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2014Design & Graphic Arts


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Contents

Design & Graphic Arts 2014

Introductory Textbooks 2Theory and Practice 7

Graphic Design 9Illustration 14Typography 16Colour 17Interactive Design 18Animation 20Photography 21Advertising 28World History of Design 29History and Culture 30Digital Art and Visual Culture 38Journals 39Index 42Representatives and Agents 43

UK, Europe andRest of WorldBloomsbury Publishing50 Bedford Square,London, WC1B 3DP, UKT +44 (0)207 631 5600F +44 (0)207 631 [email protected]

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Textbook

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Bloomsbury Academic is a division of Bloomsbury Publishing Plc. Registered in England No. 0198433


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Textbook

UK November 2014US January 2015

208 pages200 colour illus270 x 210mm / 10.6 x 8.3inchesPB 978147253440829.99 / $49.95Series: Required ReadingRangeFairchild Books

Introduction

Chapter 1 - BrandSystems In Conversation withMason Wells, BibliothqueDesign Strategy InConversation with Mat Heinl,Moving Brands Ecosystems In Conversation with SimonManchipp, SomeOne Authenticity Heritage

Chapter 2 - ExperienceMotion Graphics InConversation with Shane Walter,onedotzero CommunicationEnvironments In Conversationwith Designer and Director KateDawkins In Conversation withKevin Palmer and Matt Wade,Kin Touch User Experience

Chapter 3 - ConversationCollaboration In Conversation

with Matt Webb, Berg London Iteration Prototyping InConversation with Mills, UsTwo User Testing

Chapter 4 - ParticipationAlternative Cultural Feeds In Conversation with AdrianHo User Generation InConversation with Haah De-De Participatory Advertising OpenSource

Chapter 5 - NavigationData Overload Curation InConversation with Will Hudson,Its Nice That Visualizing Data In Conversation with MaxGadney Information is Beautiful In Conversation with StefPosavek

Chapter 6 - AdvocacyActivism In Conversation withLucienne Roberts, GraphicDesign+ Social Responsibility In Conversation with Tara Austin& Paco Conde, Ogilvy & Mather Sustainability In Conversationwith Nat Hunter

Chapter 7 - CritiqueDesign Discourse DesignPublishers In Conversationwith Adrian Shaughnessy

Speculative Design InConversation with AnthonyDunne and Fiona Raby,Dunne & Raby Content InConversation with Lindsay Liu

BibliographyFurther ReadingIndex

Contents

A guide to the contemporarycreative employment landscape,giving knowledge and inspirationto students wishing to builda sustainable career in thecommunication design industry:

Leading practitioners, fromMoving Brands, Wolff Olins, ItsNice That, among many others,provide their own insight intothe creative industries

Includes handy Search Termsthroughout, so that readerscan further their own researchas they read

Derek Yatesis course leader forFDA Graphic Design/Illustrationat Camberwell College of Arts,UK.

Jessie Priceworks as aresearcher at the University ofthe Arts, UK, and as a freelancedesigner.

CommunicationDesignInsights fromthe CreativeIndustriesDerek Yates and Jessie Price

Introductory Textbooks


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Contents

UK November 2014US September 2014

356 pages250 colour illus216 x 279mm / 8.5 x 11 inchesPB 978160901496474.99 / $121.00Fairchild Books

www/Textbook

Part I: The Nature, Elementsand Principles of Design

Chapter 1: What is Designing?Chapter 2: A Brief History of

DesigningChapter 3: The Elements of

DesignChapter 4: The Principles of

Design

Part II: Informing DesignChapter 5: Researching and

Planning for DesignsChapter 6: Creating and

Presenting Designs

Part III: Thinking DesignChapter 7: Thinking Print:

Graphic Design and Elementsin Two Dimensions

Chapter 8: Three-DimensionalThinking

Chapter 9: Time and Experience:Design and Culture/Design

in CultureChapter 10: Thinking On-

Screen

Appendix 1: NotableDesigners

Appendix 2: Resources forDesign

GlossaryIndex

A current and comprehensiveintroduction to designfundamentals including 2D and3D design concepts:

Illustrated with numerous imagesfrom a variety of fields: industrial,apparel, interior, automotive,landscape, Web, graphic, finearts, artisanal, and more

Sidebars and end-boxesplace focus on topics, suchas networking, ergonomics,timelines, and sustainability

Includes chapter summaries,lists of objectives and keyterms, exercises, assignments,

and questions for classroomdiscussion Teaching resources: Instructors

Guide and PowerPointpresentation available

Karl Aspelund is an AssistantProfessor at the University ofRhode Island, USA.

DesigningAn IntroductionKarl Aspelund



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Contents

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Alexander Singh / Webb & Webb / Thomas Manns /

A Practice For Everyday Life / I an Bogost / hat-trick

design / Robbie Conal / Crispin Finn ambrose & harris

Malika Favre / Ann Willoughby / Miha Artnak /

Erik Kessels / Michael Lebowitz / Mouse Graphics

/ NB Studio / Tanner Christiansen / Anthony Burrill /

John. P Desserau / Wout de Vringer / Nicolas Feltron

/ Swine Studio / 3 deep / Pacifica / Mark Leeds / Kitsch

Nitsch Design Genius Julian Oliver / James Brown /

Hin / Thomas Matthews / Vince Frost / Ken Garland

/ Poulin + Morris / Blast theory / April Greiman /

Mint Digital / Jonathan Harris / Michael Salmond /

Appshaker / Chris Bigg / Vesna / Marion Gotti / Second

Story / SEA / Studio Myerscough / Jean Jullien / James

Kape & Brtion Smith / Rachael Ashe / Gabor PAlotai /

Brian Rea / multipraktik / True North / Mucho / Morse/ F and B Happy / Studio Output / Vast / Studio Thomson

/ Crispin Finn / Aufuldish & Warinner / BOY BASTIAENS

The Ways and Workings of Creative Thinkers

Mark Leeds, UKwww.yandz.com

Youhave a prestigious background ineditorial design. Doesthis have its ownsetof rulesor approacheswhen dealingwithtextand image?YesIthink it does. Editorialdesign -especially on a dailyorweekly -is a fluid process, it requiresflexibility (othemind aswellaso thedesign) -storiesand prioritieschange-sometimesvery quickly. It means words, imagesand designaresubject to editing, croppingand sometimesdroppingentirely in thepursuit oeffectivestory-telling. Iseetext andimagesasthe raw ingredients-a startingpoint -which arethen shaped to fit theethoso thepublication, not theotherway round. It can be a collaborative, argumentativeand acompetitiveprocess. Contributorssometimesneed to refile,orperhapsdo more, as a story develops. Asdeadlinenears,westart settlingon ourdecisions, refiningthedesign and text

aswe go, bringingit closerinto ocusat each stage. Welookat therunningorder, thinkabout pacing, scale, imagesandoveralltone, to givethepublication a satisyingebb and flow.

