Meggs' History of Graphic Design

Autorentext

Sandra Maxa (Baltimore, MD) is Director of the Graphic Design Master of Arts program at the Maryland Institute College of Art (MICA) where she teaches design theory, process and typography. Her research investigates the connection between mapping, narrative and culture. She has also taught at Pratt Institute, Parsons The New School for Design, and Rutgers University - Newark. Mark Sanders (Baltimore, MD), has taught typography, systems, and interaction design with research focused on reinventing typographic and digital frameworks to address the expanding roles and mediums of design. He has taught at Maryland Institute College of Art (MICA), Pratt Institute, Parsons The New School for Design, and Rutgers University - Newark. As partners at the multi-disciplinary studio Q Collective, Sandra and Mark produce work that reflects a deep interest in identity, interactivity, history and visual culture. Sandra and Mark are also co-authors of the 6th and 7th editions of Typographic Design: Form and Communication.

Klappentext

The bestselling graphic design reference, restructured by themes to represent motivations for visual communication over time

Graphic designers must have a thorough understanding of the field's rich history in order to inspire and inform their work. Meggs' History of Graphic Design is the industry's original reference, serving as an essential resource for a generation of professionals, scholars, and students. With over 1,400 high-quality images throughout, this visually stunning text guides you through artistic innovators, breakthrough tools and technologies, and significant artifacts that have pushed the boundaries of graphic design throughout its history. The initial publication of this book was heralded as a landmark, and author Philip B. Meggs is credited with significantly shaping the academic field of graphic design.

This new edition foregrounds cultural and social context and elevates diverse voices that are pivotal contributors to the history of graphic design. This seventh edition also covers:

• Artifacts, methods, designers, and events from pre-history to the twenty-first century
• Technological advancements in media and design, from the earliest technologies to recent developments
• A timeline for studying graphic history from multiple viewpoints and culturally diverse approaches
• Updated ancillary materials, including an instructor's manual with discussion questions and a guide for transitioning from the previous edition
  You can't master a field without knowing its history. Meggs' History of Graphic Design presents a diverse, visually spectacular history of graphic design for students and professionals. The updates to this edition solidify its continuing legacy as a must-have in any contemporary graphic design library.

Inhalt

Preface to the Seventh Edition x

Preface to the First Edition xii

Acknowledgments xiv

Chapter 1: Timeline 2

Pre-History and the Origins of Writing 75,000 bce-500 bce 2

Writing, Paper, and Printing 500 bce- 1450 3

Renaissance Design and Modern Typography 1450-1800 5

The Industrial Revolution 1800-1899 7

Graphic Design in the Modern Era 1900-1950 10

The Rise of Design Culture and Media | 1950-2000 14

Digital Design Comes of Age 2000-Present 19

Chapter 2: Overview of Graphic Design History 22

Chapter 3: Writing 34

Prehistoric visual communications 36

Early writing in Mesopotamia 36

Egyptian hieroglyphs 39

Cretan pictographs 43

The North Semitic (Phoenician) alphabet 45

The Aramaic alphabet and its descendants 45

The Greek alphabet 50

The Latin alphabet 50

Early writing in Mesoamerica 54

Chinese scripts 55

Chinese script styles 58

The Korean alphabet 60

African writing systems 64

Cherokee syllabary 65

Chapter 4: Exalting 68

The Book of the Dead in Egypt 70

Palm leaf manuscripts in South and Southeast Asia 72

Illuminated manuscripts in Europe 73

Judaic manuscripts 88

Islamic manuscripts 88

Ethiopian manuscripts 89

Chapter 5: Inventing 94

Origin and early evolution of printing in China 96

Movable type is invented 98

Movable type comes to Europe 99

Innovating the printing press 103

Mechanization of typesetting 104

Printing images 105

Lithography simplifies and expands printing 108

Printing in color 108

Victorian typeface designs 109

Mavericks of composition and form 112

Dada and Surrealism-making new truths 112

Reimagining photography 114

Russian avant-garde-inventing by combination 114

Experimenting as practice 115

A universally understood language 118

Typographic invention in the Netherlands 118

Graphic design expressionism 119

Phototypography 120

Calligraphic abstraction 121

Figurative typography 121

Experiments in graphic space 122

Graphic design tactility 126

Digital design revolution 127

Spatial elasticity of layout, typography, and imagery 129

The digital-type foundry 133

Digital image manipulation and composition 135

Chapter 6: Persuading 136

Early printing and the Christian church 138

The Industrial Revolution and the rise of commercial culture 142

Innovations in typography for advertising 142

Wood type and the letterpress poster 146

Advertising cards, packaging, and posters 147

The rise of American editorial design and advertising agencies 148

The advertising poster in Europe 149

Posters in Eastern Europe and Russia 153

The Bauhaus influence on advertising 156

Independent voices in the Netherlands 157

New approaches to photography in advertising 158

From illustration to modernism in American advertising 160

International Typographic Style in advertising 161

Advertising at mid-century 167

Postmodern design and advertising 174

Expanding brands and media 178

Chapter 7: Unifying 180

Early visual sign systems 182

Unifying early typography 182

Establishing book design systems 184

Standardization of typographic forms 188

Art Nouveau-unifying decoration, structure, and function 189

The decorative arts expand to publishing 194

Standardization of visual systems 200

Constructivism-visually programming the total object 205

Universal systems for art and design 207

The new typography; form from the functions of the text 209

International Typographic Style-a unity of design elements 212

The corporate identity program 215

Design systems for government 220

Design systems for the Olympic Games 224

Unity and variability through digital typefaces 228

Chapter 8: Representing 230

Prehistoric visual representation 232

Mesopotamian, Egyptian, and Greek visual representation 232

Chinese chops 233

Early marks for books and printers 234

Early business trademarks 234

Indigenous beadwork and symbols 235

Representation of Native culture and identity 238

Symbolic representation in advertising 239

Representation of Black culture and identity 241

Symbolizing the Bauhaus philosophy 244

Representation through clarity and order 244

Symbols and American modernism 245

Visual identity systems in America 246

Global identity and the Olympics 253

Representing with image 256

Currency and postage stamps 258

Postmodern design and representation 259

Branding and identity 262

Chapter 9: Explaining 264

Early illustrated books 266

The German illustrated book 269

The Renaissance-innovations in book design 273

Victorian children's books 278

The rise of infographics 280

Pictographic histories 284

Informational graphics at mid-century 286

Information architecture 292

Visual storytelling 296

Chapter 10: Refining 298

The Italian Renaissance 300

"Scientific" typeface refinement 301

Rococo era 301

Caslon and Baskerville 302

Modern style fonts 306

Private presses communicate to the imagination 307

The Arts and Crafts movement 307

Cubism's elemental forms 312

De Stijl-reducing…