Issuu on Google+

Design & Graphic Arts

BloomsburyDesign_UK.indd 1

2014

11/02/2014 12:43


BloomsburyDesign_UK.indd 2

11/02/2014 12:43


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

Inspection/exam copies & Ebooks

Textbook Books with this symbol are available on inspection / as exam copies and are particularly suitable for course use. You can request them directly from www.bloomsbury.com. If you would like to request any other paperback books on inspection please contact us at askacademic@bloomsbury.com (North and South America) or inspectioncopies@bloomsbury.com (UK and rest of world). www/Textbook In addition to the above, books with this symbol also have a companion website or online resources. EBooks Available for your e-reader or library for many titles. Please consult our website for pricing availability.

Bloomsbury head offices and distributors

UK, Europe and Rest of World Bloomsbury Publishing 50 Bedford Square, London, WC1B 3DP, UK T +44 (0)207 631 5600 F +44 (0)207 631 5800 academic@bloomsbury.com UK Trade Orders Macmillan Distribution (MDL) Brunel Road, Houndmills, Basingstoke, RG21 6XT, UK T +44 (0)1256 302692 F +44 (0)1256 812521 / 812558 orders@macmillan.co.uk

Contact us

US, Canada, Central and South America Bloomsbury Academic 1385 Broadway, 5th floor New York, NY 1098, USA T +1 212 419 5300 askacademic@bloomsbury.com US Trade Orders Bloomsbury USA MPS/BUSA Orders 16365 James Madison Highway, Gordonsville, VA 22942, USA T +1 888 330 8477 F +1 800 672 2054 orders@mpsvirginia.com customerservice@mpsvirginia.com

Review copies For copies of books for review in journals, please email academicreviewUS@bloomsbury.com in North and South America and academicreviews@bloomsbury.com in the UK and rest of world. Proposals If you have a book proposal, please submit your proposal using forms available at www.bloomsbury.com/academic/forauthors Whilst we endeavour to ensure that prices, publication dates and other details in this catalogue are correct on going to press, they are subject to change without further notice. Translation rights for all titles are available unless otherwise indicated. Bloomsbury Academic is a division of Bloomsbury Publishing Plc. Registered in England No. 01984336.

BloomsburyDesign_UK.indd 1

11/02/2014 12:43


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, It’s Nice That, among many others, provide their own insight into the creative industries • Includes handy ‘Search Terms’ throughout, so that readers can further their own research as they read

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

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. Contents Introduction Chapter 1 - Brand Systems • In Conversation with Mason Wells, Bibliothéque Design • Strategy • In Conversation with Mat Heinl, Moving Brands • Ecosystems • In Conversation with Simon Manchipp, SomeOne • Authenticity • Heritage Chapter 2 - 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, It’s 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

2

BloomsburyDesign_UK.indd 2

11/02/2014 12:43


Introductory Textbooks

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 fields: industrial, apparel, interior, automotive, landscape, Web, graphic, fine arts, artisanal, and more • Sidebars and end-boxes place focus on topics, such as networking, ergonomics, timelines, and sustainability • Includes chapter summaries, lists of objectives and key terms, exercises, assignments, and questions for classroom discussion • Teaching resources: Instructor’s Guide and PowerPoint presentation available

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

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

3

BloomsburyDesign_UK.indd 3

11/02/2014 12:43


Introductory Textbooks

Textbook

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

Ambrose / harris

design, branding and packaging.

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

Gavin Ambrose

mean it has something for everyone. Readers will delight in the visual and

effects of a number of subtle Explores, through a series of • tactile 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 A tour visual tour de force, with de force, with an eclectic set of works from some of the highest ancreative eclectic set of works from quality individuals and agencies to appeal to both professional and some ofa broad therangehighest quality student audiences across of visual arts subjects creative individuals and Features an exceptionally varied pool of contributors, from art directors to agencies illustrators, artists to photographers and including KesselsKramer, Studioinclude • writers, Contributors 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

UK July 2014 US September 2014

design genius

Design Genius The Ways and Workings of Creative Thinkers

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 leading artists, Whileseveral 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

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

www.yandz.com

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

‘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 don’t really think its possible to art direct (well) in isolation, you need to know the angle the article is taking to do it justice. Done well, you’ve summed it up in one image, the reader primed. Some of the designs you have produced are instantly regognisable as being ‘newsworthy’. The Bloomberg Businessweek for example. Are there conventions and vernaculars of type and image that you consciously try and tap into? As readers and consumers we all buy into

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

f

46_47

True North

http://thisistruenorth.co.uk/

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

46_47

4

BloomsburyDesign_UK.indd 4

11/02/2014 12:43


f

a visual language, we can have some fun by subverting it. Space is a precious commodity in news publications. Competition for that space gives a density to news publications - and white space has to work hard to be justified. Typography too has to be hardworking, efficient, easy to read at small sizes. Everything takes an edit and I think that distillation gives a tightness to the whole publication - in turn giving it a unique design vernacular. Production processes also drive the visual language. The design components are a kit of parts, able to be assembled quickly - and by different people - but still retain a coherent look. That’s very much the bricks and mortar of a publication, the underlying rythmn, on top of which different notes are added to keep it interesting. How much can be created from scratch depends on personal choice, staff and deadlines. As a designer do you feel you need to be fully aware of what it means to be a consumer? is that part of the thinking and designing process? It certainly helps. An idea will connect much more deeply if you understand your readers. Its vital to create a rapport

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

‘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 don’t know if it always works but its certainly my intention to get to a point where its in the right sort of area quickly and from there explore. Can you give an indication of some of the processes you use when working. For example some people choose to sketch, while others the starting point is more about Empirical research, or emersing themselves in an environment or concept. I like to have a number of simple briefs, ahead of time, so I can be thinking of them in the background. Once i start, I work very quickly, throwing different ideas into the

from both directions. I encourage the designers i work with to produce lots of ideas and then we see what’s best, merging, refining until we run out of time. For the FT covers I step back from the detail to look at the big picture whereas during the latter stages of a redesign (like Businessweek) its fully immersive - creating a toolkit of parts and developing a visual grammar – knowing the language completely, from the point size of a picture credit upwards. Your all have to work hard to earn their place. Do you fid this level of design is as much about what to take out as what to leave in? Its important that all elements combine to reinforce a single idea. I think there are very powerful covers with a lot going on (like this NYT cover) and covers which are deliberately oblique but still work for their knowing audience. For me removing unnecessary elements and distilling an idea makes for a more compelling cover, connecting quickly with our readers. We are trying to entice them to engage with our magazine - it shouldn’t be hard work. Unless of course, you want it to be. Bloomberg Businessweek

48_49

48_49

5

BloomsburyDesign_UK.indd 5

11/02/2014 12:43


Introductory Textbooks

www/Textbook

3rd edition

The Design Process Karl Aspelund

Karl Aspelund takes readers on a guided tour of seven key stages of design. ‘Perspectives’ features highlight individual designers and artists, and end-of-chapter exercises help transform design projects to reality. Instructor’s Guide and Power Points available. Karl Aspelund is an Assistant Professor in the Department of Textiles Fashion Merchandising and Design at the University of Rhode Island, USA.