Many othecoversor FWeekend MagazineandBloombergBusinessweekareideasbased. Te juxtapositionoimagesand type aimsto convey a uniquemessageand, isuccessul, becomesgreaterthan thesumo theirparts. Forstorieswhereimagesdo not exist, orwherepeopledo notwish to bephotographed, thedesign needsto be inventive, anapproach born onecessity -requently usingtypography andmanipulated imagesto assert the individualpersonality othemagazine. (seeNew York, Businessweek, F) In a purenewscontext Iam careulabout howimagesarecropped -retainingtheirmeaning-and iavoidphotoshoppingthem. I would say that thisis an unwrittenrule- that readersneed to beableto trust what they seeisan accuraterepresentation owhat happened. Terearealsoethicaldecisionsto bemade, thesevary rom publication topublication and acrosscultures. Do youshow horrificimageryassociated with a terrorist attack? Isit okto use paparazzishots?, Do thosedecisionschangewith time? Whatsin thepublicinterest? Itsa grey area wherethe publicationsethos,context otheevent and personalexperienceinormthedecision

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Boththe writtenword and the image have gravity andmeaning. Doyou have a particular preference or workingpatternwithtype and images.? Are youled by one overanother or does this vary from projectto project.?Although it variesproject to project Iusually liketo read copyfirst (orat least a synopsis). It givesme an opportunity toconsiderhow best to visualiseit; reportage, portrait, graphic,illustration etc. Forimagesalready commissioned itsa prismthrough which Ican judgethe most appropriateselectionto complement thearticle. I dont really thinkits possibletoart direct (well) in isolation, youneed to know theangle thearticleistaking to do it justice. Donewell, youvesummed itupin oneimage, thereaderprimed.

Some ofthe designs youhave produced are instantlyregognisable as being newsworthy. Te BloombergBusinessweekfor example. Are there conventions andvernaculars oftype and image thatyouconsciously tryand tap into? As readers and consumers we all buy into

some ofthese conventions. Te power ofblackand whitephotography thatcreates a sense ofreportage, or the use ofauthoritative typography (through weightor colour).Sometimesit isa consciousdecision. Not every projectneedsto redesign thewheeland working with common-heldconventionsmeanswereallspeakingthe samelanguage.Designers, readersand consumersareintertwined with thehistory odesign. Conventionsexist and isupposewhatwedo isevolve thelanguage, playingat theedges, pushingboundaries. Itsa constant stateoflux, with thewiderworldinfluencingthelook: Pervadingsocialmood, ashions, andchangingtechnology allhavean impact. Although readersmay not beable to articulateit, they arevisually literate-pickingupon subtledifferencesbetween typesocontent(eatures, news, columnists, reportage) tone(stylish, austere,un, gossipy) images(commissioned, stock, illustrated)typography (seri, sans, calm, energetic, centred, rangedlef, bold, discreet) and colour (traditional, sharp,modern, etc). Ten, aferwe haveestablished

Space is a precious commodity in news publications.Competition or that space gives a density to news publications and white space has to work hard to be justified

f

True Northhttp://thisistruenorth.co.uk/

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UK July 2014US September 2014

320 pages350 colour illus270 x 210mm / 10.6 x 8.3inchesPB 978294041196232.99 / $56.95Series: Creative CoreFairchild Books

Introduction

Chapter 1: Thinking in WordsWhere Words Come From......and Where They Are Going

Chapter 2: Thinking inImages

Looking CloselyLooking From a DistanceWhat to Leave in and What to

Take OutConstructing Meaning

Chapter 3: Thinking inNumbers

Understanding ProportionUsing Numbers in DesignPoints of ReferenceUsing and Breaking Rules

Chapter 4: Thinking in FormHow We See ShapesUsing Form to Control DesignControlling User Reactions

Chapter 5: Thinking in ColourWhat Colours MeanColour as a Tool

Chapter 6: ThinkingProcesses

Design ProcessesBusiness ProcessesMarket Processes

GlossaryBibliographyIndex

Design Geniuscelebrates thecreative thought processesof several leading artists,designers, creative agencies,animators, illustrators andtypographers:

Explores, through a series ofinterviews, the tools that visualcommunicators use to facilitateimaginative thinking

A visual tour de force, withan eclectic set of works fromsome of the highest qualitycreative individuals andagencies

Contributors include

KesselsKramer, StudioMyerscough, 3 Deep Designand AKQA

Gavin Ambrose is a practisinggraphic designer.

Textbook

Design GeniusThe Ways andWorkings ofCreative ThinkersGavin Ambrose



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a visual language, we can have some un bysubverting it.

Space is a precious commodity in news publications.Competition or that space gives a density to newspublications - and white space has to work hard to be justified.ypography too has to be hardworking, efficient, easy toread at small sizes. Everything takes an edit and I think thatdistillation gives a tightness to the whole publication - in turngiving it a unique design vernacular. Production processes also drive the visual language.Te design components are a kit o parts, able to be assembledquickly - and by different people - but still retain a coherentlook. Tats very much the bricks and mortar o a publication,the underlying rythmn, on top o which different notes areadded to keep it interesting. How much can be created romscratch depends on personal choice, staff and deadlines.

As a designer do you feel you need to be fully aware of what

it means to be a consumer? is that part of the thinking and

designing process?

It certainly helps. An idea will connect much more deeplyi you understand your readers. Its vital to create a rapport

with them - reflecting their interests - and to some extenttheir visual culture. Ideally though, you do more than merelyreflect: you bring them new ideas, you challenge and surprise.Te readers are likely to already have a shared history andpassion or that publication, so what you do is part o anongoing relationship and dialogue. Its exciting to be a part othat, to be innovative - sometimes revolutionary - and bringthem with you.

