Skip to Content
The graphic design reader

The graphic design reader

Triggs, Teal, editor; Atzmon, Leslie, 1954- editor

This volume brings together key readings in this exciting and dynamic field to provide an essential resource for students, reseachers and pracitioners. Taking as its starting point an exploration of the ways in which theory and practice, canons and anti-canons have operated within the discipline, it brings together writings by key international design and cultural critics, including Leslie Atzmon, Dick Hebdige, Steven Heller, Victor Margolin, Rick Poynor and Adrian Shaughnessy

Paperback, Book. English.
Published New York: Bloomsbury Visual Arts, 2019
Rate this

Available: Newton Park

  • Newton Park – Two available in Art Collection 741.6/TRI

    Barcode Shelfmark Loan type Status
    00362056 Art Collection 741.6/TRI Standard Available
    00362058 Art Collection 741.6/TRI Standard Available
    00362057 Art Collection 741.6/TRI Standard Due back 6th October

Details

Statement of responsibility: edited by Teal Triggs and Leslie Atzmon
ISBN: 1472526473, 9781472526472
Intended audience: Specialized.
Note: Includes bibliographical references and index.
Physical Description: xliii, 954 pages : illustrations (black and white) ; 25 cm
Subject: Graphic arts.; Art and Design.

Contents

  1. GENERAL INTRODUCTION
  2. 1. Defining Graphic Design and an Emerging Canon, Teal Triggs, Royal College of Art, UK and Leslie Atzmon, Eastern Michigan University, USA
  3. 2. A Reader: Rationale and Approach, Teal Triggs, Royal College of Art, UK and Leslie Atzmon, Eastern Michigan University, USA
  4. SECTION I - HISTORY OF GRAPHIC DESIGN and GRAPHIC DESIGN HISTORY
  5. Introduction
  6. I.1 Industry and the Birth of Graphic Design (the 19th century to 1980)
  7. 1. New Kind of Printing Calls for New Design, W.A. Dwiggins, designer, USA
  8. 2. Aims in Founding the Kelmscott Press, William Morris, designer, UK
  9. 3. The Studio: Photomechanical Reproduction and the Changing Status of Design, Gerry Beegan, Rutgers University, USA
  10. 4. Elementary School, J. Abbott Miller, Pentagram, USA
  11. 5. Narrative Problems of Graphic Design History, Victor Margolin, Emeritus, University of Illinois, USA
  12. 6. Review: Graphic Design History by Steven Heller; Georgette Balance, Michael Golec, School of the Art Institute, USA
  13. I.2 Graphic Design Canon(s) (the 1980s to present)
  14. 7. Cult of the Ugly, Steven Heller, School of Visual Arts, USA
  15. 8. An Interview with Ed Fella, Michael Dooley, Michael Dooley Design and Art Center College of Design, USA
  16. 9. An unbearable lightness? Steven Rigley, Glasgow School of Art, UK
  17. 10. Is There a Canon of Graphic Design History? Martha Scotford, Emerita, North Carolina State University, USA
  18. 11. Good History Bad History, Tibor Kalman (deceased), J, Abbott Miller, Pentagram, USA, and Karrie Jacobs, freelance design writer, editor of Metropolis magazine and founding editor of Dwell, USA
  19. 12. Out of the Studio: Graphic Design History and Visual Studies, Rick Poynor, freelance design writer, UK
  20. I.3 Isms and Graphic Design (e.g. Modernism, Surrealism, Postmodernism, Deconstruction)
  21. 12. Gebrauchsgraphik as an Early Graphic Design Journal, 1924-1938, Jeremy Aynsley, University of Brighton, UK
  22. 13. The Grid: History, Use, and Meaning, Jack Williamson, freelance design historian, USA
  23. 14. Swiss Style, Richard Hollis, freelance design historian, UK
  24. 15. Zombie Modernism; The Global Style: Modernist Typography After Postmodernism, Jeffrey Keedy, California Institute of the Arts, USA
