des

ign

2013

are now published under the Bloomsbury and Fairchild Books names

and

Incorporating

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cONTENTSBloomsbury Visual Arts

Introductory Textbooks 4

Theory and Practice 7

Interactive and Digital Design 10

Sustainable Design 12

Graphic Design 14

Illustration 18

Typography 20

Colour 21

Advertising 22

Marketing and Branding 23

Design Management 24

World History of Design 25

Product Design 26

History and Culture of Design 26

Craft 31

Journals 32

Index 34

Representatives and Agents 35

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Bloomsbury Academic is a division of Bloomsbury Publishing Plc. Registered in England No. 01984336.

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2

dIScOVER THE LARgEST VISUAL ARTS pUBLISHER IN THE WORLd

A cOMpLETE RANgE OF pROdUcTS IN cORE AREASTo serve you better we will focus on the following subject areas:

• Design

• Architecture & Interior Design

• Fashion & Textiles

• Film & Moving Image

• Photography

• Ceramics

This focus allows us to offer real depth of content to all our global customers. It positions Bloomsbury as the only visual arts publisher able to provide a complete range of products to meet the full spectrum of educational needs in these core areas.

ONE dESTINATION FOR ALL YOUR TEAcHINg ANd RESEARcH NEEdSFollowing the acquisitions of Fairchild Books, AVA Publishing and Berg Publishers, Bloomsbury is now the largest publisher of academic materials for visual arts in the world. We are committed to providing visual arts students, instructors, researchers, librarians and practitioners with:

• Resources tailored to meet the needs of students, academics and libraries

• Integrated books, journals and digital content

• A one-stop shop for all levels: from practical introductory textbooks to scholarly monographs

• An understanding of the unique demands of visual arts students

• Brands you can trust:

Fairchild Books, offering practical, visually stimulating textbooks

Bloomsbury, offering quality scholarly publishing

and

are now published under the Bloomsbury and Fairchild Books names

VISUAL ARTS AT BLOOMSBURY

Bloomsbury_Design_5.0.indd 2 28/01/2013 15:00

3

BLOOMSBURY: FOR qUALITY ScHOLARLY pUBLISHINgBloomsbury acquired Berg Publishers in 2008. Berg has an international reputation in fashion and design and a rapidly growing journals programme with a focus on the visual arts. Its flagship journal, Fashion Theory established the serious study of fashion in the academy. In 2010 Berg launched the Berg Fashion Library, winner of the Dartmouth medal.

From January 2013, Berg books and journals will publish under the Bloomsbury brand. Researchers, scholars, lecturers and upper level students will find quality, peer-reviewed coursebooks, monographs, readers, reference works and journals within core areas of the visual arts.

An international refereed journal for all aspects of design

Online at www.ingentaconnect.com

THE

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THE DESIGN JOURNAL VOLUME 16/ ISSUE 1/ MARCH 2013

Edited byRachel Cooper

THE DESIGN JOURNALVOLUME 16ISSUE 1MARCH 2013

Theory, Practice and the ProfessionRachel Cooper Mediation of Conflicts through Design: How American Execution Chambers Represent Conflicting Social PerspectivesAmod Damle Assessing Lifetime Homes Standards and Part M Building Regulations for Housing Design in the UKClíona Rooney, Karim Hadjri and Cathy Craig Couples’ Wear in Korea: Expression of Relationship Status and Identity through FashionJudy Park A Systematic Review of the Relations between Industrial Design Education and Industry in Turkey through SWOT AnalysisOnder Erkarslan Architectural Design Students’ Explorations through Conceptual DiagramsFehmi Dogan

Shaping Sustainable Fashion: Changing the Way We Make and Use Clothes edited by Alison Gwilt and Timo RissanenPammi Sinha

Editorial

Articles

Book Review

ISBN 978 1 4725 1810 1ISSN 1460-6925

16

90100

9 781472 518101

ISBN 978-1-4725-1810-1

www.bloomsbury.com

FAIRcHILd BOOKS: FOR TExTBOOKS ANd STUdENT RESOURcESFairchild Books has a long history of excellence in textbook publishing for the Higher Education market. Their titles are comprehensive, authoritative and adopted as core reading on many fashion, merchandising, retailing and interior design courses worldwide. Also acquired by Bloomsbury in 2012, AVA Academia publishes textbooks in fashion, design and across a range of other visual arts disciplines. Their striking presentation and student-friendly content sets them apart from other academic publications.

From April 2013, AVA will publish under Fairchild Books, a Bloomsbury imprint. Readers will find new publications build upon the features that have made these titles so successful, bringing them to a larger audience of students, instructors and practitioners than ever before.

V ISUAL ARTS AT BLOOMSBURY

dIgITAL INNOVATION ANd ONLINE RESOURcESBuilding on the global success of the Berg Fashion Library, we have a number of other exciting digital products in development that will serve research and teaching needs across our larger visual arts programme. These include the forthcoming Bloomsbury Fashion Photography Archive (see www.bergfashionlibrary.com for more information) as well as a range of new online resources for instructors and students to accompany our textbooks.

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UK March 2014 • US January 2014

356 pages • 385 colour illus • 152 x 228mm / 6 x 9 in

PB 9781609014964 • £74.99 / $115.00

Fairchild Books

DesigningAn IntroductionKarl AspelundDesigning: An Introduction is a current and comprehensive introduction to design fundamentals including 2D and 3D design concepts.

The design process is explored in practical terms of conceptualizing, researching, assembling, and presenting, and then examined in the context of 2D, 3D and virtual environments, emphasizing user experience and the constraints and needs of client-defined creativity.

Chapters open with key terms and objectives and close with multiple offerings for review and practice, while sidebars and end-boxes place focus on topics such as ergonomics, sustainability, and individual designers from a variety of disciplines.

• Additionalteachingresources:Instructor’sGuideandPowerPointpresentationavailable• Includesactivitiestoguidethecreationofadesignjournal,aswellasinterviewsand

advicefromdesigners• Provideschaptersummaries,listsofobjectivesandkeyterms,exercises,assignments,

andquestionsforclassroomdiscussion

KARL ASPELUND is Assistant Professor in the Department of Textiles Fashion Merchandising and Design at the University of Rhode Island, USA , and has been a designer, artist and teacher for over 20 years in apparel, theatre, film and digital media. He is also the author of The Design Process, 2nd Edition (Fairchild Books, 2010).

INTROdUcTORY TExTBOOKS

Introduction

Section i: the nAture, eLementS And PrinciPLeS oF deSign

1: What is Designing?

2: A Brief History of Designing

3: The Elements of Design

4: The Principles of Design

Section ii: inForming deSign

5: Researching and Planning for Designs

6: Creating and Presenting Designs

Section iii: thinking deSign

7: Thinking “Print”: Graphic Design and Elements in Two Dimensions

8: Three-Dimensional Thinking

9: Thinking about Experience: 4-D Design

10: Thinking “On-Screen”

Appendix 1: Notable Designers

Appendix 2: Resources for Design

Glossary

Index

cON

TENTS

WWW/TExTBOOK

The Design JournalIdentifying Elements: Color

Create three “color stories” in your design journal, by isolating only the hues in:

a) Your immediate environment b) The clothes you are wearing c) The view out the nearest window

Identify the hues, then cut swatches from magazines and/ or colored paper. Experiment with creating a balance between the size of the swatches and the “amount” of the hue you see. Paste the swatches on three left-hand journal pages after experimenting with what effect the positioning of the swatches has on the overall statement. Now create three color stories on the corresponding right-hand journal pages, where you replicate in the actual colors you see as closely as possible, again experimenting with balance of size and position.

Now choose any designed object you like to apply these color stories to. Create six sketches of the object, using each of the color stories in whole or part.Which result is the most pleasing? Why do you think that is?

The world we see around us resonates with color. Color affects our daily life and perceptions and is conspicuous by its absence – an absence used to describe a dull or harsh existence, when the world is grey, or black-and-white.” It transcends the physical when we describe our moods with color and use colors to describe flavors and smells. Color signifies status, evokes memories, and signals safety and danger. It is a sensory experience that begins to affect us before we can even speak, and operates on our nervous system on a very basic and primordial level. Describing color therefore often requires direct references to physical things: “Fire engine red.” “Buttercup yellow.” “Electric blue.” One could say that in this way color can not really be described, only experienced. (If you’ve not seen a fire engine, how do you know “fire engine red”?)

Despite all this, approaching color in design may, at first glance, seem to be fairly straightforward: Choose a pleasing scheme, apply, and move on. In fact, while sketching and planning the aesthetics of a design, this may work rather well. But the practical use of color —where color has meaning and is not only decorative – requires a more measured approach. (Road signs, logos, uniforms, and many labels are a quick and effective example of this.) Either way, there is a point in the design process where intuition must give way to ordered information. The choices made must be explained and rationalized, if not verifiably held to a standard. The reverse also holds true, in that during the sketch phase of a design, intuitive choices may be made with more confi-dence when they are based on systematic knowledge. All of this makes it necessary to under-stand different ways of ordering color into systems and categories of hue, value, intensity, and

Color

temperature, even before considering color relationships, combinations, and contrast.

HueThe most obvious division of colors is by hue: simply the “name” of the color, the “pure”color as found in a spectrum or color wheel : “Blue,” “red,” “green” and so on, corresponding to the division of colors seen in a spectrum. However, this basic division quickly runs into problems. In response to the statement “it is blue,” one could for example ask “what kind of blue?” A quick look around your environment will quickly reveal a range of colors within each hue: A number of blues, reds, greens, yellows of varying impact and effect. To get a more precise description, we have to add descriptors that inform us of value, intensity and temperature.

The basic “pure” hues are therefore for the most part a structure on which the other descriptors are attached. There are, however, certain variations where a certain value of a hue will

Chapter 3: The Elements of DesignDesigning: An Introduction

Ch.7Thinking about Experience:

4-dimensional design

Human beings operate in the combined dimensions of space and time, and time has increasingly become a larger factor in the design in the form of "experience." The inclusion of time as an element in design became increasingly important after the concept of "the user experience" entered the vocabulary as designing for the Web created a need for ease of interaction and "user friendly" became a mantra. At the same time the shift from objects in a physical world to applica-tions on a screen has led to a different approach to functionality. The screens on our phones, cameras, and tablets are increasingly becoming the “space” within which we operate and instead of the displacement of motion in space, experience on-screen is that of events taking place in a dimension that is unrelated to human scale. It is simulated space presented in a two-dimensional format of a screen. Our experience over time and the actual time things take need to both be considered as needs and constraints of design. As we have become more and more accustomed to on-screen interaction the metaphors and modes of the virtual world have begun to affect the demands of experience in the three-dimensional physical world.

But there are design problems involving time that have been around for much longer, for example in theater, film, and architecture. Designers for film and television must for example consider the order of events in a narrative, where the experience of the viewer is set against the unfolding of events on the screen. Real-time (events taking place in scientific clock-time) frequently is disre-garded so the subjective edited time (the internal time) of the screen narrative may become dominant and believable. Even simple narrative in animated sequences on Web pages and ads need to consider the use of time and rhythm. Experience is also a factor in the world of physical objects and gravity. User experience and the relationship of human behavior to form, shape, and scale in buildings and interiors must also consider time. The order in which the user/ audience/ enters a space and experiences its elements sets up a rhythm and the person moving through a

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UK March 2012 • US May 2012

512 pages • 218 bw and 32 colour illus

244 x 189mm / 9.6 x 7.4 in

PB 9781847885760 • £24.99 / $49.95

HB 9781847885777 • £75.00 / $150.00

Individual eBook 9780857852205 • £24.99 / $37.99

Berg Publishers

Design and DesigningA Critical IntroductionEdited by Steve Garner and Chris EvansDesign and Designing provides a broad and critical understanding of what is essentially a practical subject.

The book covers the design process, modelling and drawing, working with clients, production and consumption, sustainability, professional practice and design futures.

Chapters are written by expert teachers and practitioners from around the globe, each presenting an accessible and engaging overview of their field of design. Every chapter is highly illustrated with a combination of images and information boxes, which extend or highlight key material. Each section concludes with a design project, a hands-on activity for the reader.

• Coversallaspectsofdesign:fromproductiontoconsumption,fromcreativitytoworkingwith clients

• Coversalltypesofdesign:fromproducttographic,fromfashiontogames• Packedwithpedagogicmaterial:images,casestudies,highlightboxesandactivityprojects

STEVE GARNER has led some of the UK’s most innovative and popular design courses, most recently as Professor of Design at The Open University, UK. CHRIS EVANS has 20 years’ design and management experience with major companies and leads the teaching of Design at Aston University, Birmingham, UK.

INTROdUcTORY TExTBOOKS

Introduction

Section 1: the deSigning ProceSS

Section Introduction

1. The Passport to Practice

2. Design Thinking

3. Problem Finding and Problem Solving

4. Designing Design

Design Project 1: Design Process Game

Section 2: creAting And communicAting

Section Introduction

5. Models of Design and Models in Design

6. Why do Designers Draw?

7. Computer Aided Design: Past, Present, Future

8. Games Design and the Importance of Narrative

Design Project 2: Inspiration

Section 3: deSigning For PeoPLe

Section Introduction

9. User-centred Design

10. Design Semiotics

11. Designing for Mood, Randall Teal

12. Ethics and Design: I Can but Should I?

Design Project 3: Hand Hygiene

Section 4: BuSineSS, mArketS And cLientS

Section Introduction

13. The Business of Design

14. The Design Brief: Are You Listening?

15. Designing for Markets

16. Creative Analysis in Packaging Design

Design Project 4: Where in the World?!

Section 5: SuStAinABLe deSign And deSigning

Section Introduction

17. Berlin: A Sustained City

18. Designing for Life Cycles

19. Is Sustainable Design Viable?

20. Eco-intelligence: Designing for the Real World

Design Project 5: Global Lessons 2024

Section 6: the ProFeSSionAL PrActice oF deSign

Section Introduction

21. Old Materials, New Materials

22. User-centred Collaboration in Graphic Design

23. The Importance of Detail Design

24. Developing Your Intellectual Property

Design Project 6: Team of 24

Section 7: deSign FutureS

Section Introduction

25. Building Bridges to New Realms

26. Complexity: What Designers Need to Know

27. Managing Design: A Roadmap to a Career

28. Motivation and the Learningscape of Design

Design Project 7: 24 Carat Designing

Endnotes

Bibliography

Index

cON

TENTS

Plate 13 The semiotics of colour. (Copyright Bob Eves) (see Chapter 10)

WWW/TExTBOOK

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Design StudiesA ReaderEdited by Hazel Clark and David Brody“incredibly inclusive, this is essential reading for students and teachers of design studies in any context. A superlative collection of authoritative contributions from many of the most influential writers on design, past and present.” Paul Atkinson, Sheffield Hallam University, UK

“A great deal of food for thought for beginning design students from numerous subdisciplines and is also a good refresher for more advanced scholars.” Design Issues

2009 • 608 pages • 50 bw illus • 244 x 189mm / 9.6 x 7.4 in

PB 9781847882363 • £19.99 / $39.95

HB 9781847882370 • £60.00 / $119.95

Berg Publishers

KEY TITLES

INTROdUcTORY TExTBOOKS

TExTBOOK

TheDesignProcess 2nd edition

Karl AspelundA guide through the seven stages of the design process. Beginning at Inspiration, readers travel through Identification, Conceptualization, Exploration/Refinement, Definition/Modeling, and Communication on the way to Production.

