Graphic design : a new history / Stephen J. Eskilson.

Includes bibliographical references (pages 444-451) and index.

The origins of graphic design -- Writing and printing in China. From Gutenberg to Bodoni -- 1. The nineteenth century: an expanding field. The Industrial Revolution and the rise of urban mass culture ; New technologies ; Photography -- European newspapers and the law ; New design theories ; The popular book and print ; Mass-market advertising: the broadsheet and the poster ; Nineteenth-century type ; Typesetting and competition ; Advertising agencies ; William Morris. -- The arts and crafts movement ; William Morris's Kelmscott Press. -- The advent of graphic design -- 2. Art Nouveau: a new style for a new culture. French Art Nouveau ; Jules Chéret ; Leonetto Cappiello: Japanese prints ; Alphonse Mucha: Absinthe, the green fairy ; Sensuality and symbolism ; Théophile Steinlen ; Henri de Toulouse-Lautrec: The United States ; Harper's and Japanese prints ; The portrayal of young women ; Will H. Bradley: England ; English Art Nouveau ; Arthur Liberty and liberty's ; Aubrey Beardsley ; The Beggarstaff Brothers: Art nouveau in Scotland, Austria, and Germany: the four ; The Glasgow School of Art, Celtic revival: Celtic manuscripts and The Four ; Charles Rennie Mackintosh -- Vienna Secession : Gustav Klimt ; The Secession Building -- Ver Sacrum -- Wiener Werkstätte : Werkstätte style ; Austrian Expressionism: Oskar Kokoschka, Egon Schiele -- Art Nouveau in Germany : Pan and Jugend magazines ; Blackletter ; Simplicissimus magazine ; Henry van de Velde ; Peter Behrens -- The decline of Art Nouveau -- 3. Sachplakat, the First World War, and Dada. Sachplakat in Germany : Lucian Bernhard and the Priester breakthrough ; The Sachplakat phenomenon ; Ludwig Hohlwein -- The First World War : Wartime propaganda ; Emasculating messages -- The United States : War posters and James Montgomery Flagg: Uncle Sam, an American icon ; Howard Chandler Christy -- France -- The central powers : Realism versus abstraction -- Dada : Tristan Tzara ; Dada in Paris ; Dada in Berlin ; Kurt Schwitters and Merz -- 4. Modern art, modern graphic design. Montparnasse -- Cubism : Guillaume Apollinaire's Calligrammes -- The London underground : Frank Pick ; Edward McKnight Kauffer ; Signage and visual identity -- Futurism : "Words in freedom" ; Lacerba ; Vorticism: Book design in Britain -- Purism : The machine aesthetic ; The new spirit -- Art Deco in France and Britain : Poster art: Cassandre and Carlu ; The Normandie -- Art Deco in Asia: Art Deco type design -- Art Deco: race and colonialism ; The 1931 International Colonial Exposition -- 5. Revolutions in design. De Stijl ; Seeking universal harmony ; Typography and journal design ; De Stijl redesigned ; De Stijl architecture ; De Stijl poster design ; De Stijl and Dada -- Revolution in Russia -- The Russian Revolution and the Bolshevik poster ; The Bolshevik poster -- Lubki and religious icons -- Russian suprematism and constructivism ; Kasimir Malevich and Vladimir Tatlin ; A new Utopia ; Constructivism and Alexander Rodchenko ; Alexander Rodchenko and Vladimir Mayakovsky ; Photomontage and film ; Filmic vision ; Gustav Klutsis ; Film posters: the Stenbergs ; El Lissitzky ; El Lissitzky in Germany. -- 6. The Bauhaus and the new typography -- Dada and Russian constructivism -- German expressionism ; Expressionist film ; Metropolis -- The Arbeitsrat für Kunst -- Weimar Bauhaus ; Expressionism at the Bauhaus ; Constructivism and the Bauhaus ; László Moholy-Nagy -- Women at the Bauhaus ; The 1923 exhibition ; Political problems -- Dessau Bauhaus ; New buildings ; Herbert Bayer ; Typophoto ; Depoliticization at the Bauhaus ; Type at the Bauhaus ; Paul Renner and Futura -- The new typography ; Die neue Typographie ; Ring Neur Werbegestalter -- 7. American modern and the Second World War. The American magazine ; Fortune -- Condé Nast, Vogue, and fashion photography ; Mehemed Agha and Vanity Fair ; Cipe Pineles ; Alexey Brodovitch ; PM magazine. -- Government patrons ; The Great Depression ; FAP posters ; Lester Beall -- The