My design process is ramed by Who is this or?,When will they encounter it? Are they already committed toit? (like a subscriber) or are you grabbing their attention. Lots

o questions to eliminate what its not. Narrowing the optionscreates a manageable starting point. I dont know i it alwaysworks but its certainly my intention to get to a point where itsin the right sort o area quickly and rom there explore. Can you give an indication of some of theprocesses you use when working. For example some people

choose to sketch, while others the starting point is more

about Empirical research, or emersing themselves in an

environment or concept. I like to have a number o simple bries, ahead otime, so I can b e thinking o them in the background. Oncei start, I work very quickly, throwing different ideas into the

mix and try not to become too precious. I imagine an endpoint; what is the short-cut visual or the reader? Teres animmediacy and energy at this stage - ofen the seed o a goodidea is present (although it can take some time or it to dawnon me what it is).

However , or a new publication the cover can endup being the last thing worked on - as it takes a while tograpple with the identity o a new magazine - so it becomes aculmination o the understanding built up during the project.I also think its essential to have an opinion on the editorial,suggesting ideas, writing dummy headlines, helping to find aneffective solution I draw simple stick men style ideas on paper but alsohappily sketch on the computer using type, colour and imagesto get my ideas across. Sometimes I will drill down to a smalldetail which may end up becoming a defining detail o the

publication. Tere are lots o dead ends but they resuraceon other projects. I print out the ideas, ull size, larger, andsmaller, cut them up - put them inside other magazines - lookat them in a mirror, ask people who know nothing o theproject - anything to see them resh. I enjoy approachingrom the macro and micro, attempting to find a solution

rom both directions. I encourage the designers i work withto produce lots o ideas and then we see whats best, merging,refining until we run out o time. For the F covers I stepback rom the detail to look at the big picture whereas duringthe latter stages o a redesign (like Businessweek) its ullyimmersive - creating a toolkit o parts and developing a visualgrammar knowing the language completely, rom the pointsize o a picture credit upwards.

Your all have to work hard to earn their place. Do you fid

this level of design is as much about what to take out as

what to leave in?Its important that all elements combine to reinorce a singleidea. I think there are very powerul covers with a lot goingon (like this NY cover) and covers which are deliberatelyoblique but still work or their knowing audience. For meremoving unnecessary elements and distilling an idea makesor a more compelling cover, connecting quickly with ourreaders. We are trying to entice them to engage with ourmagazine - it shouldnt be hard work. Unless o course, youwant it to be.

Bloomberg Businessweek

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An idea will connect much more deeply i you understandyour readers. Its vital to create a rapport with them reflectingtheir interests and to some extent their visual culture

f

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www/Textbook


256 pages40 bw illus246 x 189mm / 9.7 x 7.4 inchesPB 978147256939419.99 / $34.95HB 978147257114465.00 / $112.00Bloomsbury Academic

A unique and valuable contribution to anemerging field and I applaud the way it wasput together ... potentially of good use tocourses in Experience Design and possiblyfor user experience, interaction design, ux[or] digital media design coursesKarenCham, The Design School, Kingston University, UK

An introduction to key approaches and issueswithin the emerging field of Experience Design.

Contributors use real-life case studies drawn froma range of national and disciplinary contexts toexplore the meaning of experience; ways in whichspecic experiences can be designed; whichmethodologies and practices are employed in thisprocess, and how experience design interrelates

with other academic and professional disciplines.

Peter Benzis Assistant Professor, Academy ofVisual Arts at Hong Kong Baptist University, PRC.

ExperienceDesignKey Conceptsand ApproachesEdited by Peter Benz

Contents summary

Inspiration Identication Conceptualization Exploration/Renement Denition/Modeling Communication Production Appendices

UK November 2014US September 2014

320 pages160 colour illus216 x 279mm / 8.5 x 11 inchesPB 978160901838254.00 / $80.00Fairchild Books

Karl Aspelund takes readers on a guided tour ofseven key stages of design. Perspectives featureshighlight individual designers and artists, andend-of-chapter exercises help transform designprojects to reality.

Instructors Guide and Power Points available.

Karl Aspelundis an Assistant Professor in theDepartment of Textiles Fashion Merchandising andDesign at the University of Rhode Island, USA.

The DesignProcessKarl Aspelund


3rd edition

New to this edition

New cumulative storyboards in each chapter Added coverage of globalization, sustainability and collaborative teamwork New Perspectives features with additional design elds and real-life artists and

designers Thoroughly updated illustrations


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7

Contents summary

Introduction PART I: The Essence of Design PART II: Beingin a Designed World PART III: The Ethos of Design PART IV:

Design as Practice PART V: What Technology Designs PART VI:Designed Appearances PART VII: Design, Culture and Otherness PART VIII: Relationality, Categories and Disruptions Guide toFurther Reading Bibliography Index


320 pages246 x 189mm / 9.7 x 7.4 inchesPB 978085785350924.99 / $44.95HB 978085785349375.00 / $120.00Bloomsbury Academic

The Design Philosophy Readerpresents and explains therecent emergence of DesignPhilosophy, why it is needed,what it can do and where it isgoing.

It comprises eight thematicsections, with texts rangingfrom writing on design thatis informed by philosophy;philosophically informedwriting on culture, relevant tothe thinking of design; ancientand contemporary philosophythat directly, or by implication,addresses design; and

exegesis and commentary onphilosophical texts relevant todesign.

Anne-Marie Willisis Professorof Design Theory at the GermanUniversity in Cairo, Egypt.

The DesignPhilosophyReaderEdited by Anne-Marie Willis

Theory and Practice

Key Title

Design Futuring

Sustainability,Ethics and NewPracticeTony Fry

2008288 pages

189 x 150mm / 6 x 7.1 inches50 bw illusPB 978184788217216.99 / $29.95HB 978184788218950.00 / $99.95Berg Publishers

Design Futuringdefinesredirective practice as a

critical new paradigm fordesign a way of engagingdesign and sustainability asthey are implicated in andessential to our very survival.Broad. Accessible. Timely.Eli Blevis, Indiana University atBloomington, Indiana, USA

Forceful, convincing,persuasive, and ultimatelyrefreshing, leaving thereader with renewedinvestment in the role ofdesigners for a sustain-ablefuture. Interiors: Design,Architecture, Culture

Textbook

Students

Chapters include editorial introductions and annotated bibliographies.