• Resourcesincludeend-of-chapterexercises,designerperspectives,recommendedreadings,Instructor’sGuideandPowerPointpresentations

2010 • 304 pages • full colour • 279 x 216mm / 8.5 x 11 in

PB 9781563678721 • £50.00 / $78.00

Fairchild Books

BeautifulThingAn Introduction to DesignRobert Clay“An excellent academic introduction to design for both students and wider audiences.” Choice

“A noble endeavour and clay sets about it extensively; covering classicism, modernism, and Post-modernism; product design, graphic design and architecture. All the important figures, from Leonardo da Vinci to Zaha hadid, and their major works, are explained in the same scrupulous and balanced way.” Blueprint

2009 • 224 pages • 134 bw and 24 colour illus • 244 x 189mm / 9.6 x 7.4 in

PB 9781847882639 • £19.99 / $39.95

HB 9781847882646 • £60.00 / $119.95

Berg Publishers

TExTBOOK

WWW/TExTBOOK

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UK November 2013 • US January 2014

448 pages • 480 bw and 32 colour illus

246 x 189mm / 9.7 x 7.4 in

PB 9781472503121 • £29.99 / $49.95

HB 9780857854889 • £95.00 / $160.00

Individual eBook 9780857854902 • £29.99 / $45.99

Bloomsbury Academic

Symbol,PatternandSymmetryThe Cultural Significance of StructureMichael HannSymbol, Pattern and Symmetry: The Cultural Significance of Structure investigates the cultural significance of pattern and symbol in decorative arts throughout history, demonstrating how connections and comparisons in geometrical pattern can be made across different cultures and how the significance of these designs has influenced craft throughout history.

• Auniquecombinationofhistoricalmaterial(mainlynon-Europeanandpre-colonial)notcoveredelsewhereinsingle-textbookform

• Featuresavastarrayofillustrativeexamplesfromawidespreadnumberofhistoricalandculturalexamples,fromByzantine,PersianandAssyriandesign,tocasestudiesfromCeltic,JapaneseandChinesepatterns

• Highlyillustrated,withextensiveuseofexclusivematerialnotpublishedelsewhere

MICHAEL HANN is Chair of Design Theory at the University of Leeds, UK and Director of the University of Leeds International Textiles Archive.

THEORY ANd pRAcTIcE

1: Introduction

2: Geometry and Culture

3: Cradles of Civilisation and Initiators of

Trade

4: Cultural Interaction and Exchange:

the Importance of the Silk Route

5: Stupas, Mandalas and Nirvana:

the Origin and Diffusion of Buddhism

6: Mosques, Minarets and Minbars:

the Origin and Diffusion of Islam

7: From Syrian Umayyads to Christian

Kings: Achievements in the Decorative

Arts and Architecture in Islamic Spain

8: The Decorative Arts of Safavid Persia

9: The Decorative Arts of the Ottoman

Empire

10: The Decorative Arts of the Mughal

Dynasty

11: Visions from the East: Influences on

European Decorative Arts

12: Cultural Diffusion, Adoption and

Adaptation

Bibliography

Index

cON

TENTS

TExTBOOK

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THEORY ANd pRAcTIcE

DoingResearchinDesignChristopher Crouch and Jane PearceDoing Research in Design presents new ways of thinking about the relationship between design and research by positioning design as a social as well as a material practice.

• Themostup-to-dateoverviewofresearchmethodsindesignavailable• Examinesthesocialimpactsofdesign,aswellasitsfunctionalityorefficiency• Linksdesignresearchwithsociologyandphilosophy,inauniquecross-disciplinaryapproach

CHRISTOPHER CROUCH coordinates Higher Degrees by Research in the School of Communications and Arts at Edith Cowan University, Australia, and is Professor in the School of Art and Design, Southwest University, Chongqing, China. JANE PEARCE is Senior Lecturer in Education at Murdoch University, Australia.

Introduction • Positioning the Designer • What Do Designers and Researchers Do? Thinking, Doing and

Researching • Practice and Praxis, Reflection and Reflexivity • Thinking about Research: Methodology •

Doing Research: From Methodologies to Methods • In the Picture: Ethnography and Observation •

Understanding through Story: Narratives • Using Case Studies and Mixed Methods • Action Research •

Writing about Research • Bibliography • Index

cON

TENTS

BecomingHumanbyDesignTony FryTony Fry’s Becoming Human by Design is the last part in his ground-breaking trilogy of books that re-examine the relation between design and humanity. It argues that traditional models of human evolution fail to explain in full how we came to be what we are. Instead, it demonstrates just how vital the role of design has been in shaping human life – and humans themselves – and how recognising its significance in this respect is key to our survival.

TONY FRY is Director of the sustainment consultancy Team D/E/S and Professor of Design, Griffith University, Queensland College of Art, Australia. He is also author of Design Futuring: Sustainability, Ethics and New Practice (Berg, 2008) and Design as Politics (Berg, 2010).

>> See also page 13

Writing DesignWords and ObjectsEdited by Grace Lees-Maffei“this volume promises to become essential reading for anyone interested in the historical and contemporary circumstances by which words describe design, and design defines language.” Jeremy Aynsley, Professor of History of Design, Royal College of Art, London, UK

“Writing Design will be a pivotal book on the fast-filling design criticism bookshelf.” Alice Twemlow, Chair, MFA Design Criticism Department School of Visual Arts, NY, USA

Bringing together a wide range of scholars and practitioners, Writing Design reveals the difficulties, ethics and politics of writing about design.

GRACE LEES-MAFFEI is Reader in Design History in the School of Creative Arts at the University of Hertfordshire, UK.

TExTBOOK

Packedwith case material

forstudents,withstudiesfromthe UK,US,Europe andAustralasia

UK April 2012 • US June 2012

224 pages • 8 bw illus

244 x 172mm / 9.6 x 6.8 in

PB 9781847885791 • £19.99 / $29.95

HB 9781847885807 • £55.00 / $99.95

Berg Publishers

UK October 2012 • US December 2012

272 pages • 5 bw illus

189 x 156mm / 7.4 x 6.1 in

PB 9780857853554 • £17.99 / $29.95

HB 9780857853547 • £55.00 / $99.95

Individual eBook 9780857853561 • £17.99 / $27.99

Berg Publishers

UK December 2011 • US January 2012

288 pages • 51 bw illus

244 x 172mm / 9.6 x 6.8 in

PB 9781847889553 • £19.99 / $34.95

HB 9781847889560 • £60.00 / $99.95

Berg Publishers

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THEORY ANd pRAcTIcE

Design ThinkingUnderstanding How Designers Think and WorkNigel Cross“mixing analysis with case studies, nigel cross provides a succinct introduction to ‘design thinking’. his message - that creativity can be taught, nurtured and developed - should empower even the most elementary design students.” Elizabeth Guffey, Purchase College, NY, USA

“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 6 inPB 9781847886361 • £14.99 / $24.95 • HB 9781847886378 • £45.00 / $79.95 • Individual eBook 9781847888464 • £14.99 / $22.99Berg Publishers

The Designed WorldImages, Objects, EnvironmentsEdited by Richard Buchanan, Dennis Doordan and Victor MargolinThe Designed World brings together key essays from the preeminent journal, Design Issues. Essays are structured to cover the life of a designed object from conception and fabrication to evaluation. The essays are grouped into themed sections, with each section separately introduced and each concluded with further reading.

2010 • 416 pages • 86 bw Illus • 244 x 189mm / 9.6 x 7.4 inPB 9781847885852 • £24.99 / $39.95 • HB 9781847885869 • £70.00 / $119.95Berg Publishers

TheBanhamLecturesEssays on Designing the FutureEdited by Jeremy Aynsley and Harriet Atkinson“reyner Banham could not have hoped for a better testament to his lively intelligence than the incisive essays in this volume. his impact on several generations of architects, designers, and scholars is more than evident.” Victor Margolin, University of Illinois, Chicago, USA

2009 • 352 pages • 200 bw and 32 colour illus • 244 x 189mm / 9.6 x 7.4 inHB 9781847883025 • £27.99 / $49.95 Berg Publishers

By Design 2nd edition

Why There Are No Locks on the Bathroom Doors in the Hotel Louis XIV and Other Object LessonsRalph CaplanThis second edition of the popular classic features updated examples of timeless ideas, illustrated in full colour. A concluding chapter discusses what has, and has not, changed since the first edition, examining design responses to radical technological development and shifting consumer demands.

2004 • 288 pages • colour illus • 152 x 228mm / 6 x 9 inPB 9781563673498 • £35.00 / $53.50Fairchild Books

CrackingtheWhipEssays on Design and Its Side EffectsRalph CaplanA collection of essays that looks at just about everything in design: clothes, hardware, posters, cars, airports, chairs, lighting, vending machines, cities and bathrooms. Previously published in distinguished forums ranging from ID Magazine, Print, and Interior Design to The New Yorker, The New York Times, and The Nation, Caplan brings to these essays an erudition tempered by clarity, charm and humour.

2005 • 320 pages • bw illus • 152 x 228mm / 6 x 9 inPB 9781563673900 • £25.00 / $41.50Fairchild Books

KEY TITLES

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TheFundamentalsofInteractiveDesignMichael Salmond and Gavin Ambrose“A fantastic entrée into the field of interactive design ... Succinctly pragmatic advice is paired with stunning and diverse examples from all areas of interactive design.” Jess Larson, Professor of Studio Art, University of Minnesota, Morris, USA

The Fundamentals of Interactive Design is a very visual introduction to designing media that engages, entertains, communicates and ‘sticks’ with the audience. Packed with examples of groundbreaking interactive design, this book provides professional insights through interviews with leading interactive designers and case studies featuring digital media companies and websites.

• IncludesexamplesfromleadinginternationalbrandssuchasSmirnoff,Panasonic,Lynx,Heineken,Coca-ColaandIKEA

• Technicalspecificationsareincludedtohelpthereadertounderstandhowplatformsforinteractivedesignaremade,andanalysisofsuccessfulapps,websitesandgamesareincludedtoinspireandeducate

• Projectsanddetailedfurtherresourcesencouragereaderstoexploretheworldofinteractivedesign

MICHAEL SALMOND is a digital interaction designer, artist and digital theorist and currently teaches interaction and digital design at Florida Gulf Coast University, Florida, USA. GAVIN AMBROSE is a practising graphic designer whose client base includes the art sector, galleries, publishers and advertising agencies. He has written and designed several books on graphic design, branding and packaging.

BasicsInteractiveDesign01:InterfaceDesignDavid WoodInterface Design shows foundation and beginning undergraduate digital design students how to develop effective, user-focused front-end designs for a range of digital media interfaces. Using case studies and interviews to delve deeper into the subject, experienced designer and educator David Wood clearly explains and demonstrates the principles of effective visual communication for user interfaces.

• Afront-enddesignbookthattakestheaspiringinterfacedesignerbeyonddesignartifice,intodesigningbetter user interactions

• Withengaginginterviewsfromindustryprofessionals,aswellaspracticaltasksforstudentstocomplete• Showshowtointegratecoredesignprinciplesintouser-friendlydigitalinterfaces

DAVID WOOD is a design lecturer and researcher at Glasgow Caledonian University, UK.

INTERAcTIVE ANd dIgITAL dESIgN

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UK March 2013 • US April 2013

200 pages • 200 colour illus

230 x 200mm / 9.1 x 7.9 in

PB 9782940411863 • £26.99 / $42.95

Library eBook 9782940447480 • £81.00 / $130.00

Series: Fundamentals

AVA Publishing

UK July 2013 • US August 2013

184 pages • 200 colour illus

230 x 160mm / 9.1 x 6.3 in

PB 9782940411993 • £23.99 / $37.95

Library eBook 9782940447572 • £72.00 / $116.00

Series: Basics • Fairchild Books

The Fundamentals ofDigitalArtRichard Colson

2007 • 176 pages • 200 colour illus 230 x 200mm / 9.1 x 7.9 inPB 9782940373581 • £22.95 / $39.95Library eBook 9782940439928 • £66.00/$106.00Series: FundamentalsAVA Publishing

KEY TITLES

The Fundamentals ofSonicArt& Sound DesignTony Gibbs

2007 • 176 pages • 200 colour illus 230 x 200mm / 9.1 x 7.9 inPB 9782940373499 • £22.95 / $35.00Library eBook 9782940439966 • £66.00/$106.00Series: FundamentalsAVA Publishing

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BasicsInteractiveDesign02:UserExperienceDesignGavin Allanwood and Peter BeareUser Experience Design puts human experience at the forefront of the design process. Throughout the book, the authors show how design skills can be improved by undertaking practical exercises and reviewing the work, style and motivations of leading practitioners.

• Beautifulexamplesfromleadingpractitionersshowtheimportanceofuserexperienceincontemporarydesign• Practicalexercisesandprojectschallengedesignstudentstocreatepositiveuserexperiences

GAVIN ALLANWOOD is senior lecturer in Media Technology and Infographics at the University of Central Lancashire, UK. PETER BEARE is the course leader for Media Production and Technology at the University of Central Lancashire, UK.

ThePrinciplesandProcesses ofInteractiveDesignJamie SteaneThe Principles and Processes of Interactive Design is both a primer and companion guide, covering the design essentials from a digital perspective as well as a guide on how to present ideas to clients and colleagues. Topics covered include user-based design research and development, digital colour and image, typography and hypertextuality, working with digital formats, screen-based grids and layouts, and storyboards and system mapping.

• Showshowtoresearch,plananddesigndigitalmediaprojects• Industryperspectiveswithkeydesignprofessionalsprovidefascinatinginsightsintothisexcitingandcreativefield• Projectsandworkshopelementsenablemediadesignstudentstoputtheirlearningintopractice

JAMIE STEANE is Head of Visual Communication and Interactive Media Design at Northumbria University, UK.

Digital DesignA Critical IntroductionDean Bruton and Antony RadfordDigital Design: A Critical Introduction provides a much-needed new perspective on designing with digital media. Linking ideas from media theory, generative design and creativity with examples from nature, art, architecture, industrial design, websites, animation and games, it addresses some fundamental questions about creative design with digital media.

contentS

Rules and Digital Design • Bending Rules • Making Digital Artefacts • Developing Digital Creativity • Analysis: Product Design

and Art • Analysis: Architecture, Film and Games • Serious Play • Studio Journals • Critical Ideas • Bibliography • Index

DEAN BRUTON is an artist leading the Digital Arts Program at the School of Arts and Social Sciences, Southern Cross University, Australia. ANTONY RADFORD is an urban designer and Emeritus Professor of Architecture at the University of Adelaide, Australia.

INTERAcTIVE ANd dIgITAL dESIgN

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UK September 2013 • US November 2013

184 pages • 200 colour illus

230 x 160mm / 9.1 x 6.3 in

PB 9782940496136 • £23.99 / $37.95

Library eBook 9782940447695 • £72.00 / $116.00

Series: Basics • Fairchild Books

UK August 2013 • US October 2013

192 pages • 200 colour illus

270 x 210mm / 10.6 x 8.3 in

PB 9782940496112 • £37.99 / $59.95

Library eBook 9782940447664 • £114.00 / $183.00

Series: Required Reading Range

Fairchild Books

UK October 2012 • US December 2012

192 pages • 31 colour and 189 bw illus

244 x 189mm / 9.6 x 7.4 in

PB 9781847888280 • £24.99 / $39.95

HB 9781847888297 • £60.00 / $99.95

Individual eBook 9781847889171 • £75.00 / $120.00

Berg Publishers

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UK September 2013 • US November 2013

448 pages • 246 x 189mm / 9.7 x 7.4 in

PB 9780857850676 • £24.99 / $39.95

HB 9780857850652 • £75.00 / $129.95

Bloomsbury Academic

UK July 2013 • US August 2013

576 pages • 57 bw illus

244 x 169mm / 9.6 x 6.7 in

HB 9780857858528 • £95.00 / $160.00

Bloomsbury Academic

TheHandbookofDesignforSustainabilityEdited by Jacques Giard, Stuart Walker and Helen L. WalkerThe Handbook of Design for Sustainability presents a comprehensive, state-of-the-art overview of this crucial subject: its development, its methods, its practices and its potential futures.

Bringing together leading international scholars and new researchers to provide a substantive insight into the latest thinking and research within the field, the Handbook presents the first systematic overview of the subject that, in addition to methods and examples, includes historical perspectives, philosophical approaches, business analyses, educational insights and emerging thinking.