  25. 16.The Bottom Line on Planet One: Squaring up to The Face, Dick Hebdige, University of California, USA
  26. 17. A Brave New World: Understanding Deconstruction, Chuck Byrne, San Jose State University, Chuck Byrne Design, and Martha Witte, freelance writer, Owner/Principal at Martha Witte Picture Research Services, USA
  27. Annotated Guide to Further Reading
  28. SECTION II: EDUCATION AND THE PROFESSION
  29. Introduction
  30. II.1 Graphic Design Education
  31. 1. The Working Party on Typographic Teaching: Interim Report, Michael Twyman, Emeritus, University of Reading, UK
  32. 2. My Way to Typography, Wolfgang Weingart, Emeritus, Basel School of Design, Switzerland
  33. 3. Education and Professionalism or What's wrong with graphic design education? Katherine McCoy, McCoy & McCoy, freelance design writer, USA
  34. 4. VISUAL ESSAY: Future Issue, Michael Worthington, California Institute of the Arts, USA, and Yasmin Khan, Otis College of Art and Design, USA
  35. 5. Scaffolding a Human-centred Practice in Graphic Design, Yoko Akama, RMIT University, Australia
  36. 6. What is Worth Doing in Design Research? Meredith Davis, North Carolina State University, USA
  37. II.2 Graphic Design as a Profession
  38. 7. Design Literacy, Discourse and Communities of Practice, Sharon Helmer Poggenpohl, freelance design writer, pervious founder/editor, Visible Language, USA
  39. 8. Locating Graphic Design History in Canada, Brian Donnelly, Sheridan College, Canada
  40. 9. The importance of the Dutch football club Ajax and total football, (totaalvoetbal) to the sport of graphic design, Elliott Earls, Cranbrook Academy of Art, USA
  41. 10. French Graphic Design: A Contradiction in Terms? Veronique Vienne, School of Visual Arts, New York and freelance design writer, USA
  42. 11. Graphic Design: Fine Art of Social Science? Jorge Frascara, Emeritus, University of Alberta, Canada
  43. Annotated Guide to Further Reading
  44. SECTION III: TYPE AND TYPOGRAPHY
  45. Introduction
  46. III.1 History of Type and Typography
  47. 1. A Brief History of Type Historians, Caroline Archer, Birmingham Institute of Art and Design, UK
  48. 2. The Crystal Goblet An address to the British Typographers Guild at the St Bride Institute, London 1932, Beatrice Warde, design writer, UK
  49. 3. Experimental Typography. Whatever that means, Peter Bil'ak, Typotheque, Royal Academy of Art, The Netherlands
  50. 4. Towards the Cause of Grunge, Tobias Frere-Jones, freelance type designer, Yale School of Art, USA
  51. 5. About the Making of The Telephone Book, Michael Jon Jensen, Independent Design Consultant, Canada
  52. 6. Helvetica, The Film and the Face in Context, Dietmar R. Winkler, Emeritus, University of Massachusetts, USA
  53. 7. Fuse 1-20: Wreckers of Typographic Civilisation, Adrian Shaughnessy, Unit Editions, freelance design writer, Royal College of Art, UK
  54. III.2 Dimensional, Physical, Digital and Kinetic Typography
  55. 8. Dimensional Typography: Words in Space, J. Abbott Miller, Pentagram, USA
  56. 9. Dimensional Typography: The Unbearable Flatness of Being, Leslie Atzmon, Eastern Michigan University, USA
  57. 10. The New Seduction: Moveable Type, Michael Worthington, California Institute of the Arts, USA
  58. 11. Electronic Typography: The New Visual Language, Jessica Helfand, Design Observer, Winterhouse Editions, USA
  59. 12. Working the art process by typing in computer code, Casey Reas, University of California, USA and Ben Fry, Fathom, Boston, USA in discussion with Javier Candeira, Monash University, Carbon Arts, Australia
  60. Annotated Guide to Further Reading
