Graphic Design History, 2nd edition

Johanna Drucker
Emily McVarish

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A Fresh Look at the History of Graphic Design

Graphic Design History, 2^nd edition is a critical approach to the history of graphic design. Organized chronologically, the book demonstrates the connection to the current practices of graphic arts, visual expression, and design with its engaging narrative and special features.

With new images, chapter revisions, and features like Tools of the Trade, the authors stay true to connecting what designers do every day to a history of innovative graphic forms and effects. Instructor PowerPoints featuring nearly all of the images from the text make class preparation easier than ever with this new edition.

A better teaching and learning experience

This program will provide a better teaching and learning experience— for you and your students. Here’s how:

Improve Critical Thinking – Chapters are framed by critical issues and historical themes so that students can fully grasp an understanding of the history of graphic design.
Engage Students – Timelines and images with detailed captions easily highlight relevant information for students.
Support Instructors – high resolution PowerPoint are available for this text.

A CLOSER LOOK AT THE WORLD OF GRAPHIC DESIGN

Tools of the Trade lists contain items that might be used by a graphic artist or designer for original production in the period. (ex. p. 31)
Timelines locate graphic events in relation to other cultural and political markers. In every chapter, these lists highlight items that have specific relevance for graphic design. (ex. p. 104)

IMPROVE CRITICAL THINKING

The chapter framework allows students to tie in the critical issues and historical themes together. The chapters and the sections within them are meant to be complementary, offering different lenses onto the multifaceted development of graphic design. (ex. p. 129)
Two new chapters have been created:
- Chapter 1 From History to Early Writing condenses material formerly occupying two chapters and highlights the emergence of elemental graphic forms and concepts.
- Chapter 16 Graphic Design and Globalization asks how graphic design participates in creating the concept of a global world, and how the interconnected flows of information, money, influence, and communication alter the conditions in which graphic designers work.

ENGAGE STUDENTS

Timelines locate graphic events in relation to other cultural and political markers. In every chapter, these lists highlight items that have specific relevance for graphic design. (ex. p. 3)
20 new images have been added including:
- Contemporary Iranian Design
- Chinese Design
- South African Design
Enlarged Captions carry specific analyses and facts that demonstrate concepts presented more broadly in a chapter’s body text.

SUPPORT INSTRUCTORS

PowerPoints: Instructors who adopt Graphic Design History get access to an expanded set of PowerPoints containing nearly every image in the book at high resolution for optimal projection and easy download. Contact your Pearson representative or visit pearsonhighered.com/art for details.

Overview of Changes

IMPROVE CRITICAL THINKING

Two new chapters have been created:
- Chapter 1 From History to Early Writing condenses material formerly occupying two chapters and highlights the emergence of elemental graphic forms and concepts.
- Chapter 16 Graphic Design and Globalization asks how graphic design participates in creating the concept of a global world, and how the interconnected flows of information, money, influence, and communication alter the conditions in which graphic designers work.

ENGAGE STUDENTS

20 new images have been added to enhance global coverage, including, for example:
- Contemporary Iranian Design
- Chinese Design
- South African Design
Enlarged Captions carry specific analyses and facts that demonstrate concepts presented more broadly in a chapter’s body text.

SUPPORT INSTRUCTORS

PowerPoints: Instructors who adopt Graphic Design History get access to an expanded set of PowerPoints containing nearly every image in the book at high resolution for optimal projection and easy download. Contact your Pearson representative or visit pearsonhighered.com/art for details.

In this Section:

Brief Table of Contents
Full Table of Contents

1. BRIEF TABLE OF CONTENTS

Chapter 1 From Prehistory to Early Writing 35,000—500 BCE
Chapter 2 Classical Literacy 700 BCE—400 CE
Chapter 3 Medieval Letterforms and Book Formats 400—1450
Chapter 4 Renaissance Design: Standardization and Modularization in Print 1450—1660
Chapter 5 Modern Typography and the Creation of the Public Sphere 1660—1800
Chapter 6 The Graphic Effects of Industrial Production 1800—1850
Chapter 7 Mass Mediation 1850—1900s
Chapter 8 Formations of the Modern Movement 1880s—1910s
Chapter 9 Innovation and Persuasion 1910—1930
Chapter 10 The Culture of Consumption 1920s—1930s
Chapter 11 Public Interest Campaigns and Information Design 1930s—1950s
Chapter 12 Corporate Identities and International Style 1950s—1970s
Chapter 13 Pop and Protest 1960s—1970s
Chapter 14 Postmodernism in Design 1970s—1980s and Beyond
Chapter 15 Digital Design 1970s—2000s
Chapter 16 Graphic Design and Globalization