JACQUES GIARD is Professor of Industrial Design in The Design School at Arizona State University, USA, prior to which he was Director of the School of Industrial Design at Carleton University in Ottawa, Canada. He has also served as national president of the Association of Canadian Industrial Designers. STUART WALKER is Head of Design, Co-Director of the ImaginationLancaster creative research lab and Professor of Sustainable Design at Lancaster University, UK. He is also Visiting Professor of Sustainable Design at Kingston University, UK, and Adjunct Professor at the Faculty of Environmental Design, University of Calgary, Canada. HELEN L. WALKER is an independent language consultant with an MA in Education for Sustainability.

TheSustainableDesignReaderEdited by Cameron Tonkinwise and Abby LopesThe Sustainable Design Reader provides a unique and much-needed overview and examination of this discipline, enabling readers to investigate, understand and critique the role of sustainable design and its importance within contemporary design industry and culture.

From the historical background of sustainable design and how it came to be an essential design consideration, to how the practice of it will ultimately shape our future, this book provides an original and indispensable mapping out of the discipline.

• Wide-ranginginsightintothepast,presentandfutureofsustainabledesign• Aclearlystructuredanddiversecollectionofarticlesbyleadingdesignscholarsandthinkers• Everysectionincludesafeaturedcasestudyandguidetofurtherreading

CAMERON TONKINWISE is Director of Design Studies at Carnegie Mellon School of Design, USA. ABBY LOPES is a Senior Lecturer in Design at The University of Western Sydney, Australia.

General Introduction

PArt 1: the hiStorY oF deSign ideAS ABout ecoLogicAL SuStAinABiLitY

Section 1: What is a Sustainable Ecology? The Philosophy, Science and Politics Informing Sustainable Design

Section 2: How did Things get so Unsustainable? The History of Ecological Damage by Design

Section 3: How have Designers Responded? The History of Responsible Design

PArt 2: current And emergent techniQueS For deSigning more SuStAinABLe FutureS

Section 4: How to Measure the Sustainability of Designs? Frameworks for Quantifying Impacts

Section 5: How can we Design Less Harm? The Techniques of Designing for the Environment

Section 6: How can Design Change Consumerism? Designing More Sustainable Ways of Living

Section 7: Sustainable Designs’ Futures

Bibliography.

Glossary

Index

cON

TENTS

SUSTAINABLE dESIgN

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UK May 2013 • US June 2013

192 pages • 200 colour illus

300 x 220mm / 11.8 x 8.7 in

PB 9782940496044 • £37.99 / $59.95

Library eBook • 9782940447565 • £114.00 / $183.00

Series: Required Reading Range

Fairchild Books

SUSTAINABLE dESIgN

Sustainable ThinkingEthical Approaches to Design and Design ManagementAaris SherinSustainable Thinking explores how values and sustainability can reshape the way design and design management are practised and applied. The book shows how designers can combine innovative creative thinking with analytical problem-solving skills to produce outputs that are business ready and ethically driven.

• ComprehensivecasestudiesexamineethicalandsustainabledesignanddesignmanagementandincludemarketingguruDukeStump,sustainableInternetretailersMioandBambecoandethicaldesignersElioStudio

• Activitiesandinternationalexamplesexplorewaystoimplementethics-drivendesignandeffectivebusiness practices

contentS

The basics of sustainability and design • Strategies • Design creating change • Design making change • Imagining

sustainable systems • Applying sustainable practices

AARIS SHERIN is an educator, writer and designer. She is Associate Professor of Graphic Design at St John’s University, Queens, New York, USA.

DesignasPoliticsTony Fry“Design as Politics destroys our fantasies of ‘sustainable design’ and urges us to face our collective future. read this before deciding whether you have the courage and conviction necessary to be a designer of the future.” Lisa Norton, School of the Art Institute of Chicago, USA

“to say that this book is ‘timely’ is an understatement. Fry offers us one of the most prescient theses for the design of a different possible future - a time and a politics ‘to-come’ - that we have. We all ignore the messages of this book at our own peril.” Duncan Fairfax, Goldsmiths, University of London, UK

“tremendous, ground-breaking.” Rick Poynor, the Design Observer

2010 • 288 pages • 189 x 150mm / 7.4 x 6 inPB 9781847885678 • £19.99 / $34.95HB 9781847885685 • £55.00 / $99.95Individual eBook 9781847887061 • £19.99 / $30.99World English (excluding USA)Berg Publishers

KEY TITLES

Design FuturingSustainability, Ethics and New PracticeTony Fry“Forceful, convincing, persuasive, and ultimately refreshing, leaving the reader with renewed investment in the role of designers for a sustainable future.” Interiors: Design, Architecture, Culture

2008 • 288 pages • 50 bw illus 189x150mm / 7.4 x 6 inPB 9781847882172 • £16.99 / $29.95HB 9781847882189 • £50.00 / $99.95Berg Publishers

Examining how contemporary practitioners’ produce ethically-driven and human-centred outputs can reveal methods and ideas that can be applied to one’s own professional practice and in situations where one has to take a leadership role.

The designers, activists, marketers and companies featured in this chapter exemplify how design thinking, marketing skills, and advances in materials applications and technology, can provide the impetus for change, while also highlighting the difficulties faced by ethically motivated designers and companies. Readers are encouraged to consider how they would tackle the problems presented in the following case studies. While doing so, it is also important to ask whether some solutions have been overlooked, as well as to evaluate whether the working models detailed here could be applied in new locations and to different market sectors.

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Envisioning Sustainable Systems

CHAPTER 05

136 When being the best isn’t enough 138 Case study Project Masiluleke 141 Activity Mobile technology campaign142 Case study 1 in 29144 New frontiers in recycling146 Case study Redefining raw materials148 Activity Upcycled design150 Reframing corporate thinking152 Case study A new twist on branding156 Interview Sali Sasaki159 Activity Socially responsible design

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01

01 Rug

This rug was designed by Chris Haughton and woven in Nepal using fair trade principles.

How to design for a cause (even at home)

What does it mean to design for a good cause and how can one be an agitator, an organizer and an agent of change? Good design is made by professionals who care. Whether working alone or in collaboration with like-minded organizations, designers have the tools to be catalysts and make a positive impact at home, in their communities and around the world. Design for a cause starts with doing what we do best and being flexible to a range of communication modes and outcomes.

First-year design students are often asked what it is that they will produce when they finish college. Their list can become dizzyingly long. Some designers may spend a whole career mastering the intricacies of user-interface design, while others create environmental graphics and signage for a museum one week and layout an annual report the next. Similarly, the ways designers can help to organize and generate opportunities for participation among audiences and consumers is as diverse as the output that we make.

Whether designers build better experiences for viewers or develop sites to help citizens organize and campaign for change, they have an opportunity to align themselves with causes that they believe in. The results are rewarding, stimulating and can add some excitement to the design experience.

109108

018 Polypropylene hat

The Element 21 hat is made with woven polypropylene (PP) plastic that is used as packaging for various foodstuffs, including rice and other staples. The polypropylene is light, impermeable to water, foldable and easily washed.

Design Making Change

018

018

Small steps

Thinking in terms of scale can be paralyzing and even activists can get discouraged by how much there is to do. Fortunately, small steps are just as important as large initiatives. Mentoring a student from an underprivileged background or taking on an intern and helping them to do values-based work can have far-reaching effects. If every designer acted as a catalyst in some small way, the net gain would be tremendous. When we begin to think of motivating people toward action, we should start by making connections with like-minded individuals. Live by doing. It inspires others to do the same and there is lasting value in making design for good. No job is too small to start creating work that makes a positive impact.

018 Materials for the hat

Materials needed to produce the hat are simple and include discarded polypropylene and a small piece of denim or other cloth for the hat liner, scissors, a pen, ruler, thread and a sewing machine.

024 Element 21

Geneva-based non-profit, Element 21 makes patterns for do-it-yourself products available free of charge. People make their own hats and bags for fun. The organization also works with craft groups in the develop-ing world where eurocentric designs provide a revenue stream for its producers (see www.element21.ch).

Five ideas to explore when making socially or environmentally responsible design:

1 Ask yourself, ‘What are my strengths?’ Once identified, look for opportunities based on those attributes.

2 Ask yourself whether you can do values-based work where you are employed. If so, then you might already be doing good. If not, consider whether fellow employees have ideas or beliefs in common – if so there might be opportunities to collaborate and work on ethical design projects.

3 Are there areas of your life – hobbies, faith, family or community that are particularly meaningful? If so, look for ways to interface with an organization or group that is already part of your life or one that is aligned with something that interests you. Put your skills to use whether they are design, communication or organization.

4 Keep doing what you do best as an individual. It might seem like a cliché, but much would be accomplished if we all ‘used the force’ for good. This might mean designing a typeface for the visually impaired, or working in local schools so that children understand the importance of design in the world. It’s about your skills, your interests and your change.

5 Avoid getting bogged down in the bigger questions, or single-handedly trying to save the world. First consider contributing locally, at work or in your community. Then if you have the energy, go ahead and tackle a global initiative.

018

Technology facilitating collaboration . How to design for a cause (even at home) . Be a designer… for good

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UK May 2012 • US June 2012

208 pages • 200 colour illus

230 x 160mm / 9.1 x 6.3 in

PB 9782940411795 • £23.50 / $34.50

Library eBook 9782940447329 • £69.00 / $111.00

Series: Basics

AVA Publishing

BasicsDesign01:Format 2nd edition Gavin Ambrose and Paul HarrisPRAISEFoRTHEFIRSTEDITIon:

“As a genuinely informative and inspiring guide to a fundamental aspect of graphic design, books like this are few and far between ... essential reading for design students. this is an excellent source book for established designers too: it’s brimming with stimulating ideas.” Creative Review

Format is an indispensable guide to exploring how a design’s printed or digital information is received.

• newmaterialinthiseditionincludesanewchapter,focusingonon-screen,onlineandmovingimage• newcasestudiesandstudentexercisesattheendofeachchapterhelpreadersapplyknowledgetotheir

own graphic design work

GAVIN AMBROSE is a practising graphic designer. He has written and designed several books on graphic design and branding. PAUL HARRIS is a freelance writer, journalist and editor.

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Client: CTD Capita Digital

Design: Hat-trick

Process: Printed one side

only, bound by a bolt,

with a laminated cover

CTD Capita DigitalThis design for a guide to the new Indichrome printing system is based on the Pantone colour swatch book and produces more accurate colours than previous digital printing services, highlighted in the design by printing the ‘names’ of various colour hues and intensities in their respective colours.

Client: Doric

Design: Roundel

Process: Product brochure

with throw-outs, gatefolds

and inserted letterhead

DoricEntitled ‘turn to’, this poster/brochure uses written instructions to instruct readers how to unfold the product. Completion of each instruction reveals another page, gatefold or throw-up.

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36 37Form follows function

Client: Nigel Coates/

Laurence King Publishing

Design: why not associates

Process: 408-page book,

edition bound, multiple

page-markers, foil-blocked

cover and bellyband

Nigel Coates/Laurence King Publishingwhy not associates made a useful enhancement to the format of architect Nigel Coates’ book Ecstacity by including several coloured page marker bands. The markers highlight the complex dynamics and multiple narratives that characterize today’s urban metropolis, which are the focus of this book.

Book formats 50 51

Book

form

ats

| Im

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UK October 2012 • US November 2012

208 pages • 200 colour illus

230 x 160mm / 9.1 x 6.3 in

PB 9782940411924 • £23.99 / $37.95

Library eBook 9782940447466 • £72.00 / $116.00

Series: Basics

AVA Publishing

BasicsDesign07:Grids 2nd edition

Gavin Ambrose and Paul HarrisPRAISEFoRTHEFIRSTEDITIon:

“i have found no better text for teaching graphic design than the Basics design series – they’re the books i’ve been waiting my entire teaching career for. chapter-based learning packaged in easily digestible sizes for one term with excellent, current examples of the theory presented in practice.” Darren Stebeleski, Martha Street Studio, Canada

Through detailed investigation of the principles behind grid design, this book informs and advances your understanding of this key design component, allowing you to devise grids with ease and precision for any situation.

• Anin-depthexplorationoflayoutandhowitinformsotheraspectsofcreativedesign• Exemplifiedbyawiderangeofcontemporaryworkanddiagrammaticvisualizations• Featuressubstantialnewandrevisedcontentandvisuals,includingadditionalcasestudiesandend-of-

chapterexercises

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BasicsGraphicDesign03: IdeaGenerationNeil Leonard and Gavin Ambrose“clear, concise and comprehensive, with focused exercises and examples throughout, Idea Generation serves as a great introduction to the world of creative and lateral thinking.” Graham Jones, Loose Collective

Idea Generation explores the many ways in which designers can generate ideas and develop them into successful design solutions.

• Presentedwithmanyinspiringandinformativeimages,studiointerviewsandexercises• Coveragerangesfromaudience,contextandmaterialstothemanylevelsofideageneration,fromthe

macrotothemicro,andfrombrainstormingtomorefocused,selectiveandstrategicsystems

UK December 2012 • US January 2013

200 pages • 200 colour illus

230 x 160mm / 9.1 x 6.3 in

PB 9782940411818 • £23.99 / $37.95

Library eBook 9782940447428 • £72.00 / $116.00

Series: Basics

AVA Publishing

UK July 2012 • US August 2012

200 pages • 200 colour illus

230 x 160mm / 9.1 x 6.3 in

PB 9782940411740 • £23.50 / $34.50

Library eBook 9782940447381 • £69.00 / £111.00

Series: Basics

AVA Publishing

BasicsGraphicDesign02: DesignResearchInvestigation for Successful Creative SolutionsNeil Leonard and Gavin Ambrose“Design Research is an easy to follow, clearly written, student-friendly guide on how to conduct research for practical projects ... the importance, practice, methods, and key terminology of research are introduced in a measured way.” Nigel Ball, Course Leader, School of Arts & Humanities, University Campus Suffolk, UK

Design Research shows visual communication students how to choose the best method of research in order to save time and get the right results. All stages of the research process are considered in a dynamic and entertaining style, covering audience, context, trends, sources, documentation, dissemination and more.

• Illustratedthroughoutwithresearch-leddesignexamples,spanningposterdesign,packaging,typographyand signage

• Readerscanfurtherexploredifferentresearchmethodsandtechniquesthroughbriefsandactivities

NEIL LEONARD is a designer and educator. GAVIN AMBROSE is a practising graphic designer.

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Rationale

Knowing why particular choices have been made will help you to explain their value. Having a clear rationale for each of your decisions will demonstrate the soundness of the choice and the strength of the knowledge that informed them. A good presentation should start with an overview of the process that has led to the idea presented, and it is important to have a clear and thorough rationale for each of the stages shown to the client.

Following these steps will help you to communicate the rationale behind your ideas effectively and persuasively:

1 Reiterate the brief and the key objectives of the project.

2 Detail the key areas of development and tell the client what processes you have applied.

3 Be clear and concise – you do not have to show the client everything, but have all pertinent information close to hand.

4 Make notes, as it is easy to forget key points – bullet points are often best.

5 Rehearse the presentation to ensure clarity, even if it is just spoken aloud to yourself – this can help you get the rhythm right and iron out any kinks.

6 Remember, there is a reason you followed the path travelled, so take the client on the same journey and make it obvious there was only one clear destination.

Presenting and communicating ideas

Presenting and communicating ideas Applying idea generation

174 175

6.22

Natural History Museum Discovery Guides Hat-trick Design

This series of guides was produced to meet a very specific brief, as Jim Sutherland of Hat-trick Design explains: ‘The Natural History Museum wanted to produce school materials that made learning about nature engaging, open, accessible and fun, to reflect the core values of the museum itself. The solution was to create covers for the guides that the children could play and interact with, to bring the animals and galleries to life. These were perforated so they could be torn off once the activities were completed and kept by the children at school or at home, getting the brand to live outside of the museum itself.’

We wanted the children to have something to tear off and keep. In the past you filled in the papers and gave them back, there was no interaction, nothing to remember or keep hold of. Jim Sutherland, Hat-trick Design

6.22

Client and competition Object, construction and materials Studio interview

98 99

3.18—3.19

Fresh12 Karoshi

Adding a point of difference is often achieved in the choice of materials, stocks and colours of a design. Shown are CD covers for a music publisher, Fresh12. The design is a homage to the simple screen-printed fruit packaging containers. Each CD uses a different colour pattern, creating a collectable series. The simple central shape simultaneously relates to the icon of a 12 inch vinyl record and the ‘freshness’ of the appropriated fruit packaging.