  61. SECTION IV: GRAPHIC DESIGN CRITICAL WRITING AND PRACTICE
  62. Introduction
  63. IV.1 Graphic Design Theory and Design Culture
  64. 1. Deconstruction and Graphic Design: History Meets Theory, Ellen Lupton, Maryland Institute College of Art, USA and J. Abbott Miller, Pentagram, USA
  65. 2. Visual Rhetoric and Semiotics, Edward Triggs, design writer, USA
  66. 3. Design Theory (Rhetoric) [final title TC], Arne Scheuermann, Hochschule der Künste Bern, Switzerland
  67. 4. Theories to Understand Graphic Design in Use: The Example of Posters, Jan-Henning Raff, Hochschule für Medien, Kommunikation und Wirtschaft, Berlin, Germany
  68. 5. Shaping Belief: The Role of Audience in Visual Communication, Ann C. Tyler, School of the Art Institute, Chicago, USA
  69. 6. Semiotics and Designing, Robin Kinross, Hyphen Press, UK
  70. IV.2 Writing Graphic Design
  71. 7. What Is This Thing Called Graphic Design Criticism I (1995) and II (2011)? Rick Poynor, freelance design writer, and Michael Rock, Columbia University, Yale School of Art, USA
  72. 8. Critical Graphic Design: Critical of What? Francisco Laranjo, UK
  73. 9. Acrobat Reader, Anna Gerber, Visual Editions, UK and Teal Triggs, Royal College of Art, UK
  74. 10. The March of Grimes, Michele Champagne, That New Design Smell, Canada
  75. IV.3 Practice and Graphic Design Criticism
  76. 12. Criticism and the Politics of Absence, Anne Bush, University of Hawaii, USA
  77. 13. Quietude, Kenneth FitzGerald, Old Dominion University, USA
  78. 14. Inquiry as a Verb, Margo Halverson, Maine College of Art, USA
  79. 15. Graphic Design on the Radio, Debbie Millman, Sterling Brands, USA
  80. 16. Is Graphic Design, Not Simply Posters, Museum Worthy? Paola Antonelli, MoMA, freelance design writer, USA
  81. 17. Statement of Practice: Discourse This! Designers and Alternative Critical Writing, Denise Gonzales Crisp, North Carolina State University, USA
  82. Annotated Guide to Further Reading
  83. SECTION V: POLITICAL & SOCIAL CHANGE
  84. Introduction
  85. V.1 Feminism & Radical Graphic Design
  86. 1. Some Aspects of Design from the Perspective of a Woman Designer, Sheila de Bretteville, Yale University, USA
  87. 2. Non-existent Design: Women and the Creation of Type, Sybille Hagmann, University of Houston, USA
  88. 3. Pussy Galore and the Buddah of the Future: Women, Graphics, etc. Catherine de Smet, École des beaux arts de Rennes, France
  89. 4. VISUAL ESSAYS: First Things First Manifesto (1964) and First Things First Manifesto (2000), Ken Garland, Ken Garland and Associates, UK
  90. 5. VISUAL ESSAY: A Manifesto for 2015, Jonathan Barnbrook, Barnbrook Design, UK
  91. 6 Design and Reflexivity, Jan van Toorn, Emeritus, Jan van Eyck Akademie, Rhode Island School of Design, USA
  92. 7. Scissors and Glue: Punk Fanzines and the Creation of a DIY Aesthetic, Teal Triggs, Royal College of Art, UK
  93. 8. He Might Be Giant: Shepard Fairey, Michael Dooley, Michael Dooley Design and Art Center College of Design, USA
  94. V.2 Identity and World Graphic Design
  95. 9. From the Outside In: A Place for Indigenous Graphic Traditions in Contemporary South African Graphic Design, Piers Carey, Durban University of Technology, South Africa
  96. 10. Searching for a black aesthetic in American graphic design, Sylvia Harris, Sylvia Harris LLC, USA
  97. 11. Under Construction: Graphic Design in India, Mohor Ray, Dekho, Codesign, India
  98. 12. Visualizing Multi-Racialism in Singapore: Graphic Design as a Tool for Ideology and Policy in Nation Building, Leong K. Chan, University of new South Wales, Sydney, Australia