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This book proves that Nigel Cross is trulyone of the leading thinkers who are workinghard to establish the body of knowledge fordesign.Lee, Kun-Pyo, Korea Advanced Instituteof Science and Technology, South Korea

A highly accessible read that will doubtlesshelp many designers to better understand and perhaps also to question the thingsthey do in their work life, and why they dothem.The Designer Magazine

A useful resource for people wanting to geta deeper insight into how designers go aboutdesigning things and systems, and a greatfirst year student handbook.Curve

Design ThinkingUnderstandingHow DesignersThink and WorkNigel Cross

2011

192 pages40 bw illus189 x 150mm / 7.4 x 5.9 inchesPB 978184788636114.99 / $24.95HB 978184788637845.00 / $79.95Berg Publishers

Textbook

An inspiring resource for design students,professionals or anyone else who could benefitfrom a fuller appreciation of the design process, ByDesignvividly shows how design affects our mostsignificant human activities.

A network of engrossing stories illuminate theprocess as it applies to industrial design, interiordesign, fashion design, graphic design and thedesign of business and social situations. It is

the perfect accompaniment to a broad area offoundation courses for designers-in-training.

By DesignWhy There AreNo Locks on theBathroom Doorsin the Hotel LouisXIV and OtherObject LessonsRalph Caplan

2004

267 pages45 colour illus229 x 152mm / 9 x 6 inchesPB 978156367349835.00 / $57.00Fairchild Books

Textbook

A collection of 69 essays that looks at just abouteverything in design: clothes, hardware, posters,cars, airports, chairs, lighting, vending machines,

cities and bathrooms. They are about how weuse design, language and instinct to navigate oureveryday world from eating, relating to others,maintaining traditions and advancing our causes.

Previously published in distinguished forumsranging from ID Magazine, Print, and InteriorDesignto The New Yorker, The New York Times,and The Nation, Caplan brings to these essays anerudition tempered by clarity, charm and humour.

Crackingthe WhipEssays on Designand Its SideEffectsRalph Caplan

2005

240 pages

229 x 152mm / 9 x 6 inchesPB 978156367390025.00 / $44.00Fairchild Books

Textbook

Theory and Practice Key Titles

2nd edition


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SUSTAINABLE

GRAPHICDESIGNPrinciples and Practice

Peter Fine

Contents summary

IntroductionChapter 1: MessagesThe Durability of IdeasEverything NewMachined Aesthetics

Inventing the NaturalFinding Meaning in DestructionThe Revolution will be DigitizedShrouds and SkinsWhat RemainsAll Things Being EqualPreservationDe-Naturalized: The Case for

a Critical Methodology forSustainability

SUMMARY of Case StudiesChapter 2: SpaceThe Collective SelfConstant CrisisMining the RemainsBeyond the LimitsResituating Words

The Forest for the TreesWasted, Spent and DrainedSpaces

Interlocking PlanesBuildings as SignifiersWhat RemainsVoices Across the LandscapeSUMMARY of Case StudiesChapter 3: PackagesDesigning Over TimeIdeas in MotionLocal and UniqueCommunicating ValueMemoryRe-Mediating RelationshipsPeeling Away the LabelEthical Representation

Embodying ConsumptionBetween Consumption and

WasteThe Iconography of

Representation

On-the-Go PackagingTo Signify or to ObscurePlastic is a NounSUMMARY of Case StudiesChapter 4: Process

Collective Utility and MeaningSustainable Use-ValueFraming the ProblemBeyond the Vanishing PointCuriosity Made VisibleThe Power of Multiple IdeasSynthesizing MeaningBeautiful and MeaningfulSUMMARY of Case StudiesChapter 5: Social DesignVisualizing Rather than

TheorizingThe Notion Unlimited SupplyThe Value of Design as ThinkingIn-Equal DesignSurplus CreativityBlind SpotsPlace, Race and WasteSelf-imposed IgnoranceThe SyntheticThe Ephemeral and EternalThe VernacularSaturationSUMMARY of Case StudiesChapter 6: Teaching Graphic

Design at a Human ScaleThe Ideology of the IdealStyle and the VernacularHuman-Centered PedagogiesThe Politics of DesignMaterial and MaterialismIncubators of Critical ExplorationGreening the Graphic Design

EducationConclusionBibliographyIndex


384 pages200 colour illus210 x 297mm / 8.3 x 11.7inchesPB 978085785063824.99 / $39.95HB 978085785062160.00 / $99.95Bloomsbury Academic

Sustainable Graphic Designoutlines graphic designsrelationship to production andconsumption, demonstratinghow designers can contributesolution-orientated responses toconsumption through tools andmethodologies applicable to botheducation and practice:

Presents cutting-edge workfrom practitioners, educatorsand students from NorthAmerica, United Kingdom,Japan, Australia and East Asia

Helps students visualise theirfuture roles engaging with the

field in response to ecologicalconcerns, social justice andpresent design systems

Includes case studies with step-by-step instructions adapted foruse by instructors

Peter Fine is an AssistantProfessor of Graphic Design atNew Mexico State University, USA.

SustainableGraphic DesignPrinciples andPracticesPeter Fine

Graphic Design


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Textbook

Textbook

UK January 2014US March 2014

200 colour illus184 pages230 x 160mm / 9.1 x 6.3 inchesPB 978294049653223.99 / $41.95Series: Basics DesignFairchild Books

A guide to the printing and finishing techniquesemployed by graphic design studios all overthe world. A thorough understanding of thesetechniques will equip the designer with theability to harness the creative potential of theseprocesses and add creative elements to a designin order to increase its impact and functionality.

Showcasing seven different paper and ink stocksand finishes, the book is an invaluable reference tool.

Gavin Ambroseis a practising graphic designerteaching at the University of Brighton, UK.

Paul Harrisis a freelance writer and editor.

Basics Design:Print and FinishGavin Ambrose and Paul Harris

UK December 2014US January 2015

184 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 978147257271423.99 / $41.95Series: Basics DesignFairchild Books

Beautifully designed and filled withexcellent examples. Richard Barlow, St CloudState University, USA

Design Thinking for Visual Communicationidentifies methods and thought processes usedby designers in order to start the process thateventually leads to a finished piece of work. Step-by-step guidance for each part of the process ishighlighted by real-life case studies, enabling thestudent to see teaching in practice.