1

3

3.18

3.19

Construction and materials

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TheVisualDictionaryDesignBoxSetGavin Ambrose, Paul Harris and Mark WiganThe Visual Dictionary Design Box Set provides readers with an enhanced understanding of over 1,000 professional design terms, illustrated with historical and contemporary examples throughout.

• over1,000commondesigntermsdefinedandcontextualized,providingreaderswithaninvaluablereferencetool

• Aconciseintroductiontofourdesigndisciplines:pre-pressandproduction;typography,graphicdesign; and illustration

• Eachtitleisbeautifullypresentedwithcompellingandexcitingillustrations

GAVIN AMBROSE is a practising graphic designer. PAUL HARRIS is a freelance writer, journalist and editor. MARK WIGAN is an artist, illustrator and academic.

gRApHIc dESIgN

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Tone of Voice

It is often said that way we say things has as big an impact as what we actually say. This tone of voice, is the graphic equivelant of on accent, or stress. Finding a tone of voice for a project can unlock how that brand or service will communicate. This is both a text approach: How is the text written?, How is punctuation used? Is it always short and snappy, or more detailed? and also a graphic appraoch: Is it always set in uppercase? Colour and typeface choices will also greatly influence how this tone of voice is articualted, and how it is interpretted.

In the example shown here, design agency To The Point were tasked by international printers, News Printers, to convey key messages, messages of pride to their workforce.

The resulting installation graphics are both engaging and humorous, reflecting the vales of the printers, and the clients they represent. It’s tone of voice is no-nonsense,

freindly, straight-forward, and conveys a sense of pride, as Simon Hutton of to The Point explains:

‘We did inhouse research for the news printers project, going out and speaking to the teams on the presses and doing some brand workshops to build understanding of branding and core values. We did find this useful and key feedback into our work was the enormous pride in what they do. Our objective therefore became transferring their pride in the publications they print (The Sun, The Times, The news of the world) into pride in their business ‘news printers.’

The text elements are consistently applied, both linguistically (they have similar numbers of charachters) and graphically (they are set in three rows of type, in two colours). The juxtaposition with the imagery forms a linguistic knot, adding interest and intrigue.

TExTBOOKDesignGeniusThe Ways and Workings of Creative ThinkersGavin AmbroseThrough a series of interviews with leading designers, Design Genius explores the tools and inspiration behind some of the world’s finest design ideas.

• Explores,throughaseriesofinterviews,thetoolsthatvisualcommunicatorsusetofacilitateimaginativethinking

• Avisualtourdeforce,withaneclecticsetofworksfromsomeofthehighestqualitycreativeindividualsandagenciestoappealtobothprofessionalandstudentaudiencesacrossabroadrangeofvisualartssubjects

• Featuresanexceptionallyvariedpoolofcontributors,fromartdirectors toillustrators,artiststophotographersandwriters,includingKesselsKramer,StudioMyerscough,3DeepDesignandAKQA

GAVIN AMBROSE is a practising graphic designer.

UK June 2012 • US July 2012

1,168 pages • 950 colour illus

127 x 114mm / 5 x 4.5 in

PB 9782940411979 • £29.95 / $39.95

Individual library eBooks • £90.00 / $145.00

Series: Visual Dictionaries

AVA Publishing

UK August 2013 • US September 2013

320 pages • 350 colour illus

270 x 210mm / 10.6 x 8.3 in

PB 9782940411962 • £32.99 / $51.95

Library eBook 9782940447459 • £99.00 / $159.00

Series: Creative Core

Fairchild Books

TheGraphicArtoftheUndergroundA Countercultural HistorySuzy Prince and Ian LoweyThe Graphic Art of the Underground: A Countercultural History showcases the visual art and design that has emanated from a series of iconoclastic, underground youth movements within Western pop culture since the 1950s, and which have challenged the perceived social and cultural complacency of the establishment.

The book presents a visual stunning collection of provocative graphics, and draws upon the work of an array of artistic figures such as Ed ‘Big Daddy’ Roth, Kenny ‘Von Dutch’ Howard, Robert Williams, Robert Crumb, Frank Kozik, Jamie Reid, Gee Vaucher, James Cauty, Barney Bubbles and Banksy, among numerous others.

SUzY PRINCE is a freelance journalist, lecturer and copywriter. She was the editor for Nude Magazine for ten years. IAN LOWEY is a freelance writer and journalist. He worked as co-publisher and designer of Nude Magazine.

UK November 2013 • US November 2013

256 pages • 200 colour illus

297 x 210 mm / 11.7 x 8.3 in

HB 9780857858184 • £29.99 / $49.95

Bloomsbury Academic

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TExTBOOK

TheLayoutBookGavin Ambrose

2007 • 194 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 inPB 9782940373536 • £35.00 / $49.95Series: Required Reading RangeLibrary eBook 9782940439690 • £105.00 / $169.00Series: Required Reading RangeAVA Publishing

TExTBOOK

TheFundamentalsofGraphicDesignGavin Ambrose and Paul Harris

2008 • 200 pages • 200 colour illus 230 x 200mm / 9.1 x 8.7 inPB 9782940373826 • £26.50 / $38.50Library eBook 9782940439034 • £78.00 / $125.00Series: FundamentalsAVA Publishing

TExTBOOK 2nd edition

TheFundamentalsofCreativeDesignGavin Ambrose and Paul Harris

2011 • 192 pages • 200 colour illus 230 x 200mm / 9.1 x 8.7 inPB 9782940411610 • £26.50 / $38.50Library eBook 9782940447251 • £78.00 / $125.00Series: FundamentalsAVA Publishing

TExTBOOK

BasicsGraphicDesign01:ApproachandLanguageGavin Ambrose and Nigel Aono-Billson

2010 UK • 2011 US 200 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 inPB 9782940411351 • £21.95 / $32.95Library eBook 9782940439737 • £66.00 / $106.00Series: BasicsAVA Publishing

TExTBOOK 2nd edition

BasicsDesign02:LayoutGavin Ambrose and Paul Harris

2011 • 216 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 inPB 9782940411498 • £23.50 / $34.50Library eBook 9782940447169 • £69.00 / $111.00Series: BasicsAVA Publishing

TExTBOOK 2nd edition

VisualResearchAn Introduction to Research Methodologies in Graphic DesignIan Noble and Russell Bestley

2011 • 224 pages • 250 colour illus 300 x 220mm / 11.8 x 8.7 inPB 9782940411603 • £37.50 / $52.50Library eBook 9782940447268 • £111.00 / $178.00Series: Required Reading RangeAVA Publishing

TExTBOOK 2nd edition

Visible Signs An Introduction to Semiotics in the Visual ArtsDavid Crow

2010 UK • 2011 US 192 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 inPB 9782940411429 •£37.50 / $52.50Library eBook 9782940439805 • £111.00 / $178.00Series: Required Reading RangeAVA Publishing

TExTBOOK

VisualCommunicationFrom Theory to PracticeJonathan Baldwin and Lucienne Roberts

2006 • 192 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 inPB 9782940373093 • £37.50 / $49.95Library eBook 9782940447053 • £111.00 / $178.00Series: Required Reading RangeAVA Publishing

TExTBOOK

The Visual Dictionary ofPre-pressandProductionGavin Ambrose and Paul Harris

2010 • 304 pages • 250 colour illus 160 x 120mm / 6.3 x 4.7 inPB 9782940411290 • £14.95 / $24.95Library eBook 9782940439812 • £42.00 / $67.00Series: Visual DictionariesAVA Publishing

TExTBOOK

TheProductionManualA Graphic Design HandbookGavin Ambrose and Paul Harris

2008 • 192 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 inPB 9782940373635 • £37.50 / $52.50Library eBook 9782940439591 • £111.00 / $178.00Series: Required Reading RangeAVA Publishing

TExTBOOK

GoodAn Introduction to Ethics in Graphic DesignLucienne Roberts

2006 UK • 2007 US 200 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 inPB 9782940373147 • £24.95 / $39.95Library eBook 9782940439980 • £72.00 / $116.00Series: Required Reading RangeAVA Publishing

TExTBOOK

PackagingtheBrandThe Relationship Between Packaging Design and Brand IdentityGavin Ambrose

2011 • 208 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 inPB 9782940411412 • £37.50 / $52.50Library eBook 9782940439799 • £111.00 / $178.00Series: Required Reading RangeAVA Publishing

KEY TITLES

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UK September 2012 • US October 2012

208 pages • 200 colour illus

230 x 200mm / 9.1 x 7.9 in

PB 9782940411481 • £26.50 / $38.50

Library eBook 9782940447206 • £78.00 / $125.00

Series: Fundamentals

AVA Publishing

The Fundamentals ofIllustration 2nd edition

Lawrence zeegenPRAISEFoRTHEFIRSTEDITIon:

“Lawrence Zeegen has produced a very important guide that whilst aimed primarily at students is proving very popular with staff – a very impressive work. great choice of imagery, some wonderful examples of current practice.” Andrew Kulman, Birmngham City University, UK

“this is an excellent and informative book. it is an invaluable sourcebook and has aided me immensely... i love the easy reference style of this book. it is well laid out and graphically appealing.” Deborah Lunnon, Interactive Design Institute, UK

“An excellent introduction into the illustration profession. it shows the importance of the creative process and explains the relevance of illustration in the design world... We use the entire book in the course and that is a rare find in a textbook.” Kerri Eckes, Art Institute of Raleigh-Durham, USA

The Fundamentals of Illustration 2nd Edition introduces students to the subject of illustration, taking them through the key skills and practical processes required for the study of this exciting degree course.

Each chapter concludes with a case study, which outlines a brief and then describes each stage of the process, from the illustrator’s initial response to the completion of the project. The case studies feature the work of John Clementson, Tim Vyner, Olivier Kugler, Damian Gascoigne, Ben Kelly and Howard Read.

The book also contains a series of interviews with practising illustrators such as Autumn Whitehurst, Stina Persson and Anthony Burrill.

nEWToTHISEDITIon:

• Updated with a wealth of fresh visuals, tips, and contemporary case studies• New and revised content and examples that reflect the changes and developments in the

discipline over the past few years• Current visual approaches are examined and evaluated, along with new chapters on

visual thinking, idea generation and the illustrator as an artist• A chapter on the professional practice of a freelance designer helps students to

understand the realities of this creative career path

LAWRENCE zEEGEN is an illustrator, educator and writer. He is currently Head of School for the School of Communication Design at Kingston University, UK.

ILLUSTRATION

Foreword

Introduction

The Illustrator as Artist: Illustration as a

Discipline

The Medium is the Message: The Power of

the Pencil

From Outcomes to Outlets: The Overview

Communicating Ideas: Why Ideas?

Making it Happen: Marketing the Product

and the Art of Self-promotion

Production: Essential Kit

Bibliography

Index

cON

TENTS

TExTBOOK

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UK May 2013 • US June 2013

192 pages • 200 colour illus • 270 x 210mm / 10.6 x 8.3 in

PB 9782940411931 • £26.99 / $42.95

Library eBook 9782940447589 • £81.00 / $130.00

Series: Creative Careers

Fairchild Books

BecomingaSuccessfulIllustratorJo Davies and Derek BrazellBecoming a Successful Illustrator is a beautiful, comprehensive resource that will help students and early career professionals to operate successfully in the professional practice of illustration.

• Lavishlyillustratedandbeautifullydesignedtoshowcasesomeoftheworld’sbestillustration

• Includesahelpfulsectiononhowtomanagefinancesandcopyrightissues• Casestudiesandinterviewsfrompractisingillustratorsatvaryingstagesoftheircareers,

majorclients,employers,educatorsandagentsprovideinsiderinformationandopinion• Activitieshelpprovidedirectionintheareasofself-awareness,promotion,sourcing

clients,andassessingfees

JO DAVIES is Associate Professor in Illustration at Plymouth University, UK. DEREK BRAzELL is Project Manager at the Association of Illustrators, London, UK.

ILLUSTRATION

115114

CHAPTER fouRgetting your work seen

11 Louisa St Pierre, Pheonix

Rising, The Royal Exchange,

London. A 20-foot banner

alluding to the history of The

Royal Exchange, which burned

down in The Great Fire of

London, 2005.

12 James Gulliver

Hancock, Always Building,

People Design. Semi-abstract

illustrations for philosophical

book by Herman Miller, 2008.

Images courtesy of The Jacky

Winter Group

11 12

each commission we produce

adds knowledge and experience

into our bank, and whenever we

handle a commission, we are able

to refer back on that rich source of

information. where a successful

artist may only have a few dozen

jobs to draw from, we are coming

from a background of thousands. the

good ones and the bad ones. we’re

like navigators in that we know all

the different places jobs come from

and which ways they can go. it’s like

a weird and wonderful road trip.

Jeremy Wortsman –

Director The Jacky Winter

Group, Australia

agent representatiOn

Organizing yOur fOliO and website Visual literacy

case study ulla puggaard

case study tad carpenter

case study Hartwig braun and isaac lilOs

TExTBOOK

TheVisualDictionaryofIllustrationMark Wigan

2009 • 288 pages • 250 colour illus 160 x 120mm / 6.3 x 4.7 inPB 9782940373901 • £14.95 / $24.95Library eBook 9782940439225 • £42.00 / $67.00Series: Visual Dictionaries • AVA Publishing

TExTBOOK

BasicsIllustration01:Thinking VisuallyMark Wigan

2006 • 184 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 inPB 9782940373154 • £23.50 / $34.50Library eBook 9782940439843 • £69.00 / $111.00Series: Basics • AVA Publishing

TExTBOOK

BasicsIllustration02:SequentialImagesMark Wigan

2007 UK • 2008 US 176 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 inPB 9782940373604 • £17.95 / $29.95Library eBook 9782940439850 • £51.00 / $82.00Series: Basics • AVA Publishing

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BasicsIllustration03:TextandImageMark Wigan

2007 UK • 2008 US 176 pages • 250 colour illus 230 x 160mm / 9.1 x 6.3 inPB 9782940373505 • £17.95 / $29.95Library eBook 9782940439607 • £51.00 / $82.00Series: Basics • AVA Publishing

TExTBOOK

BasicsIllustration04:GlobalContextsMark Wigan

2009 • 184 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 inPB 9782940373949 • £17.95 / $29.95Library eBook 9782940439362 • £51.00 / $82.00Series: Basics • AVA Publishing

TExTBOOK

IllustrationA Theoretical and Contextual PerspectiveAlan Male

2007 • 216 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 inPB 9782940373512 • £24.95 / $39.95Library eBook 9782940439997 • £72.00 / $116.00Series: Required Reading Range • AVA Publishing

KEY TITLES

TExTBOOK

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UK March 2013 • US April 2013

184 pages • 200 colour illus • 230 x 160mm / 9.1 x 6.3 in

PB 9782940411825 • £23.99 / $37.95

Library eBook 9782940447442 • £72.00 / $116.00

Series: Basics

AVA Publishing

BasicsTypography03:Understanding TypeMichael HarkinsPacked with in-depth case studies and inspiring examples of type in different contexts, Understanding Type arms graphic design students with the knowledge they need to make informed decisions about type.

• Examineswhatyouneedtoknowtounderstandtype,fromitsdevelopmentandanatomy,toidentifyingandchoosingdifferenttypes

• Engagingtasksencouragepracticalengagementwiththeideasdiscussedineachchapter• Chaptersaresupportedwithin-depthcasestudiesandarunningglossarythatdefines

key terms and concepts

MICHAEL HARKINS is Course Leader for MA Graphic Design at the University of Portsmouth, UK.

contentS

Introduction • What is Type? • Type Genealogy • Type in Context • Old, New and Familiar Faces •

Identifying Type • Type and Technology • Further Resources • Index

TYpOgRApHY

40 412.1Keep it in the family

Type, typeface, font

Type and typography have always been bound to technology, from metal type through phototypesetting to today’s digital type. Along with developing technologies, the ways in which typefaces have been supplied or grouped have meant that there is often confusion about how we use the terms ‘type’, ‘typeface’ and ‘font’ in relation to the letterforms of typography.