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

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

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

Edited by Peter Benz

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

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

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

6

BloomsburyDesign_UK.indd 6

11/02/2014 12:43


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.

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

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

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 defines redirective practice as a critical new paradigm for design – a way of engaging design and sustainability as they are implicated in and essential to our very survival. Broad. Accessible. Timely.” Eli Blevis, Indiana University at Bloomington, Indiana, USA “Forceful, convincing, persuasive, and ultimately refreshing, leaving the reader with renewed investment in the role of designers for a sustain-able future.” Interiors: Design, Architecture, Culture

7

BloomsburyDesign_UK.indd 7

11/02/2014 12:43


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

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

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

Textbook

2nd edition

By Design Why There Are No Locks on the Bathroom Doors in the Hotel Louis XIV and Other Object Lessons

An inspiring resource for design students, professionals or anyone else who could benefit from a fuller appreciation of the design process, By Design vividly shows how design affects our most significant human activities. A network of engrossing stories illuminate the process as it applies to industrial design, interior design, fashion design, graphic design and the design of business and social situations. It is the perfect accompaniment to a broad area of foundation courses for designers-in-training.

2004 267 pages 45 colour illus 229 x 152mm / 9 x 6 inches PB 9781563673498 £35.00 / $57.00 Fairchild Books

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.

2005 240 pages 229 x 152mm / 9 x 6 inches PB 9781563673900 £25.00 / $44.00 Fairchild Books

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.

8

BloomsburyDesign_UK.indd 8

11/02/2014 12:43


Graphic Design

GRA DeSiGn DESI Textbook

Sustainable Graphic Design Principles and Practices Peter Fine

Sustainable Graphic Design outlines graphic design’s relationship to production and consumption, demonstrating how designers can contribute solution-orientated responses to consumption through tools and methodologies applicable to both education and practice: • Presents cutting-edge work from practitioners, educators and students from North America, United Kingdom, Japan, Australia and East Asia • Helps students visualise their future roles engaging with the field in response to ecological concerns, social justice and present design systems • Includes case studies with stepby-step instructions adapted for use by instructors

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

SuStainable

GRaPHiC Principles and Practice

Peter Fine

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

BloomsburyDesign_UK.indd 9

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

9

11/02/2014 12:43


Graphic Design

Textbook

2nd edition

Design Thinking for Visual Communication Gavin Ambrose

“Beautifully designed and filled with excellent examples.” Richard Barlow, St Cloud State University, USA Design Thinking for Visual Communication identifies methods and thought processes used by designers in order to start the process that eventually leads to a finished piece of work. Stepby-step guidance for each part of the process is highlighted by real-life case studies, enabling the student to see teaching in practice.

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

Gavin Ambrose is a practising graphic designer teaching at the University of Brighton, UK. New to this edition • Contributions from a broader international range of design practices • Updated with more in-depth examinations of the case studies • New ‘Design Brief’ feature, enabling readers to put what they’ve read into practice • Now includes a host of online resources, including assignments and videos

Textbook

2nd edition

Basics Design: Print and Finish Gavin Ambrose and Paul Harris

A guide to the printing and finishing techniques employed by graphic design studios all over the world. A thorough understanding of these techniques will equip the designer with the ability to harness the creative potential of these processes and add creative elements to a design in order to increase its impact and functionality. Showcasing seven different paper and ink stocks and finishes, the book is an invaluable reference tool.

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

Gavin Ambrose is a practising graphic designer teaching at the University of Brighton, UK. Paul Harris is a freelance writer and editor. 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

Basics Design 01: Format

Basics Design 07: Grids

Gavin Ambrose and Paul Harris

Gavin Ambrose and Paul Harris

2012

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

208 pages 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940411924 £23.99 / $37.95 Series: Basics Design AVA Publishing

Textbook

10

BloomsburyDesign_UK.indd 10

11/02/2014 12:43


Print and finish Size: 160 x 230Hmm

36

Text Black

U160890_ISO39L_U13-027_GP4B(CYS)

Print and finish Size: 160 x 230Hmm

Text Black

U160890_ISO39L_U13-027_GP4B(CYS)

37

Industry view: SEA Design

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

Industry view: SEA Design

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.

Grey-coloured stock

Duplexing

|

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

C

M

Y

K

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

Print and finish finish Size: 160 x 230Hmm

print-finish-4_ga.indd 36

126

Text Black

U160890_ISO39L_U13-027_GP4B(CYS)

10/10/2013 15:28 16:03

Print and finish Size: 160 x 230Hmm

print-finish-4_ga.indd 37

Text Black

U160890_ISO39L_U13-027_GP4B(CYS)

10/10/2013 10:34 11/10/2013 16:03

127

Overprinting techniques

Client: This is a Magazine Design: Andy Simionato & Karen Ann Donnachie (Donnachie, Siminonato & Sons) Technical overview:

print-finish-4_ga.indd 126 print-finish-4_ga.indd 126

10/10/2013 15:41 10/10/2013 16:31

print-finish-4_ga.indd 127

Y M C

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.

K 807

Matt art

Channels and plates

|

Overprinting techniques

|

Halftones

Radical overprinting

10/10/2013 11:16 11/10/2013 16:31

11

BloomsburyDesign_UK.indd 11

11/02/2014 12:43


Graphic Design

Textbook

2nd edition

The Layout Book Gavin Ambrose and Paul Harris

The Layout Book explains the hows, whys and why-nots of the placing of elements on a page or screen layout. A historical overview of the subject is followed by a systematic look at key theoretical principles and practical applications. Offering a huge array of potential layout options and with over 250 colour illustrations from some of the world’s leading design studios, this is a uniquely inspiring guide to graphic design. Gavin Ambrose is a practising graphic designer teaching at the University of Brighton, UK.

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

Paul Harris is a freelance writer and editor. 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

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

Gavin Ambrose, Nigel Aono-Billson and Neil Leonard

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.

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

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

Contents

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

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 Gavin Ambrose and Paul Harris

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

BloomsburyDesign_UK.indd 12

11/02/2014 12:43


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 difficulty communicating. It describes problems, principles, and solutions for the visual display of information, and presents real-world didactic examples, taken from publications such as the Financial Times and the Wall Street Journal.

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

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

Key Titles Textbook

Textbook

The Fundamentals of Graphic Design

The Visual Dictionary of Graphic Design

Gavin Ambrose and Paul Harris

Gavin Ambrose and Paul Harris

2008

2006

200 pages 200 colour illus 230 x 200mm / 9.1 x 7.9 inches PB 9782940373826 £26.50 / $38.50 Series: Fundamentals AVA Publishing

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

BloomsburyDesign_UK.indd 13

11/02/2014 12:43


Illustration

Textbook

2nd edition

Thinking Visually for Illustrators Mark Wigan

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.

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

Mark Wigan is a Lecturer at Hull College, UK.