  99. 13. VISUAL ESSAY: Iced Up" and 'Platinum Plus': The Development of Hip-Hop Typographic Ornaments, Ryan Molloy, Eastern Michigan University, USA
  100. 14. South African Health Campaigns Dominate the Political Landscape, Sean O'Toole, Art South Africa, South Africa
  101. 15. Detachment and Unification: A Chinese Graphic Design History in Greater China Since 1979, Wendy Siuyi Wong, Swinburne University of Technology, Australia
  102. Annotated Guide to Further Reading
  103. SECTION VI: CHANGING VISUAL LANDSCAPES
  104. Sectional Introduction
  105. VI.1 Branding and the Image Makers
  106. 1. My Country is Not a Brand, William Drentell, editorial director of Design Observer, USA
  107. 2. Logos, Flags, and Escutcheons, Paul Rand, graphic designer, USA
  108. 3. A Certain Commitment: Art and Design at the Royal PTT, Paul H. Hefting, Royal PTT, The Netherlands
  109. 4. On Logophobia, Elizabeth Glickfeld, freelance design writer, London, UK
  110. 5. It is a Very Complicated Job to Produce Something Simple, William Golden, graphic designer, USA
  111. VI.2 Information Visualisation
  112. 6. World Geo-Graphic Atlas, Philip Meggs, design scholar, USA
  113. 7. VISUAL ESSAY: Design Quarterly: Does it make sense? April Greiman, Made in Space, LA, USA
  114. and Making Sense of Making Sense, Louise Sandhaus, California Institute of the Arts, USA
  115. 8. Tell Them Anything but the Truth: They Will Find Their Own, Michele Graffeti, Design Density Research Lab, Gaia Scagnetti, Massachusetts Institute of Technology, Donato Ricci, Politecnico di Milano, Universidade de Aveiro, Luca Masud, Design Density Research Lab, Mario Porpora, Design Density Research Lab, Italy
  116. 9. The London Underground Diagram, John Walker, artist/freelance writer, retired Middlesex University, USA
  117. 10. Bubbles, Lines, and String: How Information Shapes Society, Peter Hall, Griffith University Queensland College of Art, Australia
  118. 11. Why Abraham Lincoln Loved Infographics, Gareth Cook, freelance journalist, USA
  119. Annotated Guide to Further Reading
  120. SECTION VII: GRAPHIC DESIGN FUTURES
  121. Sectional Introduction
  122. VII.1 The Future of Print Media/the Book
  123. 1. The Cult Future of Books, Johanna Drucker, University of California, Los Angeles, USA
  124. 2. The Signifier of Incompleteness: Editorial illustration in the New Media Age, Nanette Hoogslag, freelance illustrator, PhD candidate at Royal College of Art, UK
  125. 3. Rethinking the Book: Navigation and Wayfinding, David Small, Small Design Firm, USA
  126. 4. Writing Design - Towards a Culture of Code, Stephanie Vilayphiou, École de Recherche Graphique, Brussels, Belgium, and Alexandre Leray, La Cambre, Brussels, Belgium
  127. VII.2 Society and the Future of Graphic Design Practice
  128. 5. Social Design, Joanna Choukeir, UsCreates, PhD candidate London College of Communication, UK
  129. 6. Emil Ruder: A Future for Design Principles in Screen Typography, Hilary Kenna, Dun Laoghaire Institute of Art, Design, and Technology, Ireland
  130. 7. Title TC, Tom Uglow, Google, Australia
  131. 8. Where are we now: 'STEM to STEAM' in Design Education, Rosy Penston, freelance designer, UK
  132. Annotated Guide to Further Reading
  133. Epilogue: The Future of Graphic Design Practice, Teal Triggs, Royal College of Art, UK and Leslie Atzmon, Eastern Michigan University, USA
  134. Bibliography
  135. Index: Name
  136. Index: Subject

Author note

Teal Triggs is Professor of Graphic Design and Associate Dean, School of Communication, Royal College of Art, UK.

Leslie Atzmon is Professor of Graphic Design and Design History at Eastern Michigan University, US.