Originally, the word typeface literally meant the face, or printing surface, of metal or wooden type. The term also implied the design or style.

Fig 2.1: Specimen sheetThe early promotion of a type-founder’s types was presented in sheet form, showing the quality and extent of their types.

Fig 2.2–2.3: FontfaceA modern interpretation of typeface promotion! Atipo’s Fontface series explores the forms of classic types in a playful manner.

Fig 2.2

Fig 2.3

A font – originally a ‘fount’, also known as a ‘fund’ of type – referred to a useable collection of types of the same/related design (typeface). This could be found in a tray of type, for example. The term could also be used to describe related types, such as roman, italic and so on.

Today, the term typeface is still used to refer to the design and font is the collected, useable set. With the development of various technologies the term ‘families’ emerged, offering larger related sets of typefaces – semi-bold, expanded, compressed and so on. The term font, therefore, can represent a single weight/style of typeface (the design), but may also refer to a font family – a set of related weights/styles/variants such as roman, italic, bold, small-caps and semi-bold (a group of related typeface designs).

2.1 Keep it in the family • 2.2 Distant relations

Fig 2.1

TExTBOOK

The Visual Dictionary ofTypographyGavin Ambrose and Paul Harris

2010 • 288 pages • 250 colour illus 160 x 120mm / 6.3 x 4.7 inPB 9782940411184 • £16.95 / $24.95Library eBook 9782940439522 • £48.00 / $77.00Series: Visual DictionariesAVA Publishing

BasicsTypography02:Using TypeMichael Harkins

2011 • 184 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 inPB 9782940411559 • £23.50 / $34.50Library eBook 9782940447275 • £69.00 / $111.00Series: BasicsAVA Publishing

BasicsDesign03:TypographyGavin Ambrose and Paul Harris

2005 • 176 pages •200 colour illus Other / 9.1 x 6.3 inPB 9782940373352 • £23.50 / $34.50Library eBook 9782940439027 • £69.00 / $111.00Series: BasicsAVA Publishing

The Fundamentals ofTypography 2nd edition

Gavin Ambrose and Paul Harris2011 • 200 pages • 200 colour illus 230 x 200mm / 9.1 x 7.9 inPB 9782940411764 • £26.50 / $38.50Library eBook 9782940447244 • £78.00 / $125.00Series: FundamentalsAVA Publishing

KEY TITLES

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TExTBOOK

TExTBOOK

TExTBOOK

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ColorandDesignEdited by Marilyn DeLong and Barbara MartinsonColor and Design addresses how we understand and experience colour, and through specific examples explores how colour is used in a spectrum of design-based disciplines including apparel design, graphic design, interior design, and product design.

Through highly engaging contributions from a wide range of international scholars and practitioners, the book explores colour as an individual and cultural phenomenon, as a pragmatic device for communication, and as a valuable marketing tool.

MARILYN DELONG is Professor of Apparel Studies, College of Design, University of Minnesota, USA. BARBARA MARTINSON is Professor of Graphic Design, College of Design, University of Minnesota, USA.

ColorStudies 3rd edition

Edith Anderson Feisner and Ronald ReedThe third edition of Color Studies introduces students to colour theory, the physiology and psychology of colour perception, and the physics of colour. This text discusses in detail the four dimensions of colour – hue, value, intensity and temperature – with tips for putting knowledge into practice in a variety of disciplines, from painting and other fine arts to interior design, architecture, fashion design, textile design, and graphic design.

• Additionalteachingresources:Instructor’sGuideandPowerPointpresentationavailable• Fullcolourphotographsandillustrationsincludecolourwheelsillustrativeofdifferenttheories• Featuresinterviewbriefsfromdesignprofessionalsonthetopicofcolourandpracticeintheirdisciplines• Includeschapterobjectives,keyterms,endofchaptersummariesandbeginningandadvancedexercises

nEWToTHISEDITIon:

• Up-to-date discussion of sustainable colour applications and green materials as the underlying component of colorants, dyes, and inks in textiles, print-making and paints

• A new chapter on colour and digital technology discusses illuminating with colour (LED), colour tools and management (Pantone), as well as colour consulting and marketing

EDITH ANDERSON FEISNER is a Visiting Specialist in the School of Fine Arts at Montclair State University, USA. RONALD REED is an Assistant Professor and Program Coordinator for Interior Design in the School of Family and Consumer Sciences at Texas State University, San Marcos, USA. He is also the author of Color + Design: Transforming Interior Space (Fairchild Books, 2010).

cOLOUR

TExTBOOK

BasicsDesign05:ColourGavin Ambrose and Paul Harris

2007 • 184 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 inPB 9782940373314 • £23.50 / $34.50Library eBook 9782940439119 • £69.00 / $111.00Series: BasicsAVA Publishing

TExTBOOK

Designing with ColorConcepts and ApplicationsChris Dorosz and J.R. Watson

2010 UK • 2011 US 320 pages • Colour illus 216 x 279mm / 11 x 8.5 inPB 9781563678592 • £60.00 / $93.50Fairchild Books

TExTBOOK 3rd edition

ThenewMunsell®StudentColorSetJames Thomas Long

2011 • 178 pages • colour illus 254 x 178mm / 8 x10 inHB 9781609011567 • £45.00 / $75.00Fairchild Books

KEY TITLES

WWW/TExTBOOK

UK October 2013 • US August 2013

256 pages • 355 colour illus

152x228 mm / 8.5 x 11 in

PB 9781609015312 • £54.99 / $85.00

Fairchild Books

UK November 2012 • US January 2013

256 pages • 36 bw and 47 colour illus

244 x 172mm / 9.6 x 6.8 in

PB 9781847889515 • £19.99 / $34.95

HB 9781847889522 • £55.00 / $99.95

Individual eBook 9781847889539 • £19.99 / $30.99

Berg Publishers

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UK August 2013 • US September 2013

184 pages • 200 colur illus

230 x 200mm / 9.1 x 7.9 in

PB 9782940496075 • £26.99 / $42.95

Library eBook 9782940447596 • £81.00 / $130.00

Series: Fundamentals

Fairchild Books

UK December 2012 • US December 2012

274 pages • 1,750 colour illus

285 x 208mm / 11.2 x 8.2 in

HB 9782940496211 • £40.00 / $65.00

AVA Publishing

TheFundamentalsofDigitalAdvertisingChris Linford and Jo HodgesThe Fundamentals of Digital Advertising is an informative introduction to advertising today, examining how the industry is changing to take advantage of new technologies. Packed with examples of the very best in online and interactive advertising, this is an indispensable guide for any student of advertising.

• Coveragerangesfrombannerads,advergamesandviralcampaignstopagetakeoversandin-gameadvertising

• Strikingexamplesfromhigh-profilecampaigns,advertisingindustryprofessionalsandstudentworkillustratethetextthroughout

• Clearandengagingexplanationshelpreaderstodeveloptheirownnewandinnovativecampaigns• Writtenbytwoleadingacademicswhogiveaninsightbothintotheartisticandtechnologicalaspectsof

the industry

CHRIS LINFORD has worked in many sectors of the media industry including advertising, games, multimedia, publishing and the Internet. He joined the University of the Arts at the London College of Communication as a Principal Lecturer and Head of Digital Media in 1997. JO HODGES is Course Director for the BA (Hons) Advertising in the London College of Communication, UK.

AdVERTISINg

ArtDirectorsAnnual:91Art Directors Club“the great authority and worldwide prestige of the Art directors club Annual Awards remain unequaled... each year’s Annual forever commemorates the most creative work of the year. Long may the show, and the Annual, live.” George Lois, art director, designer and author

This annual features, in full colour, the winners of the toughest competition in the field – the Art Directors Club Annual Awards. The book presents, with exceptional clarity and detail, the work of gold and silver medallists and distinctive merit winners in national and international advertising, graphic design, interactive design, interactive media, photography, and illustration.

Continuously published since 1920, the Art Directors Annual is the world’s most widely distributed creative awards reference book and source of inspiration, honouring the year’s best work in design and advertising around the globe.

This past holiday season, the Colombian military developed a strategic

campaign to entice guerrilla fighters to lay down their arms. The military

constructed several Christmas trees along a tactical guerrilla route

through the jungle, in the hope that the non-violent gesture and display

of holiday spirit would entice the fighters to demobilize and return home.

When guerrillas approached the trees, movement sensors made them

light up and display a banner announced the following message: “If

Christmas can come to the jungle, you can come home. Everything is

possible at Christmas.” The campaign was broadcast and showcased

on international media channels, major news websites, blogs and various

social media outlets. Over 300 guerrillas have demobilized as a direct

result of this campaign effort, a 30 percent increase from the previous year.

Designism 44

oPerATioN chrisTMAs

LOW E /S S P 3A DV E R T I S I N G | A m b i e n t / E n v i ro n m e n t a l

S t u n t s /G u e r r i l l a

CHAIRMAN: Jose Miguel Sokoloff

EXECUTIVE CREATIVE DIRECTOR:

Alejandro Benavides

CREATIVE DIRECTOR: Santiago Mesa

SENIOR ART DIRECTOR:

Carlos Andres Rodriguez

COPYWRITER: Sergio Leon

DESIGNER: Alejandro Ussa

DIRECTOR: Jaime Gonzalez, Jose Maria Angel

PRODUCER: Jose Vicente Altamar

CLIENT: Ministry of Defense

COUNTRY: Colombia

ADC

PoWer Pl AToN

E D G , C O N D é N A S TM a g a z i n e Ed i to r i a l | M i s c e l l a n e o u s

CREATIVE DIRECTOR: Scott Dadich

DESIGNER: Allie Fisher, Victor Krummenacher

ILLUSTRATOR: Yarek Wazul

PHOTOGRAPHER: Platon

CLIENT: Abstract Partners

COUNTRY: United States

ADC

The re Al l ADY GAGA

H A R P E R ’ S B A z A A RM a g a z i n e Ed i to r i a l | Fa s h i o n

EDITOR IN CHIEF: Glenda Bailey

CREATIVE DIRECTOR: Stephen Gan

DESIGN DIRECTOR: Elizabeth Hummer

DIRECTOR OF PHOTOGRAPHY: zoe Bruns

PHOTOGRAPHER: Inez & Vinoodh

CLIENT: Harper’s Bazaar

COUNTRY: United States

ADC

Photography 92

TExTBOOK

The best-selling international

review of the year’s most innovative works in visual communication

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23www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk www.bloomsbury.com • US, Canada, South America • 888-330-8477 • customerservice@mpsvirginia.com

KEY TITLES

AdVERTISINg, MARKETINg ANd BRANdINg

2nd edition

TheFundamentalsofCreativeAdvertisingKen Burtenshaw, Caroline Barfoot and Nik Mahon

2011 • 184 pages • 200 colour illus 230 x 200mm / 9.1 x 7.9 inPB 9782940411566 •£26.50 / $38.50Library eBook 9782940447183 • £78.00 / $125.00Series: FundamentalsAVA Publishing

BasicsAdvertising01:CopywritingRobert Bowdery

2008 • 176 pages • 175 colour illus 230 x 160mm / 9.1 x 6.3 in PB 9782940373680 • £17.95 / $29.95Library eBook 9782940439539 • £51.00 / $82.00Series: BasicsAVA Publishing

BasicsAdvertising02: ArtDirectionNik Mahon

2010 • 184 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 inPB 9782940411214 • £19.95 / $32.95Library eBook 9782940439447 • £57.00 / $92.00Series: BasicsAVA Publishing

TheFundamentalsofMarketingRussell Edward

2009 • 192 pages • 100 colour illus 230 x 200mm / 9.1 x 7.9 inPB 9782940373727 • £26.50 / $34.95Library eBook 9782940439348 • £78.00 / $125.00Series: FundamentalsAVA Publishing

BasicsMarketing01:ConsumerBehaviourHayden Noel

2009 • 176 pages • 100 colour illus Other / 9.1 x 6.3 inPB 9782940373840 • £17.95 / $29.95Library eBook 9782940439249 • £51.00 / $82.00Series: BasicsAVA Publishing

BasicsMarketing02:onlineMarketingBrian Sheehan

2010 • 184 pages • 50 colour illus 230 x 160mm / 9.1 x 6.3 inPB 9782940411337 • £21.95 / $32.95Library eBook 9782940439751 • £66.00 / $106.00Series: BasicsAVA Publishing

The Fundamentals ofBrandingMelissa Davis

2009 • 184 pages • 200 colour illus 230 x 200mm / 9.1 x 7.9 inPB 9782940373987 • £26.50 / $34.95Library eBook 9782940439324 • £78.00 / $125.00Series: FundamentalsAVA Publishing

MoreThananameAn Introduction to BrandingMelissa Davis

2006 • 240 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 inPB 9782940373000 • £37.50 / $52.50Library eBook 9782940447022 • £111.00 / $178.00Series: Required Reading RangeAVA Publishing

CreativeIndustriesCritical ReadingsEdited by Brian Moeran and Ana Alacovska

2011 • 1,600 pages 244 x 172mm / 9.6 x 6.7 in HB Set 9781847887788 • £550.00 / $995.00Berg Publishers

AdvertisingCritical ReadingsEdited by Brian Moeran

2010 • 1,600 pages 244 x 172mm / 9.6 x 6.7 in HB Set 9781847885500 • £595.00 / $950.00Berg Publishers

TExTBOOK TExTBOOK

TExTBOOK TExTBOOK

TExTBOOKTExTBOOK

TExTBOOK

TExTBOOK

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24 www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk www.bloomsbury.com • US, Canada, South America • 888-330-8477 • customerservice@mpsvirginia.com

dESIgN MANAgEMENT

KEY TITLES

Brand-drivenInnovationStrategies for Development and DesignErik Roscam Abbing“more than a valuable addition to the design thinking literature, it takes design thinking up a level and provides a novel conceptual framework for managers who want to (or need to) rethink how they relate their corporate and product brands to the innovation process ... it’s not just a read, it’s a practical guide.” Haydn Shaughnessy, Innovation Management

2010 • 208 pages • 100 colour illus 300 x 220mm / 11.8 x 8.7 inPB 9782940411283 • £35.00 / $49.95Library eBook 9782940439768 • £105.00 / $169.00Series: Required Reading RangeAVA Publishing

CreativeResearchThe Theory and Practice of Research for the Creative IndustriesHilary Collins“Absolutely brilliant. it really breaks down complex ideas into manageable blocks for teaching and learning.” Charles da Costa, Savannah College of Art and Design, USA

“excellent textbook. innovative in style and layout for this style of text and subject area. Very student and user friendly which is important ... i would wholly recommend this text.” Rachel Studd, University of Manchester, UK

2010 • 208 pages 300 x 220mm / 11.8 x 8.7 inPB 9782940411085 • £35.00 / $49.95Library eBook 9782940439676 • £105.00 / $169.00Series: Required Reading RangeAVA Publishing

TheFundamentalsofDesignManagementKathryn Best“A dynamic publication that delivers exactly what it says on the tin. the second of two books by kathryn Best is a critical addition to any aspiring design manager’s library. it would also serve as a valuable reference tool for any business leader who wishes to successfully harness the power of design.” Gethin Roberts, Engineering Designer

2010 • 208 pages • 200 colour illus 230 x 200mm / 9.1 x 7.9 inPB 9782940411078 • £26.50 / $36.95Library eBook 9782940439331 • £78.00 / $125.00Series: FundamentalsAVA Publishing

Vision and Values in DesignManagementDavid Hands“highly relevant and stimulating for mA design Strategy students.” Ray Holland, Brunel University, UK

“one of the real appeals of this and other texts in the series is the appeal of the books’ layout ... Product examples are refreshingly different from many of the usual examples cited in design-related journals.” Miles Park, University of South Wales, Australia

2009 • 192 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 inPB 9782940373796 • £27.50 / $49.95Library eBook 9782940439300 • £81.00 / $130.00Series: Required Reading RangeAVA Publishing

DesignManagementManaging Design Strategy, Process and ImplementationKathryn Best“there are very few books on design management and none like this ... it is also such an enjoyable read that i would even recommend it to non-designers.” Bill Hollins, Engineering Designer

“excellent book with useful and applicable approaches to clarifying the stages and processes in the current practice ... rare text for this type of material - original and needed for the industry!” Paul Mazzucca, Mount Hood Community College, USA

2006 UK • 2007 US 216 pages • 300 colour illus 300 x 220mm / 11.8 x 8.7 inPB 9782940373123 • £37.50 / $52.50Library eBook 9782940439782 • £81.00 / $130.00Series: Required Reading RangeAVA Publishing

TheHandbookof DesignManagementEdited by Rachel Cooper, Sabine Junginger and Thomas Lockwood• Acomprehensiveoverviewofdesign

management: its methodologies, central debates, history and future

• Internationalcoverage,withcontributionsfrom key scholars in europe, Asia, the uS and canada

2011 • 544 pages • 70 bw illus 244 x 172mm / 9.6 x 6.7 inHB 9781847884886 • £80.00 / $140.00Berg Publishers

TExTBOOK

TExTBOOK

TExTBOOK

TExTBOOK

TExTBOOK

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25www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk www.bloomsbury.com • US, Canada, South America • 888-330-8477 • customerservice@mpsvirginia.com

UK July 2014 / US September 2014

2,400pp • 1,300 bw and 200 colour illus

244 x 189mm / 9.6 x 7.4 in

HB SET 9781847888303 • £590.00 / $990.00

Bloomsbury Academic

TheWorldHistoryofDesignThree-volume setVictor Margolinthe deFinitiVe gLoBAL hiStorY oF deSign Authored by preeminent design scholar Victor Margolin, The 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 twentieth century.

An unriVALLed BreAdth oF coVerAgeComprising three volumes containing almost one million words and 1,500 images, The World History of Design features all world regions across all periods. From the earliest cave art and human tools to the recent development of a global design culture, it includes substantial new material on design in Latin America, Asia, the Middle East and Africa.

deSign in contextThe World History of Design examines the social issues of design, as well as those of form and aesthetics, in far more detail than previous published histories, relating design’s development to the forces of trade, politics and economics.

muLti-diSciPLinArY reLeVAnce And APPeALWith its broad geographic and chronological purview, and its depth of discussion, The World History of Design is an essential resource for students and scholars in design history, as well as in the fields of history, sociology, art history, and anthropology. It will also appeal to design practitioners worldwide and to a general audience with an interest in design.

VICTOR MARGOLIN is Professor Emeritus of Design History at the University of Illinois, Chicago, USA.

WORLd HISTORY OF dESIgN

VoLume 1 deSign From PrehiStoric timeS to WorLd WAr i1. Tool making and Rock Art in the Prehistoric Age2. The Earliest Civilizations and Their Inventions, 7000

BCE - 900 BCE3. The Classical Age, 900 BCE - 800 CE4. The Emergence of Societies, Dynasties, and Empires,

800 CE - 1200 CE 5. Europe from the Renaissance to the Industrial

Revolution, 1200 CE - 1750 CE6. The World outside Europe, 1200 - 17507. The Industrial Revolution in Europe and America,

1750 CE -1830 CE8. The Age of Exhibitions: Great Britain, 1830 CE - 1900

CE9. The Craft Ideal and the Art Movement in Britain,

1861 - 191510. Canada, Australia, New zealand, 1300 CE - 1900 CE11. The Age of Exhibitions: Europe Outside Great

Britain,1830 CE - 1900 C.E.12. Colonies and Pre-industrial Nations in Asia and

Africa, 1750 CE - 1900 CE13. Protoindustrialization in Diverse Regions, 1750 CE -

1900 CE14. The United States: Mechanization Takes Command,

1840-190015. Art Nouveau and the Decorative Impulse, 1890 -

191416. The Beginnings of Modern Design in Europe and

America, 1900-191717. World War I, 1914-1918

cON

TENTS

VoLume 2 deSign From WorLd WAr i to WorLd WAr ii18. The Avant-Gardes, 1906 - 1925 19. Design in the Soviet Union, 1917-1928 20. Weimar Germany, 1918-1933 21. France between the Wars, 1918 - 1939 22. Tradition and Modernism: The English

Compromise, 1918-1939: 23. Canada, Australia, New zealand 24. The Low Countries, Austria, Switzerland,

and Spain, 1918-1939 25. Tradition and Modernism in

Scandinavia,1918-1939 26. The United States, 1918-1941 27. Central and Eastern Europe, 1918-1939 28. Design under the Dictators: Italy,

Germany, Portugal, Soviet Union, 1922-1940

29. Japan’s Hybrid Modernity, 1900 - 1937 30. India, China, and Southeast Asia, 1900-

1937 23,28431. Latin America, 1900-1939 32. Near and Middle East, 1900-1939 33. Africa, 1900-1939 34. World War II

VoLume 3 deSign From WorLd WAr ii to the PreSent35. Postwar Prosperity and the Role of

Design in America, 1945-197536. Economic Recovery in Western Europe,

1945-1975: England, France,Belgium, Netherlands,

37. Economic Recovery in Western Europe, 1945-1975: Greece, Portugal, Spain

38. Economic Recovery in Western Europe, 1945-1975: Italian Design and Swiss Modernism

39. Commonwealth and former Commonwealth Countries, 1945 - 1975

40. Design and the State: Eastern and Central Europe, 1945-1989

41. The Reawakening of Asia: 1945-197542. The Latin American Experience, 1945-

197543. The Near East and the Middle East, 1945-

197544. Africa: Decolonization and Afterwards,

1945 - 1975 45. Design Organizations, Research, and

International Movements, 1965 -198046. Global Design Culture: Origins and

Development, 1975- 2000

BibliographyIndex

The first scholarly history to cover

design thinking and practice around the

world, superbly illustrated wtih 1,500 images

Bloomsbury_Design_5.0.indd 25 28/01/2013 15:01

26 www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk www.bloomsbury.com • US, Canada, South America • 888-330-8477 • customerservice@mpsvirginia.com

UK December 2013 • US February 2014

192 pages • 40 bw illus

153 x 234mm / 6 x 9.2 in

PB 9780857857729 • £19.99 / $29.95

HB 9780857856821 • £65.00 / $120.00

Individual eBook 9781472517258 • £19.99 / $30.99

Bloomsbury Academic

UK June 2013 • US August 2013

256 pages • 150 colour illus

235 x 210mm / 9.3 x 8.3 in

PB 9780857853479 • £24.99 / $39.95

HB 9780857853462 • £75.00 / $125.00

Bloomsbury Academic

DeleteA Design History of Computer VapourwarePaul AtkinsonWhile most historical accounts of the development of computer design focus on specific computers or manufacturers, examining the success stories of hardware and operating systems, Delete: A Design History of Computer Vapourware creates a completely new narrative by investigating the machines that didn’t make it.

Fascinating, full-colour images of computer designs, many of them previously unpublished, are accompanied by the hitherto untold stories of their planning and development, the pitfalls and successes in their creation, the market and competition at the time and the reasons why they never finally appeared for sale.

PAUL ATKINSON is Professor of Design and Design History at Sheffield Hallam University, UK.

PrototypeDesign and Craft in the 21st CenturyEdited by Louise ValentinePrototype is an edited collection of essays by a diverse, cross-disciplinary body of international scholars and practitioners, which for the first time brings together critical and speculative thinking on the role the prototype can, and should, play within design, craft and beyond.

The range of authors and pioneers is carefully selected and purposefully diverse so as to reflect, extend and lead current debates on the subject.

LOUISE VALENTINE is Senior Researcher in Design and Craft at the University of Dundee, UK.

pROdUcT dESIgN/HISTORY ANd cULTURE OF dESIgN

31

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description a mechanical calculating machine driven by hand crank, in total consisting of 8,000 precision-machined steel and bronze components in a cast iron frame, weighing between 4 and 5 tonnes and measuring 3 1/3 metres (11ft) long by 2 ¼ metres (7ft) high and 1 1/4 metres (4ft) deep. on the right hand side is the control mechanism and crank, the central part with eight vertical columns is the calculating section, and the printing section is on the left.

As the leading expert on the subject, Doron Swade, once wrote, the celebrated mathematician Charles Babbage is equally famous for two things: for inventing vast computers, and for failing to build them.

The familiar and often retold version of events is that Babbage and his friend, the mathematician and astronomer John Herschel, were checking manually prepared mathematical tables in 1821, when the frequently occurring discrepancies caused Babbage to proclaim “I wish to God these calculations had been executed by steam”. Realising the possibilities of the statement, he devoted the rest of his life to creating a machine that could automatically and accurately solve complex mathematical calculations.

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delete_txtdes_2B.indd 56-57 14/10/2012 22:41

Includesawide rangeofcase studies,from nASAdesigns

to modern softwaredesign

Bloomsbury_Design_5.0.indd 26 28/01/2013 15:01

27www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk www.bloomsbury.com • US, Canada, South America • 888-330-8477 • customerservice@mpsvirginia.com

UK March 2013 • US May 2013

256 pages • 735 colour illus

244 x 270mm / 9.6 x 10.6 in

PB 9780857858504 • £24.95 / $49.95

World English (excluding Australia/New zealand)

Bloomsbury Academic

UK July 2013 • US August 2013

256 pages • 25 bw illus

234 x 156mm / 9.2 x 6.1 in

PB 9780857851086 • £19.99 / $29.95

HB 9780857851079 • £55.00 / $99.95

Individual eBook 9780857851093 • £19.99 / $30.99

Bloomsbury Academic

RetroStyleClass, Gender and Design in the HomeSarah Elsie BakerRetro Style: Class, Gender and Design in the Home is the first book to explore the modern position of retro by asking important questions around the emergence of the trend, it’s impact on production and consumption and how it manifests itself in the contemporary interior.

Examining themes ranging from design, taste and the aestheticisation of everyday life to the bohemianisation of popular culture, the book provides a fascinating insight into how retro has shaped modern interior design.

SARAH ELSIE BAKER is Lecturer in Culture and Context at the School of Design, Victoria University of Wellington, New zealand.

Illustrations • Acknowledgements • Introduction • The Definitions and Distinctions of Retro Style •

Retro Style and the Cultural Politics of Everyday Life • A History of the Retro Aesthetic • Retailing Retro •

Retro Interiors and Lifestyle Media • Retro Homes, Taste and Cultural Distinction • Retro Femininities and

Domestic Labour • Conclusion • Appendix • References • Index

cON

TENTS

RetroA Guide to the Mid-20th Century Design RevivalAdrian FranklinWhy are we now in the middle of a love affair with objects and designs from the mid-twentieth century? What unique qualities do they share that make them so special?

Using one of the most spectacular displays of retro objects ever assembled, and covering all the bases – furniture, fashion, ceramics, technology, metal, graphics, plastic and glass – twentieth-century expert Adrian Franklin provides the answers.

Spanning the period from the 1950s to the 1980s and beyond, and with international coverage, the book identifies the designers, manufacturers, brands, innovations, technologies and materials that transformed the world and still cast their magic spell.

Authoritative, entertaining and beautiful, Retro is itself an object to be treasured.

ADRIAN FRANKLIN is currently Professor of Sociology at the University of Tasmania, Australia.

pROdUcT dESIgN/HISTORY ANd cULTURE OF dESIgN

The Brionvega RR126 was nicknamed

the ‘Musical Pet’; a moniker drawn

from its zoomorphic features – the

symmetrical arrangement of the dials

and controls, pedestal legs on casters

demonstrating certain ‘mobility’ and

speakers that hang like ears on the

sides of the body.

Designed by the Castiglioni broth-

ers, Achille and Pier Giacomo, the

radiogram reflects their maxim that

design must restructure an object’s

function, form and production process.

This belief led them to reinvent many of

the products they were commissioned

The Brionvega rr126 radiogram, 1965 CampBell BiCkersTaff = Curator, SCienCe and induStry, powerhouSe muSeum

to design. Over the latter half of the

twentieth century, they produced a

body of work that influenced product

designers internationally, and their

work is represented in public and

private collections in Europe, North

America, Asia and Australia.

Brionvega was one of many

Italian manufacturers of domestic

consumer goods that encouraged

flamboyance in product design, with-

out deviating too far from function.

The company engaged outstanding

Italian industrial designers of the

time, including Marco Zanuso, Rich-

ard Sapper, Mario Bellini and Ettore

Sottsass. Many examples of Brion-

vega products designed in the 1960s

rejected existing forms in favour of

startlingly new interpretations, using

new production methods and materi-

als, and positioning the company as

avant-garde. As a result, many Brion-

vega designs continue in production

today, including a contemporary

variant of the RR126 – the RR226

– which includes a CD player. This

kind of longitudinal product lifespan

validates the Italian manufacturer’s

commitment to modernism.

‘rr126’ stereo radiogram, designed by Achille and Pier Giacomo Castiglioni, manufactured by Brionvega, Milan, italy, 1966. While other manufacturers of high fidelity equipment were at this time exploring the separation of components, the Castiglioni brothers went against this trend, seeking to mould this domestic technological product into a piece of furniture that would sit comfortably alongside forms coherent with (1960s) modern interiors and furnishing Powerhouse Museum collection

RetroTextBloomsbury2print.indd 12 12/09/12 9:11 AM

retro

35

as with the ‘Contour Chair’, Grant

Featherston took what was clearly a

great design and made it better – and

more popular – in this case by inserting

a sound system into the wing backs.

Inflatable plastic divans and sofas

made an appearance at this time and

enabled a crossover/hybrid between

furniture and sculpture. De Pas,

Lomazzi and Scolari’s ‘Divano Gonfiabile’

and De Pas, D’urbino and Lomazzi’s

‘Joe Chair’ are good examples but many

more followed.

along the same sculptural lines,

the world very much enjoyed the

‘Marilyn’ sofa design by Studio65 in

1970, Magistretti’s ‘veranda 3’ sofa

in 1973 and Frank Gehry’s playful and

surprising ‘wiggle Chair’ that was made

from cardboard.

42 ‘up 1’ chair, C and B italia, italy, 1969 Powerhouse Museum collection

42

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28 www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk www.bloomsbury.com • US, Canada, South America • 888-330-8477 • customerservice@mpsvirginia.com

MadeinItalyRethinking a Century of Italian DesignEdited by Grace Lees-Maffei and Kjetil FallanGoods made or designed in Italy enjoy a disproportionately high profile, even though, in terms of global manufacturing, Italy’s output is relatively modest. Made In Italy is the first critical study of Italian design to explore this phenomenon, analysing the significance of design from Italy and how its influence upon international design and consumerism has become so renowned and inflated by various media and design criticism.

Using examples from a wide range of Italian design – from designers such as Gio Ponti and Andrea Branzia, to the urban landscape of the country itself – the book explores the historical, cultural and social influences that dictated design in Italy, and how these iconic designs have shaped and contributed to the modern canon of Italian inspired products.

GRACE LEES-MAFFEI is Reader in Design History in the School of Creative Arts at the University of Hertfordshire, UK. KJETIL FALLAN is Associate Professor of Design History in the Department of Philosophy, Classics, History of Art and Ideas at the University of Oslo, Norway.

ScandinavianDesignAlternative HistoriesEdited by Kjetil Fallan“the book brings together new information, new approaches and a new set of narratives that make us look again at the idea of Scandinavian design. these alternative histories challenge existing orthodoxies and, as such, are guaranteed to become key design historical texts of the 21st century.” Penny Sparke, Kingston University, London, UK

Scandinavian Design: Alternative Histories presents a radically new assessment, a corrective to the persistent mythologies and reductive accounts of Scandinavian design.

The book brings together case studies from the early twentieth century to today. Drawn from fields as diverse as transport, engineering, packaging, photography, law, interiors, and corporate identity, these studies tell new or unfamiliar stories about the production, mediation and consumption of design. An alternative history is created, one much more alive to national and regional differences and to types of product.

KJETIL FALLAN is Associate Professor of Design History in the Department of Philosophy, Classics, History of Art and Ideas at the University of Oslo, Norway.

pROdUcT dESIgN/HISTORY ANd cULTURE OF dESIgN

UK November 2013 • US January 2014

288 pages • 246 x 189mm / 9.7 x 7.4 in

PB 9780857853899 • £24.99 / $39.95

HB 9780857853882 • £75.00 / $125.00

Individual eBook 9780857853905 • £24.99 / $37.99

Bloomsbury Academic

UK February 2012 • US April 2012

288 pages • 51 bw illus • 234 x 156mm / 9.2 x 6.1 in

PB 9781847889119 • £19.99 / $34.95

HB 9781847889126 • £60.00 / $99.95

Berg Publishers

TExTBOOK

TExTBOOK

TheFundamentalsofProductDesignRichard Morris

2009 • 184 pages 200 colour illus • 230 x 200mm / 9.1 X 7.9 inPB 9782940373178 • £22.95 / $34.95Library eBook 9782940439218 • £66.00 / $106.00Series: Fundamentals • AVA Publishing

TExTBOOK

BasicsProductDesign01:IdeaSearchingDavid Bramston

2008 • 176 pages 200 colour illus • 230 x 160mm / 9.1 X 6.3 inPB 9782940373765 • £23.50 / $29.95Library eBook 9782940439638 • £69.00 / $111.00Series: Basics • AVA Publishing

TExTBOOK

BasicsProductDesign03:VisualConversationsDavid Bramston

2009 • 184 pages 200 colour illus • 230 x 160mm / 9.1 X 6.3 inPB 9782940411092 • £19.95/$29.95Library eBook 9782940439430 • £60.00 / $96.00 Series: Basics • AVA Publishing

KEY TITLES

TExTBOOK

BasicsProductDesign02:MaterialThoughtsDavid Bramston

2009 • 184 pages • 200 colour illus • 230 x 160mm / 9.1 X 6.3 inPB 9782940373871 £17.95 / $29.95Library eBook 9782940439287 • £51.00 / $82.00Series: Basics • AVA Publishing

TExTBOOK

Designing ThingsA Critical Introduction to the Culture of ObjectsPrasad Boradkar

2010 • 336 pages • 100 bw illus • 244 x 172mm / 9.6 X 6.8 inPB 9781845204273 • £19.99 / $34.95 • HB 9781845204266 • £55.00 / $99.95Berg Publishers

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29www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk www.bloomsbury.com • US, Canada, South America • 888-330-8477 • customerservice@mpsvirginia.com

UK February 2013 • US April 2013

1,600 pages • 300 bw illus

244 x 172mm / 9.6 x 6.8 in

HB Set 9781847882653 • £350.00 / $550.00

Series: The Cultural Histories Series

Bloomsbury Academic

ACulturalHistoryofGardens6 Volume SetEdited by Michael Leslie and John Dixon HuntA Cultural History of Gardens presents an authoritative survey from ancient times to the present. This set of six volumes covers over 2500 years of gardens as physical, social and artistic spaces. Each volume discusses the same themes in its chapters: Design; Types of Gardens; Planting; Use and Reception; Meaning; Verbal Representations; Visual Representations; Gardens and the Larger Landscape.

This structure means readers can either have a broad overview of a period by reading a volume or follow a theme through history by reading the relevant chapter in each volume.

Superbly illustrated, the full six volume set combines to present the most authoritative and comprehensive survey available on gardens through history.

MICHAEL LESLIE is Professor of English at Rhodes College, USA. JOHN DIXON HUNT is Professor Emeritus at the University of Pennsylvania, USA.

Volume One: A Cultural History of Gardens in Antiquity Edited by Kathryn Gleason, Cornell University, USA

Volume Two: A Cultural History of Gardens in the Middle Ages Edited by Michael Leslie, Rhodes College, USA

Volume Three: A Cultural History of Gardens in the Renaissance Edited by Elizabeth Hyde, Kean University, USA

Volume Four: A Cultural History of Gardens in the Age of Enlightenment Edited by Stephen Bending, University of Southampton, UK

Volume Five: A Cultural History of Gardens in the Age of Empire Edited by Sonja Dümpelmann, College of Agriculture and Natural Resources, USA

Volume Six: A Cultural History of Gardens in the Modern Age Edited by John Dixon Hunt, University of Pennsylvania, USA

cON

TENTS

HISTORY ANd cULTURE OF dESIgN

The definitive overview

on gardens through history

KEY TITLES

TheDesignHistoryReaderEdited by Grace Lees-Maffei and Rebecca Houze“An essential resource for understanding the history of design, the development of the discipline, and contemporary issues in design history and practice.” New Design

“The Design History Reader will be of enormous benefit to the field. it includes both an excellent collection of essays on the history of design and essential material related to methods and themes. the scope of this book is remarkable.” David Brody, Parsons, the New School for Design, NY, USA

“in this resource, not only are the chosen writings excellent examples, but the structure of the book itself is a model of clarity ... A very useful, eclectic and elegant resource for understanding and exploring the history and development of design. its range ... is impressive, and it would prove an excellent model and introductory resource.” The Higher Education Academy, UK

2010 • 544 pages • 70 bw illus 244 x 189mm / 9.6 x 7.4 inPB 9781847883896 • £24.99 / $39.95HB 9781847883889 • £70.00 / $129.95Berg Publishers

DesignHistoryUnderstanding Theory and MethodKjetil Fallan“the standard historiographic reading for students of design history.” Design Issues

“A massively useful resource.” Paul Atkinson, Sheffield Hallam University, UK

“thoughtful and provocative ... a timely contribution to the field.” Design and Culture

2010 • 224 pages • 20 bw illus 189 x 150mm / 7.4 x 6 inPB 9781847885371 • £16.99 / $29.95HB 9781847885388 • £50.00 / $89.95Individual eBook 9781847887030 • £16.99 / $26.99World English (excluding USA)Berg Publishers

TExTBOOK TExTBOOK

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30 www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk

UK August 2013 • US October 2013

256 pages • 31 colour illus

234 x 156mm / 9.2 x 6.1 in

PB 9780857853691 • £19.99 / $29.95

HB 9780857853684 • £55.00 / $99.95

Individual eBook 9780857853714 • £19.99 / $30.99

Library eBook 9781472518231 • £60.00 / $96.00

Bloomsbury Academic

DesignAnthropologyTheory and PracticeEdited by Wendy Gunn, Ton Otto and Rachel Charlotte SmithDesign Anthropology is written by anthropologists who actively participate in the development of design anthropology. Comprising both cutting-edge explorations and theoretical reflections, it provides a much-needed introduction to the concepts, methods, practices and challenges of this emerging area of study.

The authors address the critical potential of design anthropology in a wide range of design activities across the globe and query the impact of design on the discipline of anthropology.

• Fourmajorsectionsaddressthecentralaspectsofdesignanthropology:Thedevelopmentofkeyconcepts,thematerialityofdesign,thetemporalityofdesignandtherelationalityofdesign

• EminentscholarsGeorgeMarcusandKeithMurphycontributeanepiloguethatplacesdesignanthropologywithinthewiderfieldsofanthropologyanddesign

WENDY GUNN is Associate Professor of Design Anthropology at Mads Clausen Institute, University of Southern Denmark, Denmark. TON OTTO is Professor of Anthropology at James Cook University, Australia and Aarhus University, Denmark. RACHEL CHARLOTTE SMITH is an anthropologist working in the fields of media, technology and design at Aarhus University, Denmark.

UK February 2013 • US April 2013

224 pages • 32 bw and 24 colour illus

244 x 189mm / 9.7 x 7.4 in

PB 9780857851987 • £19.99 / $29.95

HB 9780857851970 • £55.00 / $99.95

Individual eBook 9780857852007 • £19.99 / $30.99

Library eBook 9780857851994 • £60.00 / $96.00

Bloomsbury Academic

oralHistoryintheVisualArtsEdited by Linda Sandino and Matthew PartingtonInterviews are becoming an increasingly dominant research method in art, craft, design, fashion and textile history. This groundbreaking text demonstrates how artists, writers and historians deploy interviews as creative practice, as ‘history’, and as a means to insights into the micro-practices of arts production and identity that contribute to questions of ‘voice’, authenticity, and authorship.

Through a wide range of case studies from international scholars and practitioners across a variety of fields, the volume maps how oral history interviews contribute to a relational practice that is creative, rigorous and ethically grounded.

LINDA SANDINO is the CCW/V&A Senior Research Fellow at the Victoria & Albert Museum, London, UK. MATTHEW PARTINGTON is the V&A Museum Senior Research Fellow (Applied Arts) at the University of West England and a Research Fellow at the Victoria & Albert Museum, London, UK.

HISTORY ANd cULTURE OF dESIgN

Plate 2. Michael McMillan, A Living Room Surrounded by Salt, (Instituto Buena Bista/Th e Center for Contemporary Curacao Art, 2008). (Image courtesy of Michael McMillan).

3085-226-P3-plate-2pass-r04.indd 2 12/3/2012 8:08:18 PM

Plate 7. Making in Interaction. Th e work of Intelligent Trouble, 2011. (Photographer: David Gates).

3085-226-P3-plate-2pass-r04.indd 7 12/3/2012 8:08:37 PM

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31www.bloomsbury.com • US, Canada, South America • 888-330-8477 • customerservice@mpsvirginia.com

UK July 2013 • US September 2013

224 pages • 39 bw and 8 colour illus

234 x 156mm / 9.2 x 6.1 in

PB 9780857853929 • £19.99 / $34.95

HB 9780857853912 • £55.00 / $99.95

Individual eBook 9780857854346 • £19.99 / $30.99

Bloomsbury Academic

CollaborationThroughCraftEdited by Amanda Ravetz, Alice Kettle and Helen Felcey“An extraordinary resource!” Anne Wilson, School of the Art Institute of Chicago, USA

“A ground-breaking book.” Matthew Partington, Research Fellow at the Victoria & Albert Museum, London, UK

With cutting-edge essays by established makers and artists such as Allison Smith (US) and Brass Art (UK), curator Lesley Millar, textile designer Trish Belford and distinguished thinker Glenn Adamson, Collaborating Through Craft offers a challenging new argument for the collaborative power of craft, analysing the philosophies, politics and practicalities of collaborative craft work.

The book is accessibly organised into four sections covering the cooperation and compromises required by the collaborative process; the potential of technological advances for the field of craft; the implications of cross-disciplinary and cross-cultural collaborations for authority and ownership; and the impact of crafted collaborations on the institutions where we work, learn and teach.

AMANDA RAVETz is Senior Research Fellow at MIRIAD, Manchester Metropolitan University, UK. ALICE KETTLE is Senior Research Fellow at MIRIAD, Manchester Metropolitan University, UK. HELEN FELCEY is Programme Leader for MA Design at Manchester School of Art, Manchester Metropolitan University, UK.

UK February 2013 • US April 2013

256 pages • 70 bw and 16 colour illus

244 x 172mm / 9.6 x 6.8 in

PB 9780857850669 • £16.99 / $29.95

HB 9780857850645 • £55.00 / $94.95

Bloomsbury Academic

TheInventionofCraftGlenn Adamson“once again, glenn Adamson has proven adept at pinpointing the hot-button issues in modern craft. The Invention of Craft takes historical ideas about craft that have been canonized in craft scholarship and turns them on their head. his controversial assertions and excellent examples will have scholars and makers buzzing for years.” Sandra Alfoldy, Nova Scotia College of Art & Design, NS, Canada

Glenn Adamson’s last book, Thinking Through Craft (below), offered an influential account of craft’s position within modern and contemporary art. Now, in his engaging sequel, The Invention of Craft, Adamson searches out the origins of modern craft, skilfully demonstrating how it was invented as industry’s counterpart.

Taking examples from a wide range of disciplines, from wood-carving and iron-casting to fashion and design, Adamson investigates the origins of craft and its historical significance on contemporary design practice.

GLENN ADAMSON is Head of Graduate Studies and Deputy Head of Research at the Victoria & Albert Museum, UK.

cRAFT

TheCraftReaderGlenn Adamson“thought-provoking, revealing, opinionated, intelligent, accessible and comprehensive ... a huge achievement.” Crafts Magazine

2009 • 672 pages • 75 bw illus 244 x 189mm / 9.6 x 7.4 inPB 9781847883032 • £24.99 / $39.95HB 9781847883049 • £70.00 / $129.95Berg Publishers

KEY TITLES

ThinkingthroughCraftGlenn Adamson“A path-breaking book.” Elissa Auther, University of Colorado, USA

2007 • 224 pages • 44 bw and 16 colour illus 234 x 156mm / 9.2 x 6.1 inPB 9781845206475 • £15.99 / $29.95sHB 9781845206468 • £53.00 / $104.95Berg Publishers

TExTBOOK

TExTBOOK TExTBOOK

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32 www.bloomsbury.com/journals • Worldwide • +44 (0)1767 604 951 • custserv@turpin-distribution.com

Cover image: Makerbot’s 3D printer The Replicator™ with a printed chess set.

ISSN 1754-7075ISBN TBC

Volume 5 Issue 1 March 2013

The Journal of the Design Studies Forum

Volume 5 Issue 1 March 2013

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Academe and Design WritingIntroduction: Design Writing TodayElizabeth Guffey

Research Writing in DesignMeredith Davis

De-tooling Design History: To What Purpose and for Whom Do We Write? Kjetil Fallan

Changes in Design CriticismPeter Hall

Becoming a Discipline: Problems in the Emergence of Design Criticism as a Field of InquiryDeborah Littlejohn

Writing Design Criticism into HistoryTeal Triggs

On Design WritingAnne-Marie Willis

ArticlesDesign in the Age of Prosumption: The Craft of Design after the ObjectStephen Knott

Bricolage, Hybridity, Circularity: Crafting Production Strategies in Critical and Conceptual DesignCatharine Rossi

I Cling to Virtue: An Exhibition Review and Statement of PracticeStephen Hayward, Keith Jones, Noam Toran, and Onkar Kular

The Object Strikes Back: An Interview with Graham HarmanLucy Kimbell

An international refereed journal for all aspects of design

Online at www.ingentaconnect.com

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THE DESIGN JOURNAL VOLUME 16/ ISSUE 1/ MARCH 2013

Edited byRachel Cooper

THE DESIGN JOURNALVOLUME 16ISSUE 1MARCH 2013

Theory, Practice and the ProfessionRachel Cooper Mediation of Conflicts through Design: How American Execution Chambers Represent Conflicting Social PerspectivesAmod Damle Assessing Lifetime Homes Standards and Part M Building Regulations for Housing Design in the UKClíona Rooney, Karim Hadjri and Cathy Craig Couples’ Wear in Korea: Expression of Relationship Status and Identity through FashionJudy Park A Systematic Review of the Relations between Industrial Design Education and Industry in Turkey through SWOT AnalysisOnder Erkarslan Architectural Design Students’ Explorations through Conceptual DiagramsFehmi Dogan

Shaping Sustainable Fashion: Changing the Way We Make and Use Clothes edited by Alison Gwilt and Timo RissanenPammi Sinha

Editorial

Articles

Book Review

ISBN 978 1 4725 1810 1ISSN 1460-6925

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90100

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ISBN 978-1-4725-1810-1

www.bloomsbury.com

3 issues per year: March, July, November

ISSN: 1754-7075 • e-ISSN: 1754-7083

Only available on subscription

www.bloomsbury.com/designandculture

4 issues per year: March, June, September, December

ISSN: 1460-6925 • e-ISSN: 1756-3062

Only available on subscription

www.bloomsbury.com/designjournal

DesignandCultureThe Journal of the Design Studies ForumEdited by Elizabeth Guffey, Carma Gorman, Matt Soar and Sarah Teasley“A fine choice for academic libraries serving students and researchers in design or cultural studies.” Library Journal

Design is a vibrant field. The so-called ‘edges’ are increasingly becoming its driving forces. Crossovers between traditional design disciplines and other professions are becoming enriched.

Design and Culture occupies a vital role in tackling these changes head-on by situating design within the full range of cultural contexts. It also examines design in relation to other academic disciplines, including marketing, management, cultural studies, anthropology, material culture, geography, visual culture and political economy.

ELIzABETH GUFFEY is Professor of Art History at Purchase College, State University of New York, USA. CARMA GORMAN is Associate Professor of Art History at Southern Illinois University, USA. MATT SOAR is Associate Professor of Communication Studies at Concordia University, Canada. SARAH TEASLEY is programme tutor in History of Design and liaison tutor in Critical & Historical Studies at the Royal College of Art, London, UK.

TheDesignJournalAn International Refereed Journal for All Aspects of DesignEdited by Rachel Cooper“The Design Journal is the essential academic journal in its field. the journal contains timely and relevant research from across the globe and is the prime source of information for practitioners and academics in design, business, branding, marketing communication and strategy.” Margaret Bruce, Manchester Business School, UK

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

Established in 1998, The Design Journal is an international peer-reviewed journal covering all aspects of applied design. It publishes thought-provoking work that has a direct impact on design knowledge and challenges assumptions and methods, while being open-minded about the evolving role of design.

The journal provides an international forum for all design professionals, researchers, educators and managers. Its content, which has a direct impact on design knowledge and practice, encourages discussion across traditional boundaries between practice and theory, and between disciplines defined by working media, materials and areas of application.

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.

JOURNALS

TheofficialJournalof

theEuropeanAcademyof Design(EAD)

Theofficialpublication oftheDesign

Studies Forum(DSF)

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33www.bloomsbury.com/journals • Worldwide • +44 (0)1767 604 951 • custserv@turpin-distribution.com

Launching in November: 1 issue in 2014

ISSN: 2051-1817 • e-ISSN: 2051-1825

Only available on subscription

www.bloomsbury.com/luxury

NEW IN 2014

LuxuryHistory, Culture, ConsumptionEdited by Jonathan Faiers and Shannon Bell PriceLuxury: History, Culture, Consumption will be the first truly interdisciplinary, academic journal devoted to luxury. It considers luxury in broad socio-cultural contexts, exploring and interrogating both our historical and contemporary understanding of the term.

Within the context of the contemporary global economic recession, our consumption of luxury is being questioned and transformed, with notions of ‘affordable luxury’, ‘sustainable luxury’ and even ‘luxury for less’ suggesting a new discourse. At the same time, the demand for luxury goods and services on a global scale is at an unprecedented level. Luxury examines all aspects of the subject: its historical formation and understanding, its contemporary global political and economic function, alongside an exploration of how the concept of luxury remains an impetus for design, popular culture, literature and fine art.

JONATHAN FAIERS is a Reader in Fashion and Textiles at Winchester School of Art at the University of Southampton, UK. SHANNON BELL PRICE is Assistant Chair of Fashion at the Pratt Institute, New York, USA.

3 issues per year: March, July, November

ISSN: 1749-6772 • e-ISSN: 1749-6780

Available on subscription and as a single issue

www.bloomsbury.com/journalofmoderncraft

Single Issue: £19.99 / $35.95

TheJournalofModernCraftEdited by Glenn Adamson, Tanya Harrod and Edward S. Cooke Jr“this is a worthy addition to collections of scholarly art journals” Library Journal

“new technologies, concerns for sustainability, globalization and shifting manufacturing centers are all changing the world, yet craft values remain central to what many of us care about. The Journal of Modern Craft offers a welcome forum to discuss these many facets of working in the crafts across art, design and society.” Grace Cochrane, Former senior curator, Powerhouse Museum, Sydney, Australia

The Journal of Modern Craft is the first peer-reviewed academic journal to provide an interdisciplinary and international forum focusing on craft in all its historical and contemporary manifestations. Special emphasis is placed on studio practice and on the transformations of indigenous forms of craft activity throughout the world. The journal also explores the relevance of craft within new media, folk art, architecture, design, contemporary art, and other fields.

GLENN ADAMSON is Head of Graduate Studies and Deputy Head of Research at the Victoria & Albert Museum, UK. TANYA HARROD is an independent scholar. EDWARD S.COOKE, JR is Professor of American Decorative Arts at Yale University, USA.

JOURNALS

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34

INdExAono-Billson, Nigel ................................................................... 17

Adamson, Glenn ................................................................. 31, 33

Advertising .................................................................................. 23

Alacovska, Ana .......................................................................... 23

Allanwood, Gavin ...................................................................... 10

Ambrose, Gavin ................................ 10, 14, 15, 16, 17, 20, 21

Anderson Feisner, Edith .......................................................... 21

Art Directors Annual: 91 ........................................................... 22

Art Directors Club ..................................................................... 22

Aspelund, Karl ......................................................................... 4, 6

Atkinson, Harriet ..........................................................................9

Atkinson, Paul ............................................................................ 26

Aynsley, Jeremy ...........................................................................9

Baker, Sarah Elsie .................................................................... 27

Baldwin, Jonathan .................................................................... 17

Banham Lectures, The .................................................................9

Barfoot, Caroline ....................................................................... 23

Basics Advertising 01: Copywriting ....................................... 23

Basics Advertising 02: Art Direction ...................................... 23

Basics Design 01: Format ........................................................ 14

Basics Design 02: Layout ......................................................... 17

Basics Design 03: Typography ................................................ 20

Basics Design 05: Colour .......................................................... 21

Basics Design 07: Grids ............................................................ 14

Basics Graphic Design 01: Approach and Language ......... 17

Basics Graphic Design 02: Design Research ....................... 15

Basics Graphic Design 03: Idea Generation ......................... 15

Basics Illustration 01: Thinking Visually ............................... 19

Basics Illustration 02: Sequential Images ............................ 19

Basics Illustration 03: Text and Image .................................. 19

Basics Illustration 04: Global Contexts .................................. 19

Basics Interactive Design 01: Interface Design ................... 10

Basics Interactive Design 02: User Experience Design ..... 10

Basics Marketing 01: Consumer Behaviour ......................... 23

Basics Marketing 02: Online Marketing ................................ 23

Basics Product Design 01: Idea Searching .......................... 28

Basics Product Design 02: Material Thoughts ..................... 28

Basics Product Design 03: Visual Conversations ............... 28

Basics Typography 02: Using Type ......................................... 20

Basics Typography 03: Understanding Type ........................ 20

Beare, Peter ................................................................................ 10

Becoming a Successful Illustrator ......................................... 19

Becoming Human by Design ......................................................8

Beautiful Thing...............................................................................6

Bell Price, Shannon .................................................................. 33

Best, Kathryn.............................................................................. 24

Bestley, Russell ......................................................................... 17

Boradkar, Prasad ...................................................................... 28

Bowdery, Robert ........................................................................ 23

Bramston, David ........................................................................ 28

Brand-driven Innovation ........................................................... 24

Brazell, Derek............................................................................. 19

Brody, David ...................................................................................6

Bruton, Dean .............................................................................. 11

Buchanan, Richard ......................................................................9

Burtenshaw, Ken ....................................................................... 23

By Design ........................................................................................9

Caplan, Ralph ................................................................................9

Clark, Hazel ...................................................................................6

Clay, Robert ....................................................................................6

Collaboration Through Craft .................................................... 31

Collins, Hilary ............................................................................. 24

Color and Design ........................................................................ 21

Color Studies ............................................................................... 21

Colson, Richard.......................................................................... 10

Cooke Jr, Edward S................................................................... 33

Cooper, Rachel .................................................................... 24, 32

Cracking the Whip .........................................................................9

Craft Reader, The ........................................................................ 31

Creative Industries ..................................................................... 23

Creative Research ...................................................................... 24

Cross, Nigel ....................................................................................9

Crouch, Christopher ....................................................................8

Crow, David ................................................................................. 17

Cultural History of Gardens, A ................................................. 29

Davies, Jo .................................................................................... 19

Davis, Melissa ............................................................................ 23

Delete ............................................................................................ 26

DeLong, Marilyn ........................................................................ 21

Design and Culture .................................................................... 32

Design and Designing ..................................................................5

Design Anthropology ................................................................. 30

Design as Politics ....................................................................... 13

Designed World, The .....................................................................9

Design Futuring .......................................................................... 13

Design Genius ............................................................................. 16

Design Journal, The ................................................................... 32

Designing ........................................................................................4

Designing Things ........................................................................ 28

Designing with Color ................................................................. 21

Design Management.................................................................. 24

Design Process, The .....................................................................6

Design Studies ...............................................................................6

Design Thinking .............................................................................9

Digital Design .............................................................................. 11

Dixon Hunt, John ....................................................................... 29

Doing Research in Design ...........................................................8

Doordan, Dennis ...........................................................................9

Dorosz, Chris .............................................................................. 21

Edward, Russell ........................................................................ 23

Evans, Chris ...................................................................................5

Faiers, Jonathan ........................................................................ 33

Fallan, Kjetil ......................................................................... 28, 29

Felcey, Helen .............................................................................. 31

Franklin, Adrian ......................................................................... 27

Fry, Tony ...................................................................................8, 13

Fundamentals of Branding, The.............................................. 23

Fundamentals of Creative Advertising, The ......................... 23

Fundamentals of Creative Design, The.................................. 17

Fundamentals of Design Management, The ........................ 24

Fundamentals of Digital Advertising, The ............................ 22

Fundamentals of Digital Art, The ............................................ 10

Fundamentals of Graphic Design, The .................................. 17

Fundamentals of Illustration, The .......................................... 18

Fundamentals of Interactive Design, The ............................. 10

Fundamentals of Marketing, The ............................................ 23

Fundamentals of Product Design, The ...................................28

Fundamentals of Sonic Art & Sound Design, The ............... 10

Fundamentals of Typography, The ......................................... 20

Garner, Steven ..............................................................................5

Giard, Jacques ........................................................................... 12

Gibbs, Tony .................................................................................. 10

Good .............................................................................................. 17

Gorman, Carma ......................................................................... 32

Graphic Art of the Underground, The..................................... 16

Guffey, Elizabeth ....................................................................... 32

Gunn, Wendy............................................................................... 30

Handbook of Design for Sustainability, The ......................... 12

Handbook of Design Management, The ................................ 24

Hann, Michael ...............................................................................7

Hands, David .............................................................................. 24

Harkins, Michael ....................................................................... 20

Harris, Paul ......................................................14, 16, 17, 20, 21

Harrod, Tanya ............................................................................. 33

Hodges, Jo................................................................................... 22

Houze, Rebecca ......................................................................... 29

Illustration.................................................................................... 19

Invention of Craft, The ............................................................... 31

Journal of Modern Craft, The ................................................... 33

Junginger, Sabine ..................................................................... 24

Kettle, Alice ................................................................................. 31

Layout Book, The ........................................................................ 17

Lees-Maffei, Grace ........................................................8, 28, 29

Leonard, Neil .............................................................................. 15

Leslie, Michael ........................................................................... 29

Linford, Chris .............................................................................. 22

Lockwood, Thomas .................................................................. 24

Long, James Thomas .............................................................. 21

Lopes, Abby ................................................................................ 12

Lowey, Ian ................................................................................... 16

Luxury ........................................................................................... 33

Made in Italy ................................................................................ 28

Mahon, Nik .................................................................................. 23

Male, Alan .................................................................................... 19

Margolin, Victor .....................................................................9, 25

Martinson, Barbara .................................................................. 21

Moeran, Brian............................................................................. 23

More Than a Name..................................................................... 23

Morris, Richard .......................................................................... 28

New Munsell® Student Color Set, The ................................... 21

Noble, Ian .................................................................................... 17

Noel, Hayden .............................................................................. 23

Oral History in the Visual Arts ................................................. 30

Otto, Ton ....................................................................................... 30

Packaging the Brand ................................................................. 17

Partington, Matthew................................................................. 30

Pearce, Jane ..................................................................................8

Prince, Suzy ................................................................................ 16

Principles and Processes of Interactive Design, The ......... 11

Production Manual, The ............................................................ 17

Prototype ...................................................................................... 26

Radford, Antony ......................................................................... 11

Ravetz, Amanda ........................................................................ 31

Reed, Ronald .............................................................................. 21

Retro ............................................................................................. 27

Retro Style ................................................................................... 27

Roberts, Lucienne ..................................................................... 17

Roscam Abbing, Erik ................................................................ 24

Salmond, Michael ..................................................................... 10

Sandino, Linda ........................................................................... 30

Scandinavian Design ................................................................. 28

Sheehan, Brian .......................................................................... 23

Sherin, Aaris ............................................................................... 13

Smith, Rachel Charlotte .......................................................... 30

Soar, Matt .................................................................................... 32

Steane, Jamie ............................................................................ 11

Sustainable Design Reader, The ............................................. 12

Sustainable Thinking ................................................................. 13

Symbol and Pattern ......................................................................7

Teasley, Sarah ............................................................................ 32

Thinking through Craft .............................................................. 31

Tonkinwise, Cameron .............................................................. 12

Valentine, Louise ....................................................................... 26

Visible Signs ................................................................................ 17

Visual Communication .............................................................. 17

Vision and Values in Design Management ........................... 24

Visual Dictionary Design Box Set, The ................................... 16

Visual Dictionary of Illustration, The ...................................... 19

Visual Dictionary of Typography, The ..................................... 20

Visual Dictionary of Pre-press and Production, The .......... 17

Visual Research .......................................................................... 17

Walker, Helen L. ......................................................................... 12

Walker, Stuart ............................................................................ 12

Watson, J.R. ................................................................................ 21

Wigan, Mark ......................................................................... 16, 19

Wood, David ................................................................................ 10

World History of Design, The ................................................... 25

Writing Design ...............................................................................8

zeegen, Lawrence .................................................................... 18

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Bloomsbury RevelationsC H A N G E T H E W AY Y O U V I E W T H E W O R L D

LAUNCHING APRIL 2013

B ringing together books and thinkers that have opened up startling new ways of looking at the world, the Bloomsbury Revelations series celebrates the originality and excellence of Bloomsbury's non-� ction publishing.

B L O O M S B U R Y . C O M / R E V E L A T I O N S

9781780935676£9.99 *

9781780936918£9.99 *

9781780935379£16.99 *

9781780936611£16.99 *

9781780938431£9.99 *

9781780936246£16.99 | $29.95

9781780936253 £14.99 *

9781780937564£16.99 *

9781780936598 £14.99 *

9781780935355 £12.99 | $19.95

9781780937991£12.99 | $19.95

9781780938189 £12.99 | $19.95

9781780938233£12.99 | $19.95

9781780938042£14.99 | $24.95

9781780938219£12.99 | $19.95

9781780936925 £12.99 *

9781780937816 £12.99 | $19.95

9781780935683 £12.99 | $19.95

9781780936093 £12.99 | $19.95

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BLOOMSBURY

REVELATIONS

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des

ign

2013

www.bloomsbury.com

www.facebook.com/BloomsburyDesign

@BloomsburyDsign

An international refereed journal for all aspects of design

Online at www.ingentaconnect.com

THE

DE

SIG

N JO

UR

NA

L VOLU

ME 16/ ISSU

E 1/ MARC

H 2013

THE DESIGN JOURNAL VOLUME 16/ ISSUE 1/ MARCH 2013

Edited byRachel Cooper

THE DESIGN JOURNALVOLUME 16ISSUE 1MARCH 2013

Theory, Practice and the ProfessionRachel Cooper Mediation of Conflicts through Design: How American Execution Chambers Represent Conflicting Social PerspectivesAmod Damle Assessing Lifetime Homes Standards and Part M Building Regulations for Housing Design in the UKClíona Rooney, Karim Hadjri and Cathy Craig Couples’ Wear in Korea: Expression of Relationship Status and Identity through FashionJudy Park A Systematic Review of the Relations between Industrial Design Education and Industry in Turkey through SWOT AnalysisOnder Erkarslan Architectural Design Students’ Explorations through Conceptual DiagramsFehmi Dogan

Shaping Sustainable Fashion: Changing the Way We Make and Use Clothes edited by Alison Gwilt and Timo RissanenPammi Sinha

Editorial

Articles

Book Review

ISBN 978 1 4725 1810 1ISSN 1460-6925

16

90100

9 781472 518101

ISBN 978-1-4725-1810-1

www.bloomsbury.com

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