2nd edition

Design Thinkingfor VisualCommunicationGavin Ambrose

Graphic Design

2nd edition

Key Titles

Basics Design01: FormatGavin Ambrose and Paul Harris

2012

208 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 978294041179523.50 / $34.50Series: Basics DesignAVA Publishing

Basics Design07: GridsGavin Ambrose and Paul Harris

2012


2nd edition Textbook 2nd edition Textbook

New to this edition

Contributions from a broader international range of design practices Updated with more in-depth examinations of the case studies New Design Brief feature, enabling readers to put what theyve read into practice Now includes a host of online resources, including assignments and videos

New to this edition

Updated to include discussions with design studios about printing and nishingtechniques used on past projects

New content: studio interviews and student activities


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D

uplexing

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Industryview:SEADesign

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Grey-colouredstock

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36 Industry view: SEA Design

Industry view:SEA DesignPictured are launch materials for a new rangeof papers by Robert Horne called Fabriano. Featuring iconicimages by photographer Lee Funnell, each paper type is

represented by a different insect.

SEA Design is a multidisciplinary studio working for clients in the arts,

cultural and corporate sectors. They have become famous for reinterpreting

how branding and identity are approached and have a clear graphic identity.

www.seadesign.co.uk

The studios work often

celebrates the various qualities of

stocks and printing techniques.

Can you elaborate on this?

How we start a project and how it

gets produced/finished work hand in

hand there is no point having a

wonderful idea if it gets poorly

produced on paper. There are more

opportunities to express the tactile

qualities within a digital age and our

identity work always take these

opportunities. For example the finish

of the packaging board, the choice

of texture and weight all convey

emotional triggers that are lost on

screen or any other medium.

Can you elaborate the collaborative

relationship between designer,

client and printer?

How we produce a campaign and

specifically print is all about working

closely with the last person involved!

We work very closely with every

printer over the past decade in an

almost obsessive way... Obsessing

over every detail of production which

I'm sure annoys some of them!

However we are lucky in having some

extremely passionate clients such as

Monotype and Fedrigoni paper, both

have produced some amazing printed

productions.

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Channels

and

plates

|Overprinting

techniq

ues

|Halftones

This is a Magazine (above and opposite)

These are spreads taken from This is a Magazineuse vector and raster imageelements. The different components of the design overprint; creating a textured

graphic tapestry of colour and form.

807

Mattart

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126 Overprinting techniques

Client: This is a Magazine

Design:Andy Simionato

& Karen Ann Donnachie

(Donnachie, Siminonato

& Sons)

Technical overview:

Radical overprinting

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UK December 2014US January 2015


2nd edition

The Layout Bookexplains the hows, whys andwhy-nots of the placing of elements on a page orscreen layout. A historical overview of the subjectis followed by a systematic look at key theoreticalprinciples and practical applications.

Offering a huge array of potential layout optionsand with over 250 colour illustrations from someof the worlds leading design studios, this is auniquely inspiring guide to graphic design.


Paul Harrisis a freelance writer and editor.

The Layout BookGavin Ambrose and Paul Harris

Graphic Design

UK September 2014US November 2014

568 pages600 colour illus165 x 240mm / 9.4 x 6.5 inchesPB 978147256754349.99 / $85.95Series: Basics Graphic DesignFairchild Books

This box set contains all three books from theBasics Graphic Design series: Approach andLanguage, Design Researchand Idea Generation.

Together, they cover the key ideas and processesthat underpin successful graphic design, coveringtopics such as: key styles, movements anddebates in the history of graphic design; designvocabulary; idea generation; design research; andpresentation techniques.


Neil Leonardis a designer and educator.

Nigel Aono-Billsonis a designer, educator andwriter.

Basics GraphicDesign Box SetGavin Ambrose, NigelAono-Billson and Neil Leonard

Contents

Approach and Language/ Gavin Ambrose and Nigel Aono-Billson / PB 9782940411351Design Research/ Neil Leonard and Gavin Ambrose / PB 9782940411740Idea Generation/ Neil Leonard and Gavin Ambrose / PB 9782940411818

Key Title

The ProductionManualA Graphic DesignHandbookGavin Ambrose and Paul Harris

2008

192 pages200 illus300 x 220mm / 11.8 x 8.7inchesPB 978294037363537.50 / $52.50Series: Required ReadingRangeAVA Publishing

Informative, up-to-date andwell structured, with easilyunderstood diagrams andgood illustrative content. Anexcellent underpinning forall those engaged in graphicdesign. Douglas Wilson,Nottingham Trent University, UK

Textbook

New to this edition

Revised and updated to include new examples from and interviews with Pentagram,Morag Myerscough and April Greiman

New study points, to help readers to develop their own exploration of layout


15/48 13


176 pages100 illus240 x 150mm / 9.4 x 5.9 inchesPB 978140819187322.99 / $39.95HB 978140819188070.00 / $130.00Bloomsbury Visual Arts

A highly practical guide tothe graphic representationof quantities, locations,connections and other forms ofdata, founded on solid designprinciples.

Easy to understand, the bookhas been created to assistdesigners, researchers, andwriters in expressing visuallythrough points, lines, and areasthat which by words, letters,and numbers alone often havedifficulty communicating. Itdescribes problems, principles,and solutions for the visual

display of information, andpresents real-world didacticexamples, taken frompublications such as theFinancial Timesand the WallStreet Journal.

Per Mollerupis Professorof Communication Designat Swinburne University ofTechnology, Melbourne,Australia.

Data DesignVisualisingQuantities,Locations,ConnectionsPer Mollerup

Graphic Design

Key Titles

TheFundamentals ofGraphic DesignGavin Ambrose and Paul Harris

2008

200 pages200 colour illus230 x 200mm / 9.1 x 7.9 inchesPB 978294037382626.50 / $38.50Series: FundamentalsAVA Publishing

The VisualDictionary ofGraphic DesignGavin Ambrose and Paul Harris

2006

288 pages300 colour illus160 x 120mm / 6.3 x 4.7 inchesPB 978294037343716.95 / $24.95Series: Visual DictionariesAVA Publishing

Textbook Textbook


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Textbook

Contents

Introduction

Chapter One, Getting StartedIdeas GenerationResearchSketchbooksInspiration

Chapter Two, Ways ofDrawing

A History of IllustrationOutsider ArtThe PortraitLife Drawing

Chapter Three,Experimenting

Print WorkshopCross-media and Cultural

Cut-ups

Chapter Four, Types ofIllustration

The DecorativeSocial CommentCaricatureReportageUnderground Urban Street ArtStorytellingFantastic Worlds

Chapter Five, The NewDigital Paradigm

The Next Big Thing in IllustrationThe Future is NowFlexibility

Chapter Six, A Career inIllustration

CollaborationBriefs and DeadlinesIndustry InsightsConclusion

Appendix20 ProjectsGlossaryCanonBibliographyConclusionIndexAcknowledgements

UK August 2014US October 2014

192 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 978147252749323.99 / $41.95Series: Basics IllustrationFairchild Books

Thinking Visually for Illustratorsexplores the importance ofideas, research, drawingand experimentation for theillustrator. Contemporaryillustrators from all over theworld have contributed theirartwork and commentarieson visual thinking and theworking process. The text alsofeatures the work of recentgraduates, present students andobservations from educatorspast and present.

