graphic Design
2nd edition
Textbook 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 worlds leading design studios, this is a uniquely inspiring guide to graphic design. Gavin Ambrose is a practising graphic designer teaching at the University of Brighton, UK. Paul Harris is a freelance writer and editor. UK December 2014 US January 2015 192 pages 200 colour illus 300 x 220mm / 11.8 x 8.7 inches PB 9781472568236 29.99 / $51.95 Series: Required Reading Range Fairchild Books
The Layout Book

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
Basics Graphic Design Box Set

Gavin Ambrose, Nigel Aono-Billson and Neil Leonard
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. Gavin Ambrose is a practising graphic designer teaching at the University of Brighton, UK. Neil Leonard is a designer and educator. Nigel Aono-Billson is a designer, educator and writer.
UK September 2014 US November 2014 568 pages 600 colour illus 165 x 240mm / 9.4 x 6.5 inches PB 9781472567543 49.99 / $85.95 Series: Basics Graphic Design Fairchild Books
Contents
Approach and Language / Gavin Ambrose and Nigel Aono-Billson / PB 9782940411351 Design Research / Neil Leonard and Gavin Ambrose / PB 9782940411740 Idea Generation / Neil Leonard and Gavin Ambrose / PB 9782940411818
Key Title
Textbook
The Production Manual A Graphic Design Handbook

2008 192 pages 200 illus 300 x 220mm / 11.8 x 8.7 inches PB 9782940373635 37.50 / $52.50 Series: Required Reading Range AVA 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
12
Graphic Design
Data Design Visualising Quantities, Locations, Connections

Per Mollerup
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 difculty 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.
UK September 2014 US November 2014 176 pages 100 illus 240 x 150mm / 9.4 x 5.9 inches PB 9781408191873 22.99 / $39.95 HB 9781408191880 70.00 / $130.00 Bloomsbury Visual Arts
Key Titles
Textbook Textbook
The Fundamentals of Graphic Design

Gavin Ambrose and Paul Harris 2008 200 pages 200 colour illus 230 x 200mm / 9.1 x 7.9 inches PB 9782940373826 26.50 / $38.50 Series: Fundamentals AVA Publishing
The Visual Dictionary of Graphic Design

Gavin Ambrose and Paul Harris 2006 288 pages 300 colour illus 160 x 120mm / 6.3 x 4.7 inches PB 9782940373437 16.95 / $24.95 Series: Visual Dictionaries AVA Publishing
13
Illustration
2nd edition
Textbook 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. UK August 2014 US October 2014 192 pages 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9781472527493 23.99 / $41.95 Series: Basics Illustration Fairchild Books
Thinking Visually for Illustrators

Mark Wigan
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
Contents Introduction Chapter One, Getting Started Ideas Generation Research Sketchbooks Inspiration Chapter Two, Ways of Drawing A History of Illustration Outsider Art The Portrait Life Drawing Chapter Three, Experimenting Print Workshop Cross-media and Cultural Cut-ups Chapter Four, Types of Illustration The Decorative Social Comment Caricature Reportage Underground Urban Street Art Storytelling Fantastic Worlds Chapter Five, The New Digital Paradigm The Next Big Thing in Illustration The Future is Now Flexibility Chapter Six, A Career in Illustration Collaboration Briefs and Deadlines Industry Insights Conclusion Appendix 20 Projects Glossary Canon Bibliography Conclusion Index Acknowledgements
14
Illustration
Understanding Illustration
Derek Brazell and Jo Davies
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 childrens 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.
UK January 2014 US March 2014 176 pages colour illus 250 x 280mm / 9.8 x 11 inches PB 9781408171790 25.00 / $34.95 Bloomsbury Visual Arts
Key Title
2nd edition Textbook 2012 208 pages 200 colour illus 230 x 200mm / 9.1 x 7.9 inches PB 9782940411481 26.50 / $38.50 Series: Fundamentals AVA Publishing The book truly lives up to its title: its 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. 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.
The Fundamentals of Illustration

Lawrence Zeegen
15
Typography
Transforming Type New Directions in Kinetic Typography

Barbara Brownie
Transforming Type examines kinetic, or moving type, in a range of elds including lm, television, typographic animation, and motion graphics, with examples including lm 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 2014 US December 2014 240 pages 14 bw and 16 colour illus 246 x 189mm / 9.7 x 7.4 inches PB 9780857856333 19.99 / $34.95 HB 9780857857675 65.00 / $112.00 Bloomsbury Academic
Key Titles
Textbook 2nd edition Textbook
Basics Design 03: Typography

The Fundamentals of Typography

Gavin Ambrose and Paul Harris 2011 200 pages 200 colour illus 230 x 200mm / 9.1 x 7.9 inches PB 9782940411764 26.50 / $38.50 Series: Fundamentals AVA Publishing
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Colour
Key Titles
3rd edition
www/Textbook Color Studies is a complete introduction to colour theory and application for students in a broad range of disciplines, from painting and other ne arts to interior design, architecture, fashion design, textile design, and graphic design. 2013 296 pages 216 x 279mm / 8.5 x 11 inches 355 colour illus PB 9781609015312 54.99 / $90.00 Fairchild Books
Color Studies
Edith Anderson Feisner and Ron Reed
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: Instructors Guide and PowerPoint presentation available
3rd edition
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 colours 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 ne and applied art practices. 2011 176 pages 110 colour illus 189 x 244mm / 8 x 10 inches HB 9781609011567 45.00 / $79.00 Fairchild Books
The New Munsell Student Color Set