Museum of Modern Art ; The international style ; The "machine art" exhibition ; The "Cubism and Abstract Art" exhibition ; The "Bauhaus 1919-1928" exhibition -- Pulp magazines -- Germany in the 1930s ; The Nazis and the mass media ; "Degenerate Art" ; Typography under the Nazis ; John Heartfield's photomontages -- The Second World War ; Britain ; Russia ; The United States ; Norman Rockwell -- 8. The triumph of the international style. Swiss style ; Jan Tschichold ; The predominance of Akzidenz Grotesk ; New typefaces ; The Swiss style in Zurich ; Neue Grafik ; Design in Basel ; The spread of the Swiss Style ; The International style and corporate identity at Ulm -- The Netherlands -- England ; Stanley Morison ; Jan Tschichold at Penguin ; Herbert Spencer ; Alan Fletcher -- France -- American innovators ; Alvin Lustig ; Saul Bass -- The international style comes to America ; Container Corporation of America ; Paul Rand -- Bauhaus Masters at American Universities ; The breakthrough: Paul Rand and IBM ; Unimark International ; The Golden Age of Lagos -- The International style in corporate architecture ; The tilted "E" -- 9. Postmodernism: the return of expression -- Postmodernism -- Psychedelic and rock graphics ; British psychedelics ; Magazine and album design -- Postmodern graphic design ; Historical consciousness ; Détournement ; Postmodern typography ; Robert Venturi and Learning from Las Vegas ; Wolfgang Weingart ; Dan Friedman and April Greiman ; Early desktop publishing -- The postmodern book and Richard Eckersley ; Cranbrook Academy of Art ; The Netherlands and Britain ; Tibor Kalman -- Postmodern architecture -- Digital typography ; Émigré Graphics ; Early digital typefaces and Zuzana Licko -- The postmodernism of resistance -- Continuing conflict. -- 10. Contemporary graphic design -- Eclectic experiments: "Grunge" design ; Depoliticized design ; Celebrification ; Eclecticism, historicism, and appropriation ; Conceptual design ; MTV, coopting the counterculture ; Comics, manga, video games, and animé ; Graffiti and street art ; Illustration in a digital age -- Design it yourself -- Global graphics? -- 11. The digital present. Resurgent idealism -- Wired magazine -- Designing the web 1.0: beginnings -- First wave motion and interactivity: flash 2000-2010 -- Viral advertising -- Animated graphics for film and television -- The end of the flash era -- The multifaceted digital world: stories, experiences, and interfaces -- Big data -- Contemporary digital type ; Digital crystal goblets -- Comic sans and papyrus ; Experimental and conceptual type -- Lessons from type at MoMA -- Epilogue. The Citizen Designer -- Sustainability -- Bruce Mau and massive change -- Jonathan Barnbrook -- Center for Urban Pedagogy -- Conclusion.

"Now in its third edition, this acclaimed survey explores the evolution of graphic design from the 19th century to the present day. Following an exploration of design's prehistory in ancient civilizations through the Industrial Revolution, author Stephen J. Eskilson argues that modern design as we know it grew out of the influence of Victorian-age reformers. He traces the emergence of modernist design styles in the early 20th century, examining the wartime politicization of regional styles. Richly contextualized chapters chronicle the history of the Bauhaus and the rise of the International Style in the 1950s and '60s, and the postmodern movement of the 1970s and '80s. Contemporary considerations bring the third edition up to date, with discussions of app design, social media, emojis, big data visualization, and the use of animated graphics in film and television. The contemporary phenomenon of the citizen designer, professionals who address societal issues either through or in addition to their commercial work, is also addressed, highlighting protagonists like Bruce Mau and the Center for Urban Pedagogy. This edition also features 45 additional images, an expanded introduction and epilogue, and revised text throughout. A newly redesigned interior reinforces the fresh contents of this now-classic volume." -- Publisher's description