Mark Wiganis a Lecturer at HullCollege, UK.

Thinking Visuallyfor IllustratorsMark Wigan

Illustration

2nd edition

New to this edition

New chapter on illustration for the digital domain Newly designed pages, featuring work from illustrators including Rob Ryan (UK), Anthony Burrill (UK)

and Louisa St. Pierre (US) A host of new contributors broaden the international scope of the book Includes 20 project briefs, enabling the student to develop and practise their own techniques


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176 pagescolour illus250 x 280mm / 9.8 x 11 inchesPB 978140817179025.00 / $34.95Bloomsbury Visual Arts

Understanding Illustrationasserts the continuedpower of illustration as a vehicle for meaning andmessage by offering an in-depth examination ofa selection of great images by a broad range ofartists.

The book focuses in on a selection of work by 37artists with an analytical and in-depth approach,showing how illustrators communicate throughtheir images in order to narrate a story or stimulatethought.

Looking at a broad range of illustration, fromjournalistic reportage to childrens books, it offersan insight into how an artist might tackle a brief, orbuild up layers of information within their image inorder to get a message across.

Derek Brazelland Jo Daviesare both practisingillustrators and editorial board members of Varoom.

UnderstandingIllustrationDerek Brazell and Jo Davies

Illustration

Key Title

TheFundamentalsof IllustrationLawrence Zeegen

2012


The book truly lives up toits title: its all about thefundamentals, and it coversall the bases ... Great for ayoung student who mightbe thinking about gettinginto illustration, or perhaps

someone who wants tostart a new craft with a clearview of how the illustrationindustry operates.IllustrationFriday

A fresh introduction to theimportant elements of thediscipline that takes the readerstep-by-step through thekey processes, themes andapplications in illustration.

Lawrence Zeegenis Headof School for the School ofCommunication Design atKingston University, UK.

Textbook2nd edition

Students

Includes a chapter on the professional practice of a freelance designer, contemporary case studies featuring the work ofJohn Clementson, Tim Vyner, Olivier Kugler, Damian Gascoigne, Ben Kelly and Howard Read, and a series of interviewswith practising illustrators such as Autumn Whitehurst, Stina Persson and Anthony Burrill.


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Transforming Typeexamineskinetic, or moving type, ina range of fields includingfilm, television, typographicanimation, and motion graphics,with examples including filmand television title sequences,television idents, advertising,interactive poetry andexperimental animation.

Barbara Brownie addressesdifferent kinds of kineticism andthe issues that arise when typetransforms itself, challenging theboundaries between type andimage.

Barbara Brownieis a Lecturer inVisual Communication and theonline co-ordinator in the Schoolof Creative Arts, University ofHertfordshire, UK.

UK October 2014US December 2014

240 pages14 bw and 16 colour illus246 x 189mm / 9.7 x 7.4 inchesPB 978085785633319.99 / $34.95HB 978085785767565.00 / $112.00Bloomsbury Academic

TransformingTypeNew Directionsin KineticTypographyBarbara Brownie

Typography

Key Titles

Basics Design03: TypographyGavin Ambrose and Paul Harris

2005


TheFundamentals ofTypographyGavin Ambrose and Paul Harris

2011


Textbook Textbook2nd edition


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2013

296 pages216 x 279mm / 8.5 x 11 inches355 colour illusPB 978160901531254.99 / $90.00Fairchild Books

www/Textbook

A full-colour interactive and experimentalguidebook for understanding colour in all itsdimensions, the Set includes 11 Munsell colourcharts, 15 interactive charts, 14 packets of colourchips, and a textbook, all designed to facilitatehands-on learning of colours aspects and effects.

The text provides a complete study of colour useand colour science, including extended discussion

of visual perception, optical effects, and practicalapplication of colour phenomena in fine andapplied art practices.

2011

176 pages110 colour illus189 x 244mm / 8 x 10 inchesHB 978160901156745.00 / $79.00Fairchild Books

Textbook

Thistextbooktrains students eyes to develop avisual understanding of colour and the principles ofdesign through guided observation and engaging

activities. Lavishly illustrated with full-colourgraphics and photos, the book demonstrates howcolour and other design elements are combined innature and the visual arts.

Chapter elements include vocabulary and keyconcepts, workbook activities, and suggestedassignments to supplement student learning

Teaching resources: companion website andInstructors Guide available

Designingwith ColorConcepts andApplicationsChris Dorosz and J.R. Watson

2010

384 pages

700 colour illus270 x 210 mm / 11 x 8.5 inchesPB 978156367859260.00 / $99.00Fairchild Books

www/Textbook

Key Titles

Color Studiesis a complete introduction to colourtheory and application for students in a broadrange of disciplines, from painting and other finearts to interior design, architecture, fashion design,textile design, and graphic design.

Color StudiesEdith Anderson Feisnerand Ron Reed

3rd edition

The NewMunsellStudentColor SetJim Long

Colour

3rd edition

New to this edition

New chapter objectives, key terms, end of chapter summaries and beginning andadvanced exercises

New Internet Resources in Appendix Up-to-date discussion of sustainable colour applications and green materials as the

underlying component of colorants, dyes, and inks in textiles, printmaking and paints New chapter on colour and digital technology Teaching resources: Instructors Guide and PowerPoint presentation available


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Contents

Textbook

CurrentAheadp NextAhead

153152

Casualgames

In contrasttothe high premium shrinkwrapped box games,

casualgames is aloose term used todescribe aplethora

of onlinegames and downloadablephone app games that

havesimple rules and requirelittle commitmentto play.

Theytypically appealto an older and often morefemale

demographic.

For thesereasons theuser experienceand user interface

need carefulconsideration toappealto this less traditional

games market. Thegamemusthave clear goals and rules.