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 Five, The New Digital Paradigm The Next Big Thing in Illustration The Future is Now Flexibility

Chapter Two, Ways of Drawing A History of Illustration Outsider Art The Portrait Life Drawing

Chapter Six, A Career in Illustration Collaboration Briefs and Deadlines Industry Insights Conclusion

Chapter Three, Experimenting Print Workshop Cross-media and Cultural Cut-ups

Appendix 20 Projects Glossary Canon Bibliography Conclusion Index Acknowledgements

Chapter Four, Types of Illustration The Decorative Social Comment Caricature Reportage Underground Urban Street Art Storytelling Fantastic Worlds

14

BloomsburyDesign_UK.indd 14

11/02/2014 12:43


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.

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

Looking at a broad range of illustration, from journalistic reportage to children’s books, it offers an insight into how an artist might tackle a brief, or build up layers of information within their image in order to get a message across. Derek Brazell and Jo Davies are both practising illustrators and editorial board members of Varoom.

Key Title Textbook

2nd edition

The Fundamentals of Illustration Lawrence Zeegen

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: it’s all about the fundamentals, and it covers all the bases ... Great for a young student who might be thinking about getting into illustration, or perhaps someone who wants to start a new craft with a clear view of how the illustration industry operates.” Illustration Friday A fresh introduction to the important elements of the discipline that takes the reader step-by-step through the key processes, themes and applications in illustration. Lawrence Zeegen is Head of School for the School of Communication Design at Kingston University, UK.

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.

15

BloomsburyDesign_UK.indd 15

11/02/2014 12:43


Typography

Transforming Type New Directions in Kinetic Typography Barbara Brownie

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

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

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.

Key Titles Textbook

Basics Design 03: Typography

2nd edition

Gavin Ambrose and Paul Harris

The Fundamentals of Typography

2005

Gavin Ambrose and Paul Harris

176 pages 200 colour illus 230 x 160mm / 9.1 x 6.3 inches PB 9782940373352 £23.50 / $34.50 Series: Basics Design AVA Publishing

2011

Textbook

200 pages 200 colour illus 230 x 200mm / 9.1 x 7.9 inches PB 9782940411764 £26.50 / $38.50 Series: Fundamentals AVA Publishing

16

BloomsburyDesign_UK.indd 16

11/02/2014 12:43


Colour

Key Titles

www/Textbook

3rd edition

Color Studies Edith Anderson Feisner and Ron Reed

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

2013 296 pages 216 x 279mm / 8.5 x 11 inches 355 colour illus PB 9781609015312 £54.99 / $90.00 Fairchild Books

New to this edition • New chapter objectives, key terms, end of chapter summaries and beginning and advanced exercises • New Internet Resources in Appendix • Up-to-date discussion of sustainable colour applications and green materials as the underlying component of colorants, dyes, and inks in textiles, printmaking and paints • New chapter on colour and digital technology • Teaching resources: Instructor’s Guide and PowerPoint presentation available

Textbook

3rd edition

The New Munsell® Student Color Set Jim Long

A full-colour interactive and experimental guidebook for understanding colour in all its dimensions, the Set includes 11 Munsell colour charts, 15 interactive charts, 14 packets of colour chips, and a textbook, all designed to facilitate hands-on learning of colour’s aspects and effects. The text provides a complete study of colour use and colour science, including extended discussion of visual perception, optical effects, and practical application of colour phenomena in fine and applied art practices.

2011 176 pages 110 colour illus 189 x 244mm / 8 x 10 inches HB 9781609011567 £45.00 / $79.00 Fairchild Books

www/Textbook

Designing with Color Concepts and Applications

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.

Chris Dorosz and J.R. Watson

• Chapter elements include vocabulary and key concepts, workbook activities, and suggested assignments to supplement student learning • Teaching resources: companion website and Instructor’s Guide available

2010 384 pages 700 colour illus 270 x 210 mm / 11 x 8.5 inches PB 9781563678592 £60.00 / $99.00 Fairchild Books

17

BloomsburyDesign_UK.indd 17

11/02/2014 12:43


Interactive Design

Textbook

The Principles and Processes of Interactive Design Jamie Steane

Contents

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

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

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

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

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

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

Games user interface tips Good games user interfaces should: 1. Do what the player expects it to do 2. Provide positive confirmation 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 player’s fingers and thumbs 10. Be mindful that touch screen inputs are not precise and need large active areas

152

153

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.

72

Monochromatic schemes are created by taking a single colour and adding neutral colours to create shades. Monochromatic schemes are harmonious and easy on the eye but are weaker at highlighting areas of interest. Analogous schemes typically use colours that are adjacent in the colour wheel. Analogous schemes are harmonious in the same way as monochromatic, but they have the benefit of being able to accent or highlight areas of interest. Complementary schemes use pairs of colour that are opposite each other in the colour wheel. They are good for highlighting features, and work best when one colour is more dominant than the other where the less dominant colour is used as the accent colour. Split complementary schemes are made from three colours. Choose a colour then select colours from either side of its natural complementary colour. Split commentary schemes create impact but are often hard to balance. Triadic schemes are created by choosing three colours that are equidistant on the colour wheel. As with split complementary, triadic schemes are dynamic but difficult to balance, and often work best when one colour is dominant.

3.28  The various schemes Monochromatic, analogous, complementary, split and triadic schemes

73

3.29  Colour guide is a feature of Adobe Illustrator.

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.

3.30  colorschemedesigner. com

3.26–3.27  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 find colour schemes based on your current fill colour. Alternatively, use online resources to find 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

BloomsburyDesign_UK.indd 18

11/02/2014 12:43


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 today’s most innovative studios.

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

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. 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

“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

Dave Wood

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.

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

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

19

BloomsburyDesign_UK.indd 19

11/02/2014 12:43


Animation

Textbook

2nd edition

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

Praise for the first edition: “The must-have book for the stop-motion animator who wants to learn what it is to be a professional.” Pike Baker, StopMotionMagazine.com “To say this book is a perfect companion for anyone interested in stop-motion at any level is a tremendous understatement.” Mark Osborne, co-director of DreamWorks Animation’s Oscar-nominated Kung Fu Panda (AWN.com)

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

• 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.

188

Movement and performance

189

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

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

6.1 A Midsummer Night’s Dream 1959 director Jirí Trnka This beautiful film contains some outstanding performances. It was originally released without dialogue, telling the story through music, pantomime and dance. Later an English language version was released, narrated by Richard Burton. Trnka’s multi-layered film The Hand (1965) also features a wonderful reversal of the creator and created story, with the eponymous Hand telling the sculptor what to create: a huge monstrous image of the Hand.

Foreword, Adrian Kohler, Artistic Director of Handspring Puppet Company

Chapter 2: Focusing the Idea Stories and Themes • Approaching the Story • A Change of Perspective • Out of the Mouths of... Talking Umbrellas? • Atmosphere and Substance • Economics • Project 2: What’s the Story? Chapter 3: The 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)

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

6.1

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

130

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

Preparations

131

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

4.1 Mary and Max 2009 animator Adam Elliot This sums up everything that is glorious about stop-motion; enjoying all the elements of design, texture, lighting, colour, depth, detail and character to produce something very stylized but instantly credible and recognizable. Every element is working in harmony with the others and the purpose of every element has been considered.