2. FULL TABLE OF CONTENTS

Chapter 1: From Prehistory to Early Writing 35,000—500 BCE
- Mark-making
- Prehistory
- Proto-writing
- Early writing
- The spread of writing as idea and script
- The alphabet
- Conclusion
- Timeline
- Tools of the trade
Chapter 2: Classical Literacy 700 BCE—400 CE
- Variations of literacy and the alphabet
- The function of graphic codes
- Models of writing: gestural and constructed
- Writing at the end of the Classical age
- Conclusion
- Timeline
- Tools of the trade
Chapter 3: Medieval Letterforms and Book Formats 400—1450
- Medieval culture and graphic communication
- Graphic media and contexts
- The codex book
- Letterforms, manuscript hands, and pattern books
- Graphic forms of knowledge
- Publishing communities and graphic arts
- Conclusion
- Timeline
- Tools of the trade
Chapter 4: Renaissance Design: Standardization and Modularization in Print 1450—1660
- Early print design
- Graphic communication in Renaissance culture
- Print technology and type design
- Graphic forms of knowledge
- Conclusion
- Timeline
- Tools of the trade
Chapter 5: Modern Typography and the Creation of the Public Sphere 1660—1800
- Printed matter and the public sphere
- Newsbooks, broadsheets, and newspapers
- Politics and the press
- Graphic arts and design
- Modern type design
- On the edge of industrialization
- Conclusion
- Timeline
- Tools of the trade
Chapter 6: The Graphic Effects of Industrial Production 1800—1850
- Industrialization and visual culture
- Illustrated papers
- Book design for mass production
- Printing images
- Advertising design and typography
- Fine art and graphic art
- Critical issues
- Conclusion
- Timeline
- Tools of the trade
Chapter 7: Mass Mediation 1850—1900s
- Printed mass media
- Changes in print technology
- Changing patterns in the use of graphic media
- Media networks
- Graphic design and advertising
- Posters and public space
- Conclusion
- Timeline
- Tools of the trade
Chapter 8: Formations of the Modern Movement 1880s—1910s
- Responses to industrialism
- Arts and Crafts publications
- Arts and Crafts dissemination
- Art Nouveau
- Jugendstil
- Viennese design
- Decadence and Aestheticism
- The private press movement and modern design
- Integration of design and industry
- Conclusion
- Timeline
- Tools of the trade
Chapter 9: Innovation and Persuasion 1910—1930
- Visual culture and avant-garde design
- The graphic impact of Futurism and Dada
- From experiment to principles
- Propaganda and mass communication studies
- Graphic persuasion and its effects
- Institutionalizing graphic design
- Conclusion
- Timeline
- Tools of the trade
Chapter 10: The Culture of Consumption 1920s—1930s
- Designing the modern lifestyle
- Modern style in graphic design
- Consumer culture
- The profession
- Conclusion
- Timeline
- Tools of the trade
Chapter 11: Public Interest Campaigns and Information Design 1930s—1950s
- Public interest and education
- Photojournalism and documentary
- Wartime propaganda
- Wartime information
- Commercial and technical uses of information design
- Information analysis and design process
- Conclusion
- Timeline
- Tools of the trade
Chapter 12: Corporate Identities and International Style 1950s—1970s
- Image and identity systems
- International style
- Style, systems, and graphic design concepts
- Technology
- The profession
- Conclusion
- Timeline
- Tools of the trade
Chapter 13: Pop and Protest 1960s—1970s
- Pop culture and style
- Self-conscious graphic design
- Slick surfaces and high production values
- Counterculture and the alternative press
- Revolutionary culture and protest
- Changes in the profession
- Critical vocabulary
- Conclusion
- Timeline
- Tools of the trade
Chapter 14: Postmodernism in Design 1970s—1980s and Beyond
- Postmodern styles
- Postmodern consumption and conservatism
- Critical theory and postmodern sensibility
- Postmodernism and activism
- Changes in the profession
- Conclusion
- Timeline
- Tools of the trade
Chapter 15: Digital Design 1970s—2000s
- Digital technology: from punch cards and plotters to desktop computing
- Media transitions: type design and publications
- Fluidity and functionality
- The myth of immateriality and challenges of digital design
- Conclusion
- Timeline
- Tools of the trade
Chapter 16: Graphic Design and Globalization
- Globalization and design
- Global encounters in design
- Global networks and technology
- Conclusion
- Timeline
- Tools of the trade

Johanna Drucker is the Breslauer Professor of Bibliographical Studies at the University of California, Los Angeles. She has been on the faculty of Yale University, SUNY Purchase, Columbia University, and the University of Virginia, as well as holding a Mellon Faculty Fellowship at Harvard, a Fulbright Fellowship, and a Getty Fellowship. Her previous publications include The Alphabetic Labyrinth (1995), The Century of Artists’ Books (1995), The Visible Word (1994), and Sweet Dreams (2005). She is also known for her work as a book artist and visual poet.

Emily McVarish is Associate Professor of Graphic Design at California College of the Arts, where she teaches experimental typography and writing, design history and theory, and topical studios. A writer, designer, and book artist, she has maintained a hybrid practice in San Francisco since 1990. Her work has been exhibited internationally, published by Granary Books, and collected by Harvard University and the British Library, among other major libraries and museums. Her writing has been featured in Visible Language and Design and Culture.

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Graphic Design History, 2nd edition

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