Jim Long
www/Textbook
Designing with Color Concepts and Applications

Chris Dorosz and J.R. Watson
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 Instructors Guide available
2010 384 pages 700 colour illus 270 x 210 mm / 11 x 8.5 inches PB 9781563678592 60.00 / $99.00 Fairchild Books
17
Interactive Design
Textbook
The Principles and Processes of Interactive Design

Jamie Steane
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, screenbased 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.
UK January 2014 US March 2014 208 pages 200 colour illus 270 x 210mm / 10.6 x 8.3 inches PB 9782940496112 37.99 / $59.95 Series: Required Reading Range Fairchild Books
Contents Introduction Chapter 1: Research for Interaction Chapter 2: Design Development Chapter 3: Colour and Image Chapter 4: Digital Typography Chapter 5: Grids and Layouts Chapter 6: Interactive Formats Chapter 7: Presenting Your Ideas Conclusion Index
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.
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 ow. 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.
6.536.56 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 dierent 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.
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Games user interface tips Good games user interfaces should: 1. Do what the player expects it to do 2. Provide positive conrmation of player actions 3. Provide relevant and timely information to the player 4. Avoid clutter no unnecessary or obtrusive UI elements 5. Only be visible when necessary 6. Icons should have a clear association with what they represent 7. Use common conventions for status icons, such as hearts for health 8. Adapt or evolve with game play 9. Avoid placing UI elements in screen areas hidden by players ngers and thumbs 10. Be mindful that touch screen inputs are not precise and need large active areas
6.576.60 Desao Champions Developed by Kotoc and TVE, Desao 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 dicult 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
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Current A head p Next A head
Using colour systems
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 benet 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 dicult 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.
3.28 The various schemes Monochromatic, analogous, complementary, split and triadic schemes
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3.29 Colour guide is a feature of Adobe Illustrator. 3.30 colorschemedesigner. com
3.263.27 The Tommy portfolio site Creative agency Tommy has used a colour scheme based on the style of 1970s automobile manuals for its own portfolio site.
[Insert Author Tip Box] In Adobe Illustrator you can use the Colour Guide panel (accessible from the Window menu) to help you nd colour schemes based on your current ll colour. Alternatively, use online resources to nd or create colour schemes: colorschemedesigner.com kuler.adobe.com web.colorotate.org pictaculous.com colorsontheweb.com colourlovers.com [End Author Tip Box]
Using colour systems p Encoding and decoding images
18
Interactive Design
Textbook
User Experience Design Creating Designs Users Really Love

Gavin Allanwood and Peter Beare
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 todays 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.
UK February 2014 US April 2014 184 pages 230 x 160mm / 9.1 x 6.3 inches 200 colour illus PB 9782940496136 23.99 / $41.95 Series: Basics Interactive Design Fairchild Books
Contents 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 checklist Conclusion Glossary Index Textbook
Interface Design An Introduction to Visual Communication in UI Design

Dave Wood
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.
UK January 2014 US March 2014 192 pages 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940411993 23.99 / $41.95 Series: Basics Interactive Design Fairchild Books
19
Animation
2nd edition
Textbook Praise for the rst 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 Animations 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. UK August 2014 US October 2014 224 pages 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9781472521903 23.99 / $41.95 Series: Basics Animation Fairchild Books
Stop-motion Animation Frame by Frame Film-making with Puppets and Models

Barry Purves
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Movement and performance
189
Students The new edition includes an extended project to help readers produce their own one-minute movie. 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: Whats the Story? Chapter 3: The Puppets Telling 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) 20 Chapter 4: Preparations Working 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 Performance Animating on the Set Lively Movement Helping the Movement Performance Project 6: Make it Read! Conclusion A Brief History of Stop-Motion Picture Credits Acknowledgements Glossary Index
In this nal chapter we will not only look at how to get clear readable animation, but also how to make it mean something. Well talk about the particular qualities and quirks of stop-motion, its unpredictability and its physicality, and how to make sure that every frame counts. Well try to encourage inventive, imaginative animation, rather than straightforward literal animation. Well look at how to give the illusion of elements such as weight and inertia, which help produce credible animation, and well 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 Nights Dream 1959 director Jir Trnka This beautiful lm 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. Trnkas multi-layered lm 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.
Movement and performance
6.1
130
Preparations
131
Here well look at all the preparation that is necessary for an easy shoot, and what sort of problems and pleasures youll encounter on a lm set. The process at this stage of lm-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.
Preparations
4.1
Photography
Textbook
The Fundamentals of Digital Photography

Tim Daly
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 efcient digital workows with inspirational practical projects. Readers will become condent software users, while developing allimportant 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 2013 US February 2014 200 pages 200 colour illus 230 x 200mm / 9.1 x 7.9 inches PB 9782940496068 26.99 / $46.95 Series: Fundamentals Fairchild Books
Contents Chapter 1: How Equipment Works Digital SLR Compact Cameras Medium Format Camera Lens Essentials Computers and Monitors Adobe Photoshop Image Editing Software: Adobe Lightroom Project Chapter 2: Shooting Skills Camera 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 Project Chapter 3: Themes and their Workows Basic 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 Development Researching your Project Planning and Prep Testing and Review Shaping your Project Project Chapter 5: Treatment Essential Software Skills Creative Emphasis Project: Sample Files to Test Edit Chapter 6: Output and Finishing Desktop Printing Remote Printing Services Onscreen Use Project Bibliography Glossary Index
Chapter 3: THEMES AND THEIR WORKFLOWS The portrait < | Photoctions | > Memory and the archive
3.12
PROJECT: PHOTOFICTIONS
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3.12
3.13
Photography is about finding out what can happen in theframe. When you put four edges around some facts, youchange 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 photostory through to celebrity portraits and advertising imagery, all produced to hook ourattention. What makes structured reality TV showsso compelling is the blurring betweenobservation and performance. Staged photography promotes a similar paradox: dowe believe what we see is for real and ifit is fake, does it really matter? Constructed images can carry just as potenta message as an ethical documentary, so yourtask is to control both the subject and the way its represented, choosing one ofthefollowing 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 doll Mannequins, dolls and model soldiers have been used by many artists and photographers to participate as characters in invented scenarios. David Levinthals 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 Interspecies Asger Carlsens 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. Output Produce two final images with an accompanying title.
Lee Avisons staged photograph suggests something is about to happen.
Richard Tuschmans image evokes a bygone era, using focus blur and colour editing.
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Research the ctional world of Bernard Faucon French photographer Bernard Faucons 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, Faucons vision is embodied entirely in the pre-photography phase. www.bernardfaucon.net
Chapter 5: TREATMENT
5.9a 5.9b 5.10
Non-destructive editing < | Core image editing | > Monochrome conversion
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Making dark images lighter Open 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 darker When 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 its 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 nal print or screen display, as this example shows.
21
Photography
Textbook
Perspectives on Place Theory and Practice in Landscape Photography

Jesse Alexander
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.
UK December 2014 US February 2015 192 pages 200 colour illus 270 x 210mm / 10.6 x 8.3 inches PB 9781472533890 37.99 / $65.95 Fairchild Books
Students Explores and explains key technical principles, like controlling depth-of-eld, using lters and making the most of natural light through examples from leading contemporary landscape photographers.
Contents Introduction Where is the Landscape? Distinction as a Genre Why explore landscape art? Health/Safety/Law/Ethics Giving and Receiving Feedback Chapter 1: TAMING THE VIEW Geography, Metaphor, Autobiography Frames and Formats Lenses for Landscapes Tripod or Handheld? The Zone System Managing Dynamic Range Compositional Conventions Landscape Narratives Assignment 1 Chapter 2: DEFINING NATURE What is beauty? The Pastoral and the Picturesque The Qualities of Light The Sublime Where is the Wilderness? Voyages in the Landscape Assignment 2 Chapter 3: SYNTHETIC VISIONS Depth-of-eld and focal planes The Temperature of Light Analogue and Digital Filters Infrared Light Lighting the Land Interpreting Technologies Pictorialism vs. Straight Photography Assignment 3 Chapter 4: LANDSCAPE, POLITICS and POWER Landscapes of Industry New Topographics Environmental Politics Gender and the Landscape Personal and National Identities Assignment 4 Chapter 5: The PRESENCE of ABSENCE Landscape and Memory Landscapes of Conict The Aftermath Liminal Spaces From Spaces to Places Assignment 5 Glossary Bibliography Webography Index
WHERE IS THE LANDSCAPE ?
INTRODUCTION WHERE IS THE LANDSCAPE?

T
he 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 photographys 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 audiences 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 todays 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.
Fig. 0.1 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 Meers 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 sports more glamorous leagues, and show the games in the context of the landscapes which the players are connected to.
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f t if is a m if
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ng ith
Fig. 0.4
xt. sa
Jo Metson Scott and Nicola Yeoman: Formations, 2010 from the series And Then
Fig. 0.4 JO METSON SCOTT AND NICOLA YEOMAN from the series And Then
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Chapter 1 TAMING THE VIEW
Fig. 1.1
To the complaint, There are no people in these photographs, I respond, There are always two people: the photographer and the viewer. ANSEL ADAMS
Suzanne Mooney: Benna Bela from the series Behind The Scenes 23
Photography
2nd edition
Textbook 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 VilasBoas, 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 Prkel has taught photography at the prestigious Kodak Imaging Centre in the US and in his own workshops in Northumberland, UK. UK July 2012 US September 2012 184 pages 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940411771 23.50 / $34.50 Series: Basics Photography AVA Publishing
Composition
David Prkel
Students Fully updated and revised with exciting new work, informative case studies and practical exercises.
2nd edition
Textbook Praise for the rst 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 photographers creativity. UK February 2013 US March 2013 192 pages 200 illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940411955 23.99 / $37.95 Series: Basics Photography AVA Publishing
Lighting
David Prkel
Basics Photography Box Set

David Prkel
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, ne art and advertising
UK August 2008 US October 2014 728 pages 600 colour illus 165 x 240mm / 9.4 x 6.9 inches PB 9781472578136 64.99 / $111.95 Series: Basics Photography Fairchild Books
Box contents Composition, 2nd Ed / David Prkel / PB 9782940411771 Lighting, 2nd Ed / David Prkel / PB 9782940411955 Exposure / David Prkel / PB 9782940411054 Working in Black and White / David Prkel / PB 9782940373857
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Photography
Textbook
Reading Photographs An Introduction to the Theory and Meaning of Images

Richard Salkeld
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.
UK November 2013 US January 2014 184 pages 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940411894 23.99 / $41.95 Series: Basics Creative Photography Fairchild Books
Textbook
Behind the Image Research in Photography

Anna Fox and Natasha Caruana
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 eld. 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.
UK March 2012 US May 2012 176 pages 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940411665 23.50 / $34.50 Series: Basics Creative Photography AVA Publishing
Basics Creative Photography Box Set

Natasha Caruana, Anna Fox, Richard Salkeld, Maria Short and Jeremy Webb
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.
UK September 2014 US November 2014 736 pages 800 colour illus 165 x 240mm / 9.4 x 6.9 inches PB 9781472567529 69.99 / $120.95 Series: Basics Creative Photography Fairchild Books
Box contents Design Principles / Jeremy Webb / PB 9782940411368 Context and Narrative / Maria Short / PB 9782940411405 Behind the Image / Anna Fox and Natasha Caruana / PB 9782940411665 Reading Photographs / Richard Salkeld / PB 9782940411894
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Photography
The History of Photography in 50 Cameras

Michael Pritchard
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 fty 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 Christies, London, UK, for over twenty years and is currently Director General of the Royal Photographic Society, UK.
UK October 2014 224 pages 227 x 170mm / 8.9 x 6.7 inches 150 colour illus HB 9781472575388 20.00 Bloomsbury Visual Arts Europe rights only Not for sale outside Europe
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Kodak Brownie
P RO D U C E D :
19001980 | C O U N T RY : United States | M A N U FAC T U R E R : Kodak
B E L OW Two diagrams of
the Box Brownie camera from US patent 725034, led on July 25, 1900, and listing Frank Brownell as the inventor.
rst 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 lm and paper, where most of Eastman Kodak Companys prots 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 daylightloading roll lm, 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 lm 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 viewnder was available for an additional 20 cents. With no other controls, it was the rst point-and-shoot camera to produce acceptable results in sunshine.
ame 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 rst 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 modelsmore than 125 in total, depending on denitionwere 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. B AC K TO B A S I C S The 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
FRANK BROWNELL
Frank Brownellthe designer of the original Browniehad been working for George Eastman since 1885, making the Eastman-Walker roll-lm 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 Eastmans 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.
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Kodak Brownie
25
B E L OW A N D R I G H T The
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 childrens 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). Kodaks 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.
popularity of the Brownie was due in large part to careful marketing. It was the rst camera specically to target women and children in its advertising.
AN INSTANT HIT The 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 rst 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 lms 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 Limiteds Trade Circular proclaimed that the Brownie would bring into photography thousands of new workers and users, and as with all our inventions, simplications and advertisingwill create new customers for our dealer friends. The company envisaged it as being everyones rst 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 wildre, 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 Kodaks massive advertising and marketing budget.
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Kodak Brownie
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26
Photography
2nd edition
Train Your Gaze A Practical and Theoretical Introduction to Portrait Photography

Roswell Angier
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.
UK January 2015 US March 2015 240 pages 200 illus 210 x 270mm / 8.3 x 10.6 inches PB 9781472525109 37.99 / $65.95 Fairchild Books
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
Contents 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 Bulls 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
Textbook
Photography The Key Concepts

David Bate
2009 224 pages 20 bw illus 234 x 156mm / 9.2 x 6.1 inches PB 9781845206673 14.99 / $24.95 HB 9781845206666 50.00 / $99.95 Series: The Key Concepts Berg Publishers
Brilliantly engages students in the essential theoretical debates around contemporary photography. ... It strikes just the right balance between erudition and plain explanation. Michael OBrien, 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.
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Advertising
Textbook
The Fundamentals of Digital Advertising

Chris Linford and Jo Hodges
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.
UK November 2014 US January 2015 184 pages 200 colour illus 230 x 200mm / 9.1 x 7.9 inches PB 9782940496075 26.99 / $42.95 Series: Fundamentals Fairchild Books
Epica Book 27 Creative Communications

Epica Awards
Praise for the Epica series: [Sets] standards for new thinking, for intelligent problem solving and for refreshing insights ... Enjoy! Amir Kassaei, Chief Creative Ofcer, DDB Group, Germany This is the closest youll 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.
UK September 2014 US November 2014 400 pages 950 colour illus 300 x 220mm / 11.8 x 8.7 inches HB 9781472528452 40.00 / $68.00 Series: Epica Bloomsbury Visual Arts World English
Key Titles
2nd edition Textbook Textbook
The Fundamentals of Creative Advertising

Ken Burtenshaw, Nik Mahon and Caroline Barfoot 2011 184 pages 200 colour illus 230 x 200mm / 9.1 x 7.9 inches PB 9782940411566 26.50 / $38.50 Series: Fundamentals AVA Publishing
Kiss & Sell: Writing for Advertising (Redesigned & Rekissed)

Robert Sawyer 2006 184 pages 300 x 220mm / 11.8 x 8.7 inches 250 colour illus PB 9782940373468 37.50 / $39.95 Series: Required Reading Range AVA Publishing
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World History of Design
The denitive global history of design
World History of Design

Victor Margolin
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 rst 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.
UK October 2014 US December 2014 1,600 pages 880 bw and 120 colour illus 246 x 189mm / 9.11 x 7.7 inches 2-volume HB Set 9781472569288 395.00 / $680.00 Bloomsbury Academic
Contents Volume 1 Prehistoric Times to World War I 1. The Prehistoric Age 2. The Earliest Civilizations, 7000 BCE - 900 BCE 3. 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, 18901914 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 2 World War I to World War II 20. Design in the Soviet Union, 1905-1928 21. Weimar Germany, 19181933 22. France, 1918-1939 23. Great Britain 1918-1939 24. Western and Southern Europe 1900-1939 25. Central and Eastern Europe, 1900-1939 26. Scandinavia, 1917-1945 27. Italy, Germany, Portugal, Soviet Union, 1922-1940 28: The United States, 1917-1941 29. Latin America: Cuba, Mexico, Brazil, 1900-1939 30. Latin America: Chile, Argentina, Colombia, Venezuela, Uruguay, 19001939 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, 19001939 36: Asia: Japan and its Colonies, 1900-1937 37. World War II, 1939-1945
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History and Culture
Design Critical and Primary Sources

Edited by Daniel Huppatz
This reference set brings together 100 essential texts on design from the mid19th 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.
UK September 2014 US November 2014 1,024 pages 244 x 172mm / 9.6 x 6.7 inches 4-volume HB set HB 9781472539366 550.00 / $990.00 Bloomsbury Academic
Contents VOLUME ONE: DESIGN REFORM, MODERNISM AND MODERNIZATION Introduction, D.J. Huppatz Part 1: Design Reform Part 2: Modernism and Modernization Part 3: Reections VOLUME TWO: PROFESSIONAL PRACTICE AND DESIGN THEORIES Introduction, D.J. Huppatz Part 1: The Designer Part 2: Methods, Theory and Thinking Part 3: Services and Systems Part 4: Management VOLUME THREE: SOCIAL INTERACTIONS Introduction, D.J. Huppatz Part 1: Experience Part 2: Interaction Part 3: Consumption Part 4: Ethics VOLUME FOUR: DEVELOPMENT, GLOBALIZATION AND SUSTAINABILITY Introduction, D.J. Huppatz Part 1: Design and Development Part 2: Globalization Part 3: Branding Part 4: Sustainability Index
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History and Culture
A Cultural History of Gardens

Edited by Michael Leslie and John Dixon Hunt
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.
UK May 2013 US July 2013 244 x 169mm / 9.6 x 6.7 inches 6-volume HB set / 1,600 pages HB 9781847882653 / 350.00 / $550.00 Series: The Cultural Histories Bloomsbury Academic
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)
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History and Culture
Design as Future-Making
Edited by Susan Yelavich and Barbara Adams
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.
UK September 2014 US November 2014 256 pages 50 bw & 25 colour illus 234 x 156mm / 9.2 x 6.1 inches PB 9780857858399 22.99 / $39.95 HB 9780857858382 70.00 / $120.00 Bloomsbury Academic
Key Titles
Textbook Textbook
The Design History Reader

Edited by Grace Lees-Maffei and Rebecca Houze 2010 544 pages 70 bw illus 244 x 189mm / 9.6 x 7.4 inches PB 9781847883896 24.99 / $39.95 HB 9781847883889 70.00 / $129.95 Berg Publishers
Design History Understanding Theory and Method

Kjetil Fallan 2010 224 pages 20 bw illus 189 x 150mm / 7.4 x 5.9 inches PB 9781847885371 16.99 / $29.95 HB 9781847885388 50.00 / $89.95 Berg Publishers
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History and Culture
Design Histories and Futures

Edited 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, Grifth University, Queensland College of Art, Australia. Lisa Norton is a full-time faculty member at the School of the Art Institute of Chicago, USA. AnneMarie Willis is Professor of Design Theory at the German University in Cairo, Egypt.
New Series
Design and the Question of History

Clive Dilnot, Susan Stewart and Tony Fry
Design and the Question of History offers a new perspective on the historical signicance 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, Grifth University, USA.
UK October 2014 US December 2014 224 pages 189 x 150mm / 7.4 x 5.9 inches PB 9780857854773 17.99 / $30.95 HB 9780857854766 55.00 / $94.00 Series: Design Histories and Futures Series Bloomsbury Academic
Steel A Design, Cultural and Ecological History

Anne-Marie Willis and Tony Fry
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 elds 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. Anne-Marie Willis is Professor of Design Theory at the German University in Cairo, Egypt. Tony Fry is professor of Design, Design Futures Program, QCA, Grifth University, USA.
UK October 2014 US December 2014 256 pages 50 illus 189 x 150mm / 7.4 x 5.9 inches PB 9780857854803 19.99 / $34.95 HB 9780857854797 65.00 / $120.00 Series: Design Histories and Futures Series Bloomsbury Academic
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History and Culture
Iconic Designs 50 Stories about 50 Things

Edited by Grace Lees-Maffei
Iconic Designs presents a beautifully designed and illustrated guide to 50 classic things designs that we nd in the city, in our homes and ofces, on page and screen, and in our everyday lives. Grace Lees-Maffeis 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.
UK September 2014 US November 2014 240 pages 50 colour illus 246 x 189mm / 9.7 x 7.4 inches HB 9780857853523 25.00 / $39.95 Bloomsbury Visual Arts
Contents Eiffel Tower Ford Model T London Underground Map Tuk Tuk Sydney Opera House McDonalds Golden Arches Mobility Scooter Concorde The London Eye The Palm Islands Isotype Metropolis Penguin Books Helvetica Sgt. Peppers 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 Rubiks 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
Love Objects Emotion, Design and Material Culture

Edited by Anna Moran and Sorcha OBrien
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 mens 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 OBrien teaches design history and theory to Product and Furniture Design students in Kingston University, UK.
UK August 2014 US October 2014 192 pages 52 bw illus 246 x 189mm / 9.7 x 7.4 inches PB 9781472517197 19.99 / $29.95 HB 9780857858467 65.00 / $120.00 Bloomsbury Academic
34
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. 35
History and Culture
Roy G. Biv An Exceedingly Surprising Book About Colour

Jude Stewart
Sumptuous this is a book thatll 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 amingos. 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.
UK November 2014 US September 2013 288 pages Colour illus 198 x 129mm / 7.8 x 5.1 inches HB 9781408835517 14.99 / $22.00 Bloomsbury Publishing
The Culture of Yellow Or, The Visual Politics of Late Modernity

Sabine Doran
This is not just a compendium of literary and artistic cases in which yellow takes on a powerful signicance. It also offers a telling critique of cultural color theory and conceptions of color symbolism that will be inspiring to scholars in many elds. 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.
UK November 2013 US September 2013 224 pages 16 colour and 8 bw illus 140 x 216mm / 5.5 x 8.5 inches PB 9781441185877 21.99 / $32.95 HB 9781441184443 65.00 / $120.00 Bloomsbury Academic
36
History and Culture
The Company of Artists The Origins of the Royal Academy of Arts in London
Charles Saumarez Smith
Saumarez Smith writes with verve and enthusiasm, evoking the period with curious anecdotes and pungent quotations. For anyone interested in the RAs history, this is essential reading. Giles Watereld, RA Magazine It is to the art community what The First Three Minutes is to the science world. Finchs 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 Britains 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.
UK October 2012 US December 2012 192 pages 250 x 190mm / 9.8 x 7.5 inches HB 9781408182109 25.00 / $34.95 Bloomsbury Continuum World English
Becoming a Londoner A Diary

David Plante
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 Plantes 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 rst fteen years in London, from the mid-sixties to the early eighties, this rst 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.
September 2013 UK and US 544 pages 198 x 129mm / 7.8 x 5.1 inches PB isbn 9781408840115 8.99 / $20.00 HH isbn 9781408839751 20.00 / $30.00 Bloomsbury Paperbacks
37
Digital Art and Visual Culture
2nd edition
Textbook The essential guide to the art form that more than any other denes 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. UK November 2013 US January 2014 408 pages 246 x 189mm / 9.7 x 7.4 inches PB 9780857851789 22.99 / $39.95 HB 9780857851772 70.00 / $120.00 Bloomsbury Academic
A History of Video Art

Chris Meigh-Andrews
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
When the Machine Made Art The Troubled History of Computer Art
Grant D. Taylor
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.
UK June 2014 US April 2014 288 pages 140 x 216mm / 5.5 x 8.5 inches 50 bw illus PB 9781623568849 19.99 / $29.95 HB 9781623567958 74.00 / $110.00 Series: International Texts in Critical Media Aesthetics Bloomsbury Academic
Key Titles
Images Critical and Primary Sources
Edited by Sunil Manghani 2013 4 volumes 244 x 169mm / 9.6 x 6.7 inches HB 9780857850843 550.00 / $990.00 Bloomsbury Academic
The Handbook of Visual Culture

Edited by Ian Heywood and Barry Sandywell 2011 816 pages 50 bw illus 244 x 172mm / 9.6 x 6.8 inches HB 9781847885739 80.00 / $140.00 Berg Publishers
38
Journals
New in 2014
Design Philosophy Papers

Edited by Anne-Marie Willis
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. Anne-Marie Willis is Professor of Design Theory at the German University in Cairo, Egypt. www.bloomsbury.com/dpp
Only available on subscription online only 2 issues per year: May, November e-ISSN: 1448-7136
The ofcial journal of the European Academy of Design (EAD)
The Design Journal An International Refereed Journal for All Aspects of Design
Edited by Rachel Cooper and Paul Atkinson Associate Editor: Louise Valentine
The Design Journal is the essential academic journal in its eld. 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 Shefeld Hallam University, UK. Louise Valentine is Senior Lecturer at the University of Dundee, UK. www.bloomsbury.com/designjournal
Only available on subscription 4 issues per year: March, June, September, December ISSN: 1460-6925 e-ISSN: 1756-3062
39
Journals
The ofcial journal of the Design Studies Forum (DSF)
Design and Culture The Journal of the Design Studies Forum

Edited by Elizabeth Guffey Associate Editors: Carma Gorman, Matt Soar and Sarah Teasley
A ne 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 fields 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
Only available on subscription 3 issues per year: March, July, November ISSN: 1754-7075 e-ISSN: 1754-7083
Photography and Culture

Edited by Kathy Kubicki, Thy Phu and Val Williams
Photography and Culture will create a new context for reection on the nature of photography, its practices, meanings, and private/public worlds. In doing so it will help to redene 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
Available to purchase as a subscription or as individual issues 3 issues per year: March, July, November ISSN: 1751-4517 e-ISSN: 1751-4525
40
Journals
The Journal of Modern Craft

Edited by Glenn Adamson, Edward S. Cooke Jr and Tanya Harrod
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 eld of crafts. Pat Kirkham, Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, New York, USA The rst 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
Available to purchase as a subscription or as individual issues 3 issues per year: March, July, November ISSN: 1749-6772 e-ISSN: 1749-6780
Journal of Textile Design Research and Practice

Edited by J.R. Campbell, Faith Kane, Janette Matthews, Lauren Moriarty and Nancy Boiter Powell
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 signicance 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
Only available on subscription 2 issues per year: May, November ISSN: 2051-1787 e-ISSN: 2051-1795
Institutions Institutions will receive both Journal of Textile Design Research and Practice and Textile: The Journal of Cloth and Culture as a single subscription.
41
Index
A A Cultural History of Gardens 31 A History of Video Art 38 Adams, Barbara 32 41 Adamson, Glenn 28 Advertising Alexander, Jesse 23 19 Allanwood, Gavin Ambrose, Gavin 4, 10, 12, 13, 16 Anderson Feisner, Edith 17 Angier, Roswell 27 Animation 20 Aono-Billson, Nigel 12 12 Approach and Language Aspelund, Karl 3, 6 39 Atkinson, Paul B Barfoot, Caroline Basics Animation Box Set Basics Creative Photography Box Set Basics Design 01: Format, 2nd edition Basics Design 03: Typography Basics Design 07: Grids, 2nd edition Basics Design: Print and Finish, 2nd edition Basics Graphic Design Box Set Basics Photography Box Set Bate, David Beare, Peter Becoming a Londoner Behind the Image Benz, Peter Boiter Powell, Nancy Brazell, Derek Brownie, Barbara Burtenshaw, Ken By Design, 2nd edition 28 20 25 10 16 10 10 12 24 27 19 37 25 6 41 15 16 28 8
Design and the Question of History 33 Design as Future-Making 32 7 Design Futuring Design Genius 4 Design Histories and Futures 33 32 Design History Design History Reader, The 32 Design Journal, The 39 Design Philosophy Papers 39 Design Philosophy Reader, The 7 25 Design Priciples Design Process, The, 3rd edition 6 12 Design Research Design Thinking for Visual Communication, 2nd edition 10 Design Thinking: Understanding How Designers Think and Work 8 Design: Critical and Primary 30 Sources Designing with Color 17 3 Designing: An Introduction Digital Animation 20 Dilnot, Clive 33 Dixon Hunt, John 31 Doran, Sabine 36 17 Dorosz, Chris Drawing for Animation 20 E Epica Awards Epica Book 27 Experience Design Exposure 28 28 6 24
Hodges, Jo Houze, Rebecca Huppatz, Daniel I Iconic Designs Idea Generation Illustration Images: Critical and Primary Sources Interactive Design Interface Design Introductory Textbooks J Journal of Modern Craft, The Journal of Textile Design Research and Practice Journals K Kane, Faith Kiss and Sell: Writing for Advertising Kubicki, Kathy
28 32 30 34 12 14 38 18 19 2 41 41 39 41 28 40
Q Quinn, Joanna R Reading Photographs Reed, Ron Roy G. Biv
20 25 17 36
S Salkeld, Richard 25 Sandywell, Barry 38 Saumarez Smith, Charles 37 Sawyer, Robert 28 Scriptwriting 20 Short, Maria 25 Smith Saumarez, Charles 37 Soar, Matt 40 Steane, Jamie 18 Steel 33 Stewart, Jude 36 Stewart, Susan 33 Stop-motion Animation, 2nd edition 20 Sustainable Graphic Design 9 T Taylor, Grant D. Teasley, Sarah Theory and Practice Thinking Visually for Illustrators, 2nd edition Train Your Gaze, 2nd edition Transforming Type Typography U Understanding Illustration User Experience Design V Valentine, Louise Visual Dictionary of Graphic Design, The 38 40 8 14 27 16 16 15 19 39 13
L Layout Book, The, 2nd edition 12 Lees-Maffei, Grace 32, 34 Leonard, Neil 12 Leslie, Michael 31 Lighting, 2nd edition 24 Linford, Chris 28 Long, Jim 17 Love Objects 34 M Mahon, Nik Manghani, Sunil Margolin, Victor Matthews, Janette Meigh-Andrews, Chris Mills, Les Mollerup, Per Moran, Anna Moriarty, Lauren N New Munsell Student Color Set, The, 3rd edition Norton, Lisa O OBrien, Sorcha 28 38 29 41 38 20 13 34 41
C Campbell, J.R. 41 Caplan, Ralph 8 Caruana, Natasha 25 Chong, Andrew 20 Color Studies, 3rd edition 17 Colour 17 Communication Design: Insights from Creative Industries 2 Company of Artists, The 37 Composition, 2nd edition 24 Context and Narrative 25 Cooke Jr, Edward S. 41 Cooper, Rachel 39 Cracking the Whip 8 Cross, Nigel 8 Culture of Yellow, The 36 D Daly, Tim 21 Data Design 13 Davies, Jo 15 Design and Culture: The Journal of the Design Studies Forum 40 42
F Fallan, Kjetil 32 Fine, Peter 9 Fox, Anna 25 Fry, Tony 7, 33 Fundamentals of Creative Advertising, The, 2nd edition 28 Fundamentals of Digital 28 Advertising, The Fundamentals of Digital Photography, The 21 Fundamentals of Graphic 13 Design, The Fundamentals of Illustration, 15 The, 2nd edition Fundamentals of Typography, 16 The, 2nd edition G Gorman, Carma Graphic Design Guffey, Elizabeth 40 9 40
17 33 34
H Handbook of Visual Culture, The 38 Harris, Paul 10, 12, 13, 16 Harrod, Tanya 41 Heywood, Ian 38 History and Culture 30 History of Photography in 50 Cameras 26
P Perspectives on Place 22 Photography 21 Photography and Culture 40 Photography: The Key Concepts 27 Phu, Thy 40 Plante, David 37 Prakel, David 24 Price, Jessie 2 Principles and Processes of Interactive Design 18 Pritchard, Michael 26 Production Manual, The 12 Purves, Barry 20
W Watson, J.R. 17 Webb, Jeremy 25 Wells, Paul 20 When the Machine Made Art 38 Wigan, Mark 14 Williams, Val 40 Willis, Anne-Marie 7, 33, 39 Wood, Dave 19 Working in Black and White 24 World History of Design 29 Y Yates, Derek Yelavich, Susan Z Zeegen, Lawrence 2 32 15
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Design & Graphic Arts