User interfaceneeds tohaveinstantv isceralappeal

and beeasyto learn and play. Touch screen controls for

smartphones and tablets willrequiremuch simpler controls

than aPC or dedicated games console.

Gamesuserinterfacetips

Good games user interfaces should:

1. Dowhattheplayer expects ittodo

2. Providepositive confirmation of player actions

3. Pr oviderelevant and timelyinformation tothe player

4. Avoid clutter no unnecessaryor obtrusive

UI elements

5. Only bevisible when necessary

6. Icons should havea clear association with whatthey

represent

7. Usecommon conventions for status icons, such as

hearts for health

8. Adaptor evolvewith gameplay

9. Avoid placing UI elements in screen areas hidden

byplayers fingers and thumbs

10. Bemindful thattouch screen inputs arenotprecise

and need largeactiveareas

6.536.56 Anthill

Developed by Image &Form, this is a strategygame with an intuitiveinterface, based on thereal-world behaviour

of ants. By drawingpheromone trails, youdirectyour ground forcesto differentdestinations,working with streams

of units rather thanindividuals. The gameincrementally buildsplayersknowledge andskills before putting their

strategic ability to thetest. Each mission is alsotime limited which is idealfor a casual game.

Thegameplaymusthaveastrong intrinsicmotivation

toplay with challenges thatmatch theskilllevel of the

player. This is an importantaspect of designing successful

user experienceand interaction and is based on the

psychologicalconcept of flow.

Externalgames communities mayprovide further

incentiveto continueplaying, for example, leader boards

area motivation for casualgamers butmultiplayer games

areless popular tothecasual often timelimited nature.

6.576.60 Desafio Champions

Developed by Kotoc and TVE, DesafioChampions is an online game where twoplayers face each other in a battle offantasy football. The player controls fourcharacters with unique characteristics and

skills. Easy to learn butdifficultto masteramuses both to appeal to both casual andhard-core players. The game is updatedeach week with new features, contentand

competitions

72 73

UsingcoloursystemspEncodinganddecodingimages

Using colour systems

3.263.27 The TommyportfoliositeCreative agency Tommyhasusedacolour schemebasedonthe style of1970sautomobile manualsfor itsownportfoliosite.

3.28 The variousschemesMonochromatic,analogous,complementary, split andtriadicschemes

3.29 Colour guideisa feature ofAdobeIllustrator.

3.30colorschemedesigner.com

Colourcanboth harmonizeandorganize graphicelements

andinformation.Using coloursbasedon aworking

knowledgeof thecolourwh eelwillprovideyour design

withbalance,harmony andorganization.The basiccolour

schemesare explainedbelow.

Monochromatic schemes are created by taking asingle

colour and adding neutral colours to create shades.

Monochromatic schemes are harmonious and easy on the

eye butare weaker athighlighting areas of interest.

Analogousschemestypicallyuse coloursthatare adjacent

inthe colourwheel.Analogousschemesare harmoniousin

thesameway asmonochromatic,but theyhavethe benefitof

beingableto accentorhighlight areasofinterest.

Complementary schemes use pairs of colour thatare

opposite each other in the colour wheel. They are good

for highlighting features, and work best when one colour

is more dominantthan the other where the less dominant

colour is used as the accentcolour.

Splitcomplementary schemes are made from three

colours. Choose acolour then selectcolours from either

side of its naturalcomplementary colour. Splitcommentary

schemes create impactbutare often hard to balance.

Triadic schemes are created by choosing three colours

thatare equidistanton the colour wheel. As with split

complementary, triadic schemes are dynamic butdifficult to

balance, and often work bestwhen one colour is dominant.

Adjacentcolours

Although colour values can be set, their appearance will

change dependenton their surroundings, in particular

adjacentcolours. In general, colours appear brighter on

dark backgrounds and more muted when placed nextto a

colour of asimilar hue.

[InsertAuthor TipBox]InAdobe Illustrator youcanuse the Colour Guidepanel(accessiblefromthe Windowmenu)tohelpyoufind colour schemesbasedonyourcurrentfillcolour.Alternatively, use online resourcestofindor createcolour schemes:colorschemedesigner.comkuler.adobe.comweb.colorotate.orgpictaculous.comcolorsontheweb.comcolourlovers.com[EndAuthor TipBox]

IntroductionChapter 1: Research for

InteractionChapter 2: Design DevelopmentChapter 3: Colour and ImageChapter 4: Digital TypographyChapter 5: Grids and LayoutsChapter 6: Interactive FormatsChapter 7: Presenting Your

IdeasConclusionIndex



A snapshot of the essentialareas of digital design,introducing students to bestpractices for creating withinthis medium and packed withpractical exercises:

Covers the design essentialsfrom a digital perspective:user-based design researchand development, digitalcolour and image, typographyand hypertextuality, workingwith digital formats, screen-based grids and layouts,and storyboards and systemmapping

Featured contributors includeMoving brands, The Chase,Happy Cog, Red Bee, BBCiPlayer, Imaginary Forces, andBibliotheque Design

Jamie Steaneis the Head ofVisual Communication andInteractive Media Design atNorthumbria University, UK.

The Principlesand Processes ofInteractive DesignJamie Steane

Interactive Design


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Textbook

Contents

Textbook


192 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 978294041199323.99 / $41.95Series: Basics InteractiveDesignFairchild Books

This book is easy to follow, provides a clearunderstanding of what to expect in eachchapter, offers insight into key questions tobe asked throughout the UI process and isloaded with relevant and applicable contentand insight. This is not only a book, but alsoan incredibly useful learning tool that canbe utilized on a daily basis.Sean Brennan,Project Manager, Haneke Design, USA

If you want to design successful user interfacesthen you need clear and effective visualcommunication. Interface Designwill help youachieve this using a range of incisive casestudies, interviews with professional designersand clear hands-on advice to help you produceuser-focused front-end designs for a range of

digital media interfaces. This book introducesthe major elements of graphic design for digitalmedia layout, colour, iconography, imagery andtypography.

Dave Woodis a UK-based digital design andvisual communication Lecturer.

