An Examination of the Practice Through the Years Teaching the history of graphic design cannot simply be outlined by dates nor confined by places, but is defined by concepts and philosophies, as well as those who made, make, and inspire them. Teaching Graphic Design History is the first collection of essays, syllabi, and guides for conveying the heritage of this unique practice, from traditional chronologies to eclectic themes as developed by today’s historians, designers, scholars, and documentarians. Long overlooked within the broader history of printing and typesetting, when graphic design’s artifacts finally became the subject of serious study, the historian had to determine what was worthy and on what the history of graphic design should focus: the makers or the artifacts, the content or the context, or all of the above. With the author’s distinct viewpoint and many exclusive contributions, Teaching Graphic Design History chronicles the customs and conventions of various cultures and societies and how they are seen through signs, symbols, and the artifacts designed for use in the public—and sometimes private—sphere. Areas of focus include: Social and political effects of graphic design Philosophical perspectives on design Evolution of branding Development of the graphic design profession Predictions for the future of the practice An examination of the concerted efforts, happy accidents, and key influences of the practice throughout the years, Teaching Graphic Design History is an illuminating resource for students, practitioners, and future teachers of the subject.

More Than Sixty Course Syllabi That Bring the New Complexity of Graphic Design to Light All graphic designers teach, yet not all graphic designers are teachers. Teaching is a special skill requiring talent, instinct, passion, and organization. But while talent, instinct, and passion are inherent, organization must be acquired and can usually be found in a syllabus. Teaching Graphic Design, Second Edition, contains syllabi that are for all practicing designers and design educators who want to enhance their teaching skills and learn how experienced instructors and professors teach varied tools and impart the knowledge needed to be a designer in the current environment. This second edition is newly revised to include more than thirty new syllabi by a wide range of professional teachers and teaching professionals who address the most current concerns of the graphic design industry, including product, strategic, entrepreneurial, and data design as well as the classic image, type, and layout disciplines. Some of the new syllabi included are: Expressive Typography Designer as Image Maker Emerging Media Production Branding Corporate Design Graphic Design and Visual Culture Impact! Design for Social Change And many more Beginning with first through fourth year of undergraduate courses and ending with a sampling of graduate school course options, Teaching Graphic Design, Second Edition, is the most comprehensive collection of courses for graphic designers of all levels.

Although numerous disciplines recognize multiple ways of conceptualizing time, Stefan Tanaka argues that scholars still overwhelmingly operate on chronological and linear Newtonian or classical time that emerged during the Enlightenment. This short, approachable book implores the humanities and humanistic social sciences to actively embrace the richness of different times that are evident in non-modern societies and have become common in several scientific fields throughout the twentieth century. Tanaka first offers a history of chronology by showing how the social structures built on clocks and calendars gained material expression. Tanaka then proposes that we can move away from this chronology by considering how contemporary scientific understandings of time might be adapted to reconceive the present and pasts. This opens up a conversation that allows for the possibility of other ways to know about and re-present pasts. A multiplicity of times will help us broaden the historical horizon by embracing the heterogeneity of our lives and world via rethinking the complex interaction between stability, repetition, and change. This history without chronology also allows for incorporating the affordances of digital media.

A history of design teaching from the mid-1950s to the mid-1990s told through essays, interviews, remembrances, and primary materials. With contributions by more than forty of the most influential voices in art, architecture, and design, After the Bauhaus, Before the Internet traces a history of design teaching from the mid-1950s to the mid-1990s through essays, interviews, and primary materials. Geoff Kaplan has gathered a multigenerational group of theorists and practitioners to explore how the evolution of graphic design pedagogy can be placed within a conceptual and historical context. At a time when all choices and behaviors are putatively curated, and when “design thinking” is recruited to solve problems from climate change to social media optimization, the volume’s contributors examine how design’s self-understandings as a discipline have changed and how such changes affect the ways in which graphic design is being historicized and theorized today.

This accessible book demonstrates how ideas influenced and defined graphic design. Lavishly illustrated, it is both a great source of inspiration and a provocative record of some of the best examples of graphic design from the last hundred years. The entries, arranged broadly in chronological order, range from technical (overprinting, rub-on designs, split fountain); to stylistic (swashes on caps, loud typography, and white space); to objects (dust jackets, design handbooks); and methods (paper cut-outs, pixelation).

"Graphic design history can be a valuable resource, contributing to graphic design students' understanding of design theories, and applied to problem solving exploration. According to many graphic design educators, current history courses are too often taught as superficial surveys of graphic style with no examinations of social, cultural, and political contexts, and have little interaction with practical studio courses. It is essential to bridge the gap between graphic design history and practical studio classes to further enhance graphic design education. This thesis will develop a means by which to show the tangible connection between graphic design history and applied problem-solving in a graphic design curriculum. The main goal of this thesis is to find a way to deliver graphic design history so as to enable students to apply useful historic knowledge to graphic design projects. This thesis will examine methods currently used to teach history in an attempt to develop an alternative method for teaching graphic design history"--Thesis Project Definition.

Revised and updated, this compelling collection of essays, interviews, and course syllabi is the ideal tool to help teachers and students keep up in the rapidly changing field of graphic design. Top designers and educators talk theory, offer proposals, discuss a wide range of educational concerns—such as theory versus practice, art versus commerce, and classicism versus postmodernism—and consider topics such as emerging markets, shifts in conventions, global impact, and social innovation. Building on the foundation of the original book, the new essays address how graphic design has changed into an information-presenting, data-visualization, and storytelling field rooted in art and technology. The forward-thinking course syllabi are designed for the increasingly specialized needs of undergraduate and graduate students. Personal anecdotes from these designers about their own educations, their mentors, and their students make this an entertaining and illuminating idea book. The book features writing from: Lama Ajeenah, Roy R. Behrens, Andrew Blauvelt, Max Bruinsma, Chuck Byrne, Moira Cullen, Paula J. Curran, Louis Danziger, Liz Danzico, Meredith Davis, Sheila de Bretteville, Carla Diana, Johanna Drucker, Milton Glaser, Rob Giampietro, April Greiman, Sagi Haviv, Lorraine Justice, Jeffery Keedy, Julie Lasky, Warren Lehrer, Ellen Lupton, Victor Margolin, Andrea Marks, Katherine McCoy, Ellen McMahon, J. Abbott Miller, Sharyn O’Mara, Rick Poynor, Chris Pullman, Michael Rock, Katie Salen, Douglass Scott, Steven Skaggs, Virginia Smith, Kerri Steinberg, Gunnar Swanson, Ellen Mazur Thomson, Michael Vanderbyl, Veronique Vienne, Lorraine Wild, Richard Wilde, Judith Wilde, and Michael Worthington. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.