Design & Graphic Arts 2014

Inspection/exam copies & Ebooks

Bloomsbury head ofces and distributors

Communication Design Insights from the Creative Industries

Design Genius The Ways and Workings of Creative Thinkers

Gavin Ambrose is a practising graphic designer.

design genius Ambrose / harris

The Design Process

Experience Design Key Concepts and Approaches

Theory and Practice

The Design Philosophy Reader

Design Futuring Sustainability, Ethics and New Practice

Theory and Practice

Design Thinking Understanding How Designers Think and Work

Cracking the Whip Essays on Design and Its Side Effects

Sustainable Graphic Design Principles and Practices

GRA DESIGN DESI

Design Thinking for Visual Communication

Basics Design: Print and Finish

Basics Design 01: Format

Basics Design 07: Grids

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Industry view: SEA Design

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Channels and plates

Industry view: SEA Design

The Layout Book

Basics Graphic Design Box Set

The Production Manual A Graphic Design Handbook

Data Design Visualising Quantities, Locations, Connections

The Fundamentals of Graphic Design

The Visual Dictionary of Graphic Design

Thinking Visually for Illustrators

The Fundamentals of Illustration

Transforming Type New Directions in Kinetic Typography

Basics Design 03: Typography

The Fundamentals of Typography

The New Munsell Student Color Set

Designing with Color Concepts and Applications

The Principles and Processes of Interactive Design

Current A head p Next A head

Using colour systems

3.29 Colour guide is a feature of Adobe Illustrator. 3.30 colorschemedesigner. com

Using colour systems p Encoding and decoding images

User Experience Design Creating Designs Users Really Love

Interface Design An Introduction to Visual Communication in UI Design

Stop-motion Animation Frame by Frame Film-making with Puppets and Models

Movement and performance

Movement and performance

The Fundamentals of Digital Photography

Lee Avisons staged photograph suggests something is about to happen.

Non-destructive editing < | Core image editing | > Monochrome conversion

Perspectives on Place Theory and Practice in Landscape Photography

WHERE IS THE LANDSCAPE ?