Preparations

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

Movement and performance

Contents summary

4.1

20

BloomsburyDesign_UK.indd 20

11/02/2014 12:43


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 efficient digital workflows with inspirational practical projects. Readers will become confident software users, while developing allimportant visual and conceptual skills.

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

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

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 Workflows 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

Chapter 3: THEMES AND THEIR WORKFLOWS

The portrait < | Photofictions | > Memory and the archive

PROJECT: PHOTOFICTIONS

3.12

94

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

3.12

3.13

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

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

95

3.13

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 our attention. What makes structured reality TV shows so compelling is the blurring between observation and performance. Staged photography promotes a similar paradox: do we believe what we see is for real and if it is fake, does it really matter? Constructed images can carry just as potent a message as an ethical documentary, so your task is to control both the subject and the way it’s represented, choosing one of the following themes: 1 The staged environment Explore the work of sculptor and photographer Thomas Demand, who creates life-sized environments, which are usually bland, corporate spaces. His work plays tricks with our perceptions of fact and fiction. Using an empty studio space as a starting point, try and recreate a photograph you have found. Put all your effort into creating the set and approach the photography as a documentation task.

Bibliography Glossary Index

2 Living doll Mannequins, dolls and model soldiers have been used by many artists and photographers to participate as characters in invented scenarios. David Levinthal’s use of toy characters, staged and lit in a dramatic manner, create a curiously twilight version of historical events, imbuing the toys with human characteristics. Source a toy figure and devise a scenario which parallels a real event. Use the toy to play out a role, standing in for a real person. 3 Interspecies Asger Carlsen’s first photo book, Wrong, projects a terrifying vision of Western culture. Nightmarish scenarios of animal species mixing with human forms are created with deadpan, but slick digital retouching. Make a photograph of a person, then try and merge some other life form element into your composition using Photoshop. Aim for an unsettling, subtle end result or your work will look contrived.

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

Output Produce two final images with an accompanying title.

Chapter 5: TREATMENT 5.9a

Non-destructive editing < | Core image editing | > Monochrome conversion 5.9b

5.10

152

153

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 it’s washed out look. Avoid going too far or your printouts will look dark and heavy (see images 5.9a and 5.9b). 5.10

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

21

BloomsburyDesign_UK.indd 21

11/02/2014 12:44


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.

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

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

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-field 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 Conflict The Aftermath Liminal Spaces From Spaces to ‘Places’ Assignment 5

where is The LandscaPe ?

8

9

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 photography’s discover in the nineteenth century, landscape has been a popular subject for both amateur and professional photographers alike. Landscape art can of course be found in museums and galleries across the world, however, landscape imagery can be seen in many other everyday contexts, such as within advertising, on calendars, in books and magazines, and even on logos and product packaging. The long history associated with landscape art has played a role in our understanding of landscape imagery, specifically what may or may not be accepted as a ‘landscape’ picture. Many contemporary photographers have attempted to shake off this history and produced work that is contrary to established styles. Others have engaged with this history yet with a more critical line of enquiry, such as by embracing traditional conventions to engage their audience’s attention, to then present them with the subjects, themes and ideas that they feel needs to be seen. Perspectives on Place aims to develop your practical photographic skills and enable you to realise photo opportunities more proficiently through a discussion of specific techniques, equipment and approaches that are used by today’s professional landscape photographers. However, we will also explore the many different ways that photographers and artists have explored and continue to expand the boundaries of this exciting genre. It is easy to be inspired by visually arresting photographs made by photographers working in far-flung locations. Many students and amateurs hold the preconception that in order to make interesting landscape images they must have access to exotic or dramatic locations. As we shall see in Chapter 2, travel is often a component to landscape photography, however, this is not always the case. What the examples of other photographers discussed within this book will demonstrate, is that interesting landscape imagery exists wherever we are. Hopefully their work will inspire you to see more of these opportunities, whatever is on your doorstep.

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 Meer’s project, which has expanded considerably over the years, reclaims the significance of the actual place in which these amateur league football matches take place. Such an approach has led to a unique body of photographic work in relation to both sports and landscape photography. The photographer has provided us with records of these matches, which are completely eclipsed by the sport’s more glamorous leagues, and show the games in the context of the landscapes which the players are connected to.

Glossary Bibliography Webography Index

22

BloomsburyDesign_UK.indd 22

11/02/2014 12:44


e with king, ou are time to w when it . Don’t dscape is not den of upport if ces, it is a alarm if

aphers es in SA for phing ay or may hould es if be being nce with the

r ally ertyor at a context. pher is a

fig. 0.4

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

Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

fig. 1.1

chapter 1 Taming The view

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

Suzanne Mooney: Benna Bela from the series Behind The Scenes 23

BloomsburyDesign_UK.indd 23

11/02/2014 12:44


Photography

Textbook

2nd edition

Composition David Präkel

“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.

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

David Präkel has taught photography at the prestigious Kodak Imaging Centre in the US and in his own workshops in Northumberland, UK. Students Fully updated and revised with exciting new work, informative case studies and practical exercises.

Textbook

2nd edition

Lighting David Präkel

Praise for the first edition: “Exceptional. A number of students I know have bought this and so they should. Informative and inspiring.” K. J. Shepherdson, Canterbury Christ Church University, UK “One of the best [texts] I have come across thus far; thorough, clear, well-designed, great examples.” Michelle Given, Murray State University, USA

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

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

Basics Photography Box Set David Präkel

Packed with inspiring full-colour images, the Basics Photography Box Set is a one-stop guide to composition, lighting and exposure for photographic projects. • Technical diagrams sit alongside stunning imagery by master photographers such as Henri Cartier-Bresson, Ruth Bernhard, Murdo Macleod, Harry Callahan and Martin Parr • Image captions include information about the type of camera and technical settings used to create each photograph • In-depth case studies and practical exercises show readers how key techniques and concepts can be applied to different forms of photographic practice, such as still life, portrait, documentary, action/sports, fine art and advertising

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

24

BloomsburyDesign_UK.indd 24

11/02/2014 12:44


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 field.” Elisabeth Strunk Effron, The Art Institute of Raleigh Durham, US

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

“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.

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

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

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. 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

BloomsburyDesign_UK.indd 25

25

11/02/2014 12:44


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.

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

• Covers cameras of all forms, from the first ‘mousetrap’ camera of 1835 to the latest camera-phone • Illustrated throughout with a wide range of iconic photographs taken by the models described, as well as studio shots of all fifty cameras and related equipment • Traces the stories of the photographers who used and popularized these cameras Michael Pritchard FRPS was a photography specialist and Director at Christie’s, London, UK, for over twenty years and is currently Director General of the Royal Photographic Society, UK.

12

Kodak Brownie p ro d u c e d :

1900–1980 | 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

N

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

24

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

Kodak Brownie

25

the other BrownieS

b e l ow a n d r i g h t the

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

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

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 first 15,000 cameras had a push-on back, but following feedback from customers and dealers a re-designed version with a strengthened back was being sold by June. If the original Kodak camera of 1888 had taken the photographer away from the darkroom, then the Brownie brought photography within the reach of everyone. The camera itself was affordable even for the working classes, and the six-exposure films cost just 25 cents. A network of chemist shops and photographic dealers offered developing and printing services, although the camera was also supported with a processing kit and a range of accessories that would allow the owner to produce his or her own photographs. The resulting photographs could then be put in to Brownie albums. In many

26

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

first year. In 1898, realizing that he needed to go back to basics in terms of camera design and production in order to keep the cost of manufacturing down, George Eastman asked Frank Brownell to design a camera that would be cheaper and easier to use than any Kodak had yet made. He recognized that if he could produce a cheap, reliable camera for under a dollar, it would encourage more people, particularly children and woman, to take up photography, and this in turn would boost the sales of film and paper, where most of Eastman Kodak Company’s profits were made. The Brownie camera was the result. It was the subject of several United States patents in 1899 and 1900, of which number 622955 related to the shutter and 725035 described the main features of the camera. The camera was little more than a cardboard box with a lens mounted at the front. It was innovative in simplifying the device to a bare minimum. The camera body was made of jute board, reinforced with wood and covered in imitation black leather. The few controls were nickel-plated. At one end was a simple meniscus lens of 100mm focal length with an aperture of f/14 and a simple single-speed rotary shutter. The camera back was held on by two metal springs and was removed to allow a newly introduced daylightloading roll film, later designated 117, to be inserted. This allowed for six exposures, each 2.25 x 2.25 inches. The shutter release and winding key to advance the film were located on top of the camera. To take a picture, the camera was simply pointed at the subject and the exposure made. From July 1900 a separate clip-on waist-level viewfinder was available for an additional 20 cents. With no other controls, it was the first point-and-shoot camera to produce acceptable results in sunshine.

Kodak Brownie

respects the camera itself was unremarkable. What made it successful, other than the price, was the associated marketing. The Brownie was advertised extensively in newspapers and magazines to reach its intended market. In June 1900, magazines carrying Brownie advertisements had a combined circulation of 6 million in the US alone. In addition, dealers supported by Kodak were supplied with printed circulars, banners, and show cards for shop windows. In Britain, Kodak Limited’s Trade Circular proclaimed that the Brownie would “bring into photography thousands of new workers and users, and— as with all our inventions, simplifications and advertising—will create new customers for our dealer friends.” The company envisaged it as being everyone’s first camera, after which they would move on to more expensive models. It was deliberately aimed at children and women rather than men, who had hitherto been the main buyers of cameras. To support sales the Kodak company quickly announced a Brownie Prize Competition in 1901, which was open to members of its Brownie Kodak Club. Membership was limited to boys and girls under 16 years old. Prizes totalled £100, and over 3,000 entries were received. The response from the public was exceptional. “They are selling like wildfire,” the company announced one month after its introduction, as it struggled to supply its dealers’ orders. By the time the original Brownie was superseded by the No. 1 Brownie in October 1901, around 245,000 had been sold. Needless to say, other camera manufactures quickly brought out their own models copying the simplicity of the Brownie and aiming at the same markets that Kodak was targeting. They used names such as Buster Brown, Kewpie, Nipper, and Scout, but none had the impact of the Brownie, which was underpinned by Kodak’s massive advertising and marketing budget.

27

26

BloomsburyDesign_UK.indd 26

11/02/2014 12:44


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.

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

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

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 Bull’s Eye • Out of Focus: The Disappearing Subject • Darkness. Flash! • Figures in a Landscape: Tableaux • Commentary: Digital personae • Appendices: Camera and Camera Controls • Exposure and Metering • Using Flash • Critical Bibliography • Index

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

27

BloomsburyDesign_UK.indd 27

11/02/2014 12:44


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.

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

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

Epica Book 27 Creative Communications

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

Epica Awards

“This is the closest you’ll get to a ‘how to’ book on creative advertising.” John Pallant, Regional Creative Director, Saatchi & Saatchi, ME Epica Book 27: Creative Communications is a lasting record of the 2013 Epica Awards and a unique source of information and inspiration for all those interested in contemporary worldwide advertising trends.

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

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.

Key Titles 2nd edition

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

Textbook

Textbook

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

28

BloomsburyDesign_UK.indd 28

11/02/2014 12:44


World History of Design

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

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 ÂŁ395.00 / $680.00 Bloomsbury Academic

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.

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

29

BloomsburyDesign_UK.indd 29

11/02/2014 12:44


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.

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

• 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. Contents VOLUME ONE: DESIGN REFORM, MODERNISM AND MODERNIZATION Introduction, D.J. Huppatz Part 1: Design Reform Part 2: Modernism and Modernization Part 3: Reflections 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

30

BloomsburyDesign_UK.indd 30

11/02/2014 12:44


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.

UK May 2013 US July 2013 244 x 169mm / 9.6 x 6.7 inches 6-volume HB set / 1,600 pages HB 9781847882653 / ÂŁ350.00 / $550.00 Series: The Cultural Histories Bloomsbury Academic

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. 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)

31

BloomsburyDesign_UK.indd 31

11/02/2014 12:44


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.

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

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.

Key Titles 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

Textbook

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

32

BloomsburyDesign_UK.indd 32

11/02/2014 12:44


History and Culture

New Series

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

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

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

Clive Dilnot is professor of Design Studies at Parsons The New School for Design, New York, USA. Susan Stewart is a senior lecturer and acting director, Design Studies Unit, University of Technology, Sydney, Australia. Tony Fry is professor of Design, Design Futures Program, QCA, Griffith University, USA.

Steel A Design, Cultural and Ecological History

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.

Anne-Marie Willis and Tony Fry

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

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

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, Griffith University, USA.

33

BloomsburyDesign_UK.indd 33

11/02/2014 12:44


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

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

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

Love Objects Emotion, Design and Material Culture Edited by Anna Moran and Sorcha O’Brien

Love Objects investigates how we embody love in material form by exploring the emotional potency of objects in our lives. How do objects become fetishes, symbols and representations; active participants in and mediators of our relationships, as well as tokens of affections, symbols of virility, triggers of nostalgia, replacements for lost loved ones, and symbols of lost places and times? Addressing both designed ‘things with attitude’ and the ‘wild things’ of material culture, Love Objects explores a wide range of objects, from 19th-century American portraits displaying men’s passionate friendships to the devotional and political meanings of religious statues in 1920s Ireland.

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

Anna Moran is Coordinator of the MA in Design History and Material Culture at the National College of Art and Design, Ireland. Sorcha O’Brien teaches design history and theory to Product and Furniture Design students in Kingston University, UK.

34

BloomsburyDesign_UK.indd 34

11/02/2014 12:44


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, â&#x20AC;&#x2DC;Material Memoriesâ&#x20AC;&#x2122;, 1970 family photograph printed as an ambrotype, 2008. 35

BloomsburyDesign_UK.indd 35

11/02/2014 12:44


History and Culture

Roy G. Biv An Exceedingly Surprising Book About Colour Jude Stewart

“Sumptuous … this is a book that’ll make you look at colours in a whole new light.” Big Issue Why is the sky blue? Why is pink for girls and blue for boys? Why do prisoners wear orange? And why can one colour have so many opposite meanings? Each chapter in this book is devoted to a colour, opening with an infographic map that links such unlikely pairings as fox-hunting and flamingos. A reference and inspiration for everyone, Roy G. Biv will make you think about colour in a completely new way.

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

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.

The Culture of Yellow Or, The Visual Politics of Late Modernity

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

Sabine Doran

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.

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

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

36

BloomsburyDesign_UK.indd 36

11/02/2014 12:44


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 RA’s history, this is essential reading.” Giles Waterfield, RA Magazine “It is to the art community what The First Three Minutes is to the science world.” Finch’s Quarterly Review

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

“Charles’ academic research is sharp, enthralling and erudite ... This book will prove a perfect resource for anyone interested in the background of this most intriguing of Britain’s artistic institutions.” Nirvana Express Charles Saumarez Smith is former director of the National Portrait Gallery and the National Gallery. He is currently Secretary of the Royal Academy.

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

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

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.

37

BloomsburyDesign_UK.indd 37

11/02/2014 12:44


Digital Art and Visual Culture

Textbook

2nd edition

A History of Video Art Chris Meigh-Andrews

“The essential guide to the art form that more than any other defines seeing over the last half century.” Sean Cubitt, Goldsmiths, University of London, UK “A fantastic and unique resource. I highly recommend to anybody interested in the history, aesthetics, and social context of media art.” Lev Manovich, The Graduate Center, City University of New York, USA

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

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. 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

BloomsburyDesign_UK.indd 38

11/02/2014 12:44


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.

Only available on subscription – online only 2 issues per year: May, November e-ISSN: 1448-7136

Anne-Marie Willis is Professor of Design Theory at the German University in Cairo, Egypt. www.bloomsbury.com/dpp

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

Only available on subscription 4 issues per year: March, June, September, December ISSN: 1460-6925 e-ISSN: 1756-3062

Established in 1998, The Design Journal is an international refereed journal covering all aspects of design. It publishes thought-provoking work that has a direct impact on design knowledge and practice. It challenges assumptions and methods, while being open-minded about the evolving role of design. Rachel Cooper is Professor of Design Management at the University of Lancaster, UK. She is Chair of Lancaster Institute for the Contemporary Arts and also ImaginationLancaster. Paul Atkinson is Professor of Design and Design History at Sheffield Hallam University, UK. Louise Valentine is Senior Lecturer at the University of Dundee, UK. www.bloomsbury.com/designjournal

39

BloomsburyDesign_UK.indd 39

11/02/2014 12:44


Journals

The official 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 fine choice for academic libraries serving students and researchers in design or cultural studies.” Library Journal This is the age of design. Even as recognition of its social, economic and cultural force grows, however, the design field’s largely unseen ‘edges’ are increasingly becoming its driving forces.

Only available on subscription 3 issues per year: March, July, November ISSN: 1754-7075 e-ISSN: 1754-7083

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

Photography and Culture Edited by Kathy Kubicki, Thy Phu and Val Williams

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

Available to purchase as a subscription or as individual issues 3 issues per year: March, July, November ISSN: 1751-4517 e-ISSN: 1751-4525

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

40

BloomsburyDesign_UK.indd 40

11/02/2014 12:44


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 field of crafts.” Pat Kirkham, Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, New York, USA

Available to purchase as a subscription or as individual issues 3 issues per year: March, July, November ISSN: 1749-6772 e-ISSN: 1749-6780

The first peer-reviewed academic journal to provide an interdisciplinary and international forum in its subject area. Covering craft in all its historical and contemporary manifestations, it addresses all forms of making that self-consciously set themselves apart from mass production – whether in the making of designed objects, artworks, buildings, or other artefacts. Glenn Adamson is Director of the Museum of Arts and Design, New York, USA. Edward S.Cooke, Jr is Professor of American Decorative Arts at Yale University, USA. Tanya Harrod is an independent scholar. www.bloomsbury.com/journalofmoderncraft

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 significance of craft.

Only available on subscription 2 issues per year: May, November ISSN: 2051-1787 e-ISSN: 2051-1795

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 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

BloomsburyDesign_UK.indd 41

11/02/2014 12:44


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

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

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

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

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

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

20

R Reading Photographs Reed, Ron Roy G. Biv

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

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

T Taylor, Grant D. Teasley, Sarah Theory and Practice Thinking Visually for Illustrators, 2nd edition Train Your Gaze, 2nd edition Transforming Type Typography

M Mahon, Nik Manghani, Sunil Margolin, Victor Matthews, Janette Meigh-Andrews, Chris Mills, Les Mollerup, Per Moran, Anna Moriarty, Lauren

28 38 29 41 38 20 13 34 41

U Understanding Illustration User Experience Design

N New MunsellÂŽ Student Color Set, The, 3rd edition Norton, Lisa

17 33

O Oâ&#x20AC;&#x2122;Brien, Sorcha

34

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

V Valentine, Louise Visual Dictionary of Graphic Design, The

38 40 8 14 27 16 16 15 19 39 13

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

2 32

Z Zeegen, Lawrence

15

42

BloomsburyDesign_UK.indd 42

11/02/2014 12:44


Representatives & Agents UK, Europe, Rest of World Bloomsbury Publishing Plc 50 Bedford Square London, WC1B 3DP, UK T +44 (0)20 7631 5600 F +44 (0)20 7631 5800 E academic@bloomsbury.com Orders & Customer Services Macmillan Distribution Ltd (MDL) Brunel Road, Houndmills Basingstoke, RG21 6XS, UK T +44 (0)1256 302692 F +44 (0)1256 812521 / 812558 E orders@macmillan.co.uk (trade) E direct@macmillan.co.uk (direct)

UK

Academic Key Accounts Manager Phil Prestianni Bloomsbury Publishing Plc T +44 (0)7733 328663 E phil.prestianni@bloomsbury.com South West England, South Wales, Oxfordshire and Hampshire David Simm Bloomsbury Publishing Plc T +44 (0)7714 849550 E david.simm@bloomsbury.com City of London, Northern and Eastern Home Counties Robin Birch Bloomsbury Publishing Plc T +44 (0)7775 891729 E robin.birch@bloomsbury.com Central London and the Southern Home Counties David Foy Bloomsbury Publishing Plc T +44 (0)7824 435717 E david.foy@bloomsbury.com Midlands and Eastern Counties Max Bridgewater Bloomsbury Publishing Plc T +44 (0)7770 503641 E max.bridgewater@bloomsbury.com Northern England, North Wales and Scotland Terry Lee Bloomsbury Publishing Plc T +44 (0)7802 617672 E terry.lee@bloomsbury.com Eire and Northern Ireland Louise Dobbin Rep Force Ireland Dublin 4, Eire T +3531 364 9927 E info@repforce.ie INTERNATIONAL SALES Jacqueline Sells Head of International Sales Bloomsbury Publishing Plc T +44 (0)207 631 5869 E jacqueline.sells@bloomsbury.com John Edwards International Sales Executive Bloomsbury Publishing Plc T +44 (0)207 631 5924 E john.edwards@bloomsbury.com

BloomsburyDesign_UK.indd 43

EUROPE

Belgium, France, Germany, Italy, Luxembourg, Netherlands and Switzerland Rachel Webster Bloomsbury Publishing Plc T +44 (0)207 631 5918 E rachel.webster@bloomsbury.com Austria, Greece and Cyprus Tyers Book Sales Ltd Stisilaou 13 11 363 Ano Kypseli Athens Greece T +30 210 2133 436 E gellag@hol.gr Central and Eastern Europe Jacek Lewinson Nowogrodzka 18m.20 PL-00-511 Warszawa Poland T +48 226 283 956 E jacek@jaceklewinson.com Denmark, Finland, Iceland, Norway and Sweden Colin Flint Ltd 26 Harvey Goodwin Avenue Cambridge, CB4 3EU, UK T +44 (0)1223 565 052 E ben.greig@dial.pipex.com Spain, Portugal and Gibraltar Iberian Book Services Sector Islas, 12, 1B 28760 Tres Cantos Madrid Spain T +34 91 8034918 F +34 91 8035936 E cprout@iberianbookservices.com

MIDDLE EAST AND AFRICA

Emily Medcalf International Sales Manager â&#x20AC;&#x201C; Africa and Middle East (including Israel) Bloomsbury Publishing Plc T +44 (0)207 631 5819 E emily.medcalf@bloomsbury.com Joanna Vallance International Sales Executive - South Africa, Australasia & Canada Bloomsbury Publishing Plc T +44 (0)207 631 5919 E joanna.vallance@bloomsbury.com Middle East (excluding Israel), North Africa and Malta International Publishers Services P.O. Box 27533 Dubai United Arab Emirates T +971 4 238 4001 F +971 4 238 4005 E itpme@emirates.net.ae Southern Africa (Lesotho, Botswana, Namibia, Republic of South Africa, Swaziland) Book Promotions P O Box 6836 Roggebaai 8012 South Africa T +27 21 4698900 F +27 21-4698903 E enquiries@bookpro.co.za

Rest of Africa Tula Publishing Ltd Aristotle House Aristotle Lane Oxford, OX2 6TR, UK T +44 (0)1865 553606 E julian@tulapublishing.co.uk E tom@tulapublishing.co.uk

ASIA

Jennifer Cima International Sales Manager - Asia Bloomsbury Publishing Plc T +44 (0)207 631 5914 E jennifer.cima@bloomsbury.com India, Bangladesh, Nepal and Sri Lanka Bloomsbury Publishing India Pvt. Ltd. Ground Floor, Vishrut Building DDA Complex, Pocket C-6&7 Vasant Kunj, New Delhi 110 070 India T +91 11 40574957, +91 11 40574954 E academic-in@bloomsbury.com Pakistan M. Anwer Iqbal Book Bird Lower Ground 36B Abdalians Society, Nazaria - e - Pakistan Avenue, Lahore 54770, Pakistan T +92 42 35956161 M +92 313 8464747 E bookbird@brain.net.pk Japan Jennifer Cima Bloomsbury Publishing Plc T +44 (0)207 631 5914 E jennifer.cima@bloomsbury.com South Korea Information and Culture Korea 473-19 Seokyo-dong Mapo-ku Seoul 121-842 South Korea T +822 3141 4791 F +822 3141 7733 E cs.ick@ick.co.kr Asia-Pacific Region General Enquiries, Customer Service and Orders: Singapore Sales Office Taylor & Francis Asia Pacific 60 MacPherson Road Block 1 #06-09 Siemens Centre Singapore 348615 Tel: +65 65082888 Fax: +65 6742 9356 E-mail: sales@tandf.com.sg China Taylor & Francis Asia Pacific Room 1108B, Culture Square No. 59 Jia, Zhongguancun St. Haidian District Beijing 100872 P.R. China Tel : +86 (10) 82502670 Jeffrey Lim, Book Sales Director E-mail: jeffrey.lim@tandf.com.sg Cynthia Ji, Sales Manager E-mail: cynthia.ji@tandf.com.sg Shanghai Region Chris Ye, Account Manager Room 916, Jinjiang Xiangyang Building 993 Nanjing West Road Shanghai 200041 P.R. China Tel: +86 21 62316030 Email: chris.ye@tandf.com.sg

Guangdong Region Cherry Wang, Sales Executive Email: cherry.wang@tandf.com.sg Hong Kong Taylor & Francis Asia Pacific Suite 153, Somptueux Central 52-54 Wellington Street Central Hong Kong Tel: +852 3752 0625/3752 0626 Jeffrey Lim, Books Sales Director E-mail: jeffrey.lim@tandf.com.sg Andrew Kwan, Manager E-mail: andrew.kwan@tandf.com.sg Malaysia and Brunei David Yeong, General Manager Taylor & Francis Publishing Services Taylor & Francis Asia Pacific No. 23-2, Jalan PJS 8/18 Dataran Mentari 46150 Petaling Jaya Selangor Darul Ehsan Malaysia Tel: +60 (3) 5630 1361 Fax: +60 (3) 5630 1732 Mobile: +60 (0)16 331 9923 E-mail: david.yeong@tandf.com.sg Philippines, Vietnam and Indo-China Jeffrey Lim, Books Sales Director Singapore Sales Office E-mail: jeffrey.lim@tandf.com.sg Singapore and Indonesia Mohamed Feroz, Assistant Sales Manager Singapore Sales Office E-mail: mohamed.feroz@tandf.com.sg Taiwan Taylor & Francis Asia Pacific Room 629, 6F, No. 6, Sec. 4, Hsinyi Road Da-an District Taipei 10683 Taiwan (R.O.C.) Tel: +886 (2) 5551 1266 ext. 6291 Jeffrey Lim, Book Sales Director E-mail: jeffrey.lim@tandf.com.sg Jason Lin, Sales Manager E-mail: jason.lin@tandf.com.sg Thailand Taylor & Francis Asia Pacific Tel & Fax: +66 2 6391333 ext. 3612 Jeffrey Lim, Books Sales Director E-mail: jeffrey.lim@tandf.com.sg Nonglak Sawaithong, Account Manager E-mail: s.nonglak@tandf.com.sg

AUSTRALIA AND NEW ZEALAND Bloomsbury Publishing Pty Ltd Level 4, 387 George St Sydney 2000 NSW Australia T +61 2 8820 4900 E au@bloomsbury.com

For all other international queries please contact export@bloomsbury.com

JOURNALS

Turpin Distribution Services Ltd Stratton Business Park Pegasus Drive, Biggleswade Bedfordshire SG18 8TQ, UK T +44 (0)1767 604 951 E custserv@turpin-distribution.com

RIGHTS

Elizabeth White Academic Rights Manager T +44 (0)207 631 5879 E elizabeth.white@bloomsbury.com

43

11/02/2014 12:44


Representatives & Agents USA, Canada, Latin America Marketing, Sales, and Editorial Offices Bloomsbury USA 1385 Broadway, 5th Floor New York, NY 10018 T +1 212-419-5300 E askacademic@bloomsbury.com Orders and Customer Service Bloomsbury USA MPS/BUSA Orders 16365 James Madison Highway Gordonsville, VA 22942 T +1 888-330-8477 F +1 800-672-2054 E orders@mpsvirginia.com E customerservice@mpsvirginia.com USA Northern California, Pacific Northwest, and Mountains & Plains Redsides Publishing Services George Carroll 4616 25th Ave NE, PMB 597 Seattle, WA 98105 T +1 425-922-1045 F +1 425-671-0362 E geocarroll@earthlink.net Midwest Abraham Associates Roy Schonfeld 2084 Mirimar Blvd S. Euclid, OH 44121 T +1 216-291-3538 F +1 216-691-0548 E roy@abrahamassociatesinc.com Stu Abraham 5120-A Cedar Lake Rd St. Louis Park, MN 55416 T +1 952-927-7920 F +1 952-927-8089 E stu@abrahamassociatesinc.com John Mesjak 509 Edward Street Sycamore, IL 60178 T +1 815-899-0079 F +1 815-261-4114 E john@abrahamassociatesinc.com Nevada, Arizona, Southern California, and New Mexico Faherty & Associates Richard McNeace 1402 Highgate Avenue Los Angeles, CA 90042 T +1 323-273-7763 F +1 323-478-0182 E richard@fahertybooks.com Tom Faherty 6665 SW Hampton St., Suite 100 Portland, OR 97223 T +1 800-824-2888 x.11 F +1 503-598-9850 E tomjr@fahertybooks.com Trevin Matlock 7765 Calle Casino Rancho Cucamonga, CA 91730 T +1 909 263-2346 F +1 613 822-5457 E trevin@fahertybooks.com

Alabama, Florida, Georgia, Mississippi, North/South Carolina, Tennessee, Virginia, West Virginia Southeastern Book Travelers, LLC Chip Mercer 1920 Valleydale Road, Suite 220 Birmingham, AL 35244 T +1 205-682-8570 F +1 770-804-2013 E chipmercer@bellsouth.net Jim Barkley 1153 Bordeau Court Dunwoody, GA 30338 T +1 770-827-0488 F +1 770 234-5715 E jbarkley@mindspring.com Stewart Koontz 6012 Shadow Moss Circle Raleigh, NC 27603 T +1 256 483-7969 F +1 770 804-2013 E cskoontz@hotmail.com

CANADA For former Continuum and T&T Clark titles* Codasat Canada Ltd 1153 - 56 Street PO Box 19150 Delta, BC V4L 2P8 Canada T +1 604-228-9952 F +1 604-222-2965 E info@codasat.com

Colorado, Connecticut, Delaware, Hawaii, Illinois, Indiana, Iowa, Kentucky, Maryland, Massachusetts, Nebraska, Nevada, New Jersey, Ohio, Oregon, Pennsylvania, Rhode Island, Utah, Washington, D.C., West Virginia, Wyoming, Westwood Online Stacey George Account Manager T +1 212-419-5299 E stacey.george@bloomsbury.com

For all other titles* Penguin Group (Canada) 90 Eglinton Avenue East, Suite 700 Toronto, ON M4P 2Y3 Canada T +1 416-925-2249 F +1 416-925-0068 E info@penguin.ca

JOURNALS

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

Rich Thompson 576 Bentmoor Dr. Helena, AL 35080 T +1 205-910-2687 F +1 770-804-2013 E richthompson@charter.net

MEXICO, CENTRAL AND SOUTH AMERICA, AND THE CARIBBEAN

Texas, Oklahoma, Louisiana, Arkansas Bill McClung & Associates 20475 State Hwy 46W, Suite 180 Spring Branch, TX 78070 T +1 214-505-1501 F +1 888-311-8932 E bmcclung@ix.netcom.com

LIBRARY SALES (THE AMERICAS)

Theresa McClung 20475 State Hwy 46W, Suite 180 Spring Branch, TX 78070 T +1 214-676-3161 F +1 888-311-8932 E tmcclung@ix.netcom.com Mid Atlantic and New England Parson Weemsâ&#x20AC;&#x2122; Publisher Services Christopher R. Kerr 565 Broadway, #5A Hastings on Hudson, NY 10706-1712 T +1 914-478-5751 F +1 914-478-5751 E chriskerr@parsonweems.com Eileen Bertelli 48 Wawayanda Road Warwick, NY 10990-3339 T +1 845-987-7233 M +1 845-492-7309 F +1 866-761-7112 E eileenbertelli@parsonweems.com Causten Stehle, Manager 55 McKinley Ave., #D214 White Plains, NY 10606 T +1 914-948-4259 F +1 866-861-0337 E office@parsonweems.com Linda Cannon 220 E. 31st St., Apt.3D Baltimore, MD 21218-3951 T +1 724-513-9426 F +1 866-583-2066 E lindacannon@parsonweems.com

Shanta Inshiqaq Director, Field and International Sales T +1 212-419-5343 E shanta.inshiqaq@bloomsbury.com

Turpin Distribution Services Ltd Stratton Business Park Pegasus Drive Biggleswade Bedfordshire SG18 8TQ UK T +44 (0)1767 604 951 E custserv@turpin-distribution.com

RIGHTS

Elizabeth White Academic Rights Manager T +44 (0)207 631 5905 E elizabeth.white@bloomsbury.com

Sonia Dubin Senior Manager, Library Sales and Marketing T +1 212-419-5321 E sonia.dubin@bloomsbury.com

HUMANITIES AND SOCIAL SCIENCES ADOPTION SALES

Mathew Nichols Inside Sales Representative, Humanities Specialist T +1 212-419-5375 E mathew.nichols@bloomsbury.com

VISUAL ARTS ADOPTION SALES

Alabama, Florida, Georgia, Louisiana, Mississippi, Puerto Rico, Texas, IADT Online, Ai Online Melanie Sankel Director of Sales, Adoptions T +1 212-419-5296 E melanie.sankel@bloomsbury.com Arizona, Arkansas, California, Kansas, Missouri, New Mexico, North Carolina, Oklahoma, South Carolina, Tennessee, Virginia Allison Jones Senior Account Manager T +1 212-419-5346 E allison.jones@bloomsbury.com Canada, Alaska, Idaho, Maine, Michigan, Minnesota, Montana, New Hampshire, New York, North Dakota, South Dakota, Vermont, Washington, Wisconsin Colin Kinnaly Account Manager T +1 212-419-5354 E colin.kinnaly@bloomsbury.com

44

BloomsburyDesign_UK.indd 44

11/02/2014 12:44


BloomsburyDesign_UK.indd 45

11/02/2014 12:44


web: www.bloomsbury.com / www.fairchildbooks.com facebook: Bloomsbury Design / Fairchild Books twitter: @BloomsburyDsign / @FairchildBooks pinterest: bbvisualarts LinkedIn: Bloomsbury Visual Arts blog: blog.bloomsburyvisualarts.com

ISBN 9781472580382

9 781472 580382

BloomsburyDesign_UK.indd 46

11/02/2014 12:44


Design & Graphic Arts 2014