Interface DesignAn Introductionto VisualCommunicationin UI DesignDave Wood

IntroductionChapter 1: What is User Experience Design?Chapter 2: UsersChapter 3: Experience DesignChapter 4: Design ProcessChapter 5: Design MethodsStandards and checklistConclusionGlossaryIndex

UK February 2014US April 2014

184 pages230 x 160mm / 9.1 x 6.3 inches200 colour illusPB 978294049613623.99 / $41.95Series: Basics InteractiveDesignFairchild Books

User Experience Designshows how researchingand understanding users expectations andmotivations can help you develop effective,targeted designs. The authors explore the useof scenarios, personas and prototyping in ideadevelopment, and will help you get the most outof the latest tools and techniques to produceinteractive designs that users will love.

Includes practical projects and stunning examplesfrom some of todays most innovative studios.

Gavin Allanwoodis Course Leader in Digitaland Interactive Media at the University of CentralLancashire, UK.

Peter Beareis teaches Media Technology at the

University of Central Lancashire, UK.

User ExperienceDesignCreating DesignsUsers Really LoveGavin Allanwood andPeter Beare

Interactive Design


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224 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 978147252190323.99 / $41.95Series: Basics AnimationFairchild Books

Praise for the first edition:The must-have book for the

stop-motion animator whowants to learn what it is tobe a professional. Pike Baker,StopMotionMagazine.com

To say this book is a perfectcompanion for anyoneinterested in stop-motion atany level is a tremendousunderstatement.Mark Osborne,co-director of DreamWorksAnimations Oscar-nominatedKung Fu Panda(AWN.com)

Teaches beginner animationstudents the essential skills for

producing great stop-motionanimation

Packed with beautiful examplesfrom stop-motion pioneers andcontemporary animators from allover the world

Explores camerawork,characterization, colour, lighting,editing, music and storytelling instop-motion animation

Barry Purvesis an Englishanimator, director and writer ofpuppet animation television andcinema and theatre designerand director, primarily for theAltrincham Garrick Playhouse in

Manchester, UK.

Stop-motionAnimationFrame by FrameFilm-making withPuppets andModelsBarry Purves

Animation

2nd edition Textbook

Contents summary

Foreword, Adrian Kohler,Artistic Director of HandspringPuppet Company

Chapter 1: What isStop-Motion?The Beginnings The Illusionof Movement Physicality AContinuous Performance SpecialEffects Wholly Animated Films

Project 1: Find Your Style

Chapter 2: Focusing the IdeaStories and Themes Approaching the Story AChange of Perspective Outof the Mouths of... TalkingUmbrellas? Atmosphere andSubstance Economics Project2: Whats the Story?

Chapter 3: The PuppetsTelling the Story with Puppets The Physical Puppet TellingCharacteristics StylisedMovement Replacements3D Printing Eyes Hands

Puppet Size Clay OtherTechniques Project 3: Find YourLeading Man (or mouse)

Chapter 4: PreparationsWorking with Others Sets Costume Colour Project 4:Set the Scene

Chapter 5: Chapter Tools

and TechniquesPracticalities The Camera Apps and other Low-CostOptions Lighting Sound Dialogue Special Effects Editing

Chapter 6: Movementand PerformanceAnimating on the Set LivelyMovement Helping theMovement Performance Project 6: Make it Read!

ConclusionA Brief History of Stop-MotionPicture CreditsAcknowledgementsGlossaryIndex

188 189

Movementandperformance

Movement and performance

In this final chapter we will not only look at how to get clear

readable animation, but also how to make it mean something.

Well talk about the particular qualities and quirks of stop-motion,

its unpredictability and its physicality, and how to make sure that

every frame counts. Well try to encourage inventive, imaginative

animation, rather than straightforward literal animation. Well look

at how to give the illusion of elements such as weight and inertia,

which help produce credible animation, and well stress the

important aspects of performance, timing, and acting, essentialto any movement. Finally we will look at how shooting digitally

has liberated animation.

6.1

A MidsummerNightsDream

1959

director

Jir Trnka

Thisbeautifulfilmcontains

someoutstanding

performances.It wasoriginally

releasedwit houtdialogue,

tellingthe storythroughmusic,

pantomimeanddance.Later an

Englishlanguageversionwas

released,narratedbyRichard

Burton.Trnkasmulti-layered

film TheHand(1965)also

featuresa wonderfulreversalof

thecreator and createdstory,

withtheeponymousHand

tellingthe sculptor what to

create:ahugemonstrousimage

oftheHand.

6.1

130 131

Prepara

tions

4.1

Preparations

Here well look at all the preparation that is necessary for an

easy shoot, and what sort o f problems and pleasures youll

encounter on a film set. The process at this stage of film-making

is very different from any other form of animation, w ith much

more physicality involved. Detailed preparation before shooting

will save so many problems later and is an essential stage to go

through.

4.1

Mary and Max 2009

animator

AdamElliot

Thissumsupeverythingthat

isglorious aboutstop-motion;

enjoyingallthe elementsof

design,texture, lighting,colour,

depth,detailand character

toproducesomethingvery

stylizedbut instantlycredible

andrecognizable.Every

elementis workingin harmony

withtheothersandthepurpose

ofeveryelementhasbeen

considered.

Students

The new edition includes an extended project to help readersproduce their own one-minute movie.


23/48

Textbook

21

Contents

The portrait< | Photofictions|> Memory and the archiveChapter3: THEMESANDTHEIR WORKFLOWS

94 95

Researchthe fictional world

ofBernard Faucon

French photographerBernard Fauconsseminal projectSummerCampevokedchildhood memories,butwere playedoutby ateamofvintage mannequinssometimes joined by asingle humanparticipant.Arranged in complexgroupings across the beautiful Frenchcountryside ofthe Luberon andCamargue,Faucons vision is embodiedentirely in the pre-photography phase.www.bernardfaucon.net

3.13

Richard Tuschmans

image evokes a bygone

era,us ingfocus blur

and colourediting.

PROJECT: PHOTOFICTIONS3.12

Photography is about finding out what can happen in

the frame. When you put four edges around some facts,

you change those facts.

Garry Winogrand

The brief

Manypractitionersnowadays devise

anddirect scenariosthat arelessabout

observationof theenvironment,but more

about conveyingtheir ownpersonal ideas

andconcepts.We consumeconstructed

imageseveryday,from thefashion photo-

storythrough tocelebrity portraitsand

advertisingimagery,all producedto hook

our attention.

What makesstructured realityTV

showssocompellingistheblurring

betweenobservationa ndperformance.

Stagedphotographypromotes asimilar

paradox:dowebelievewhat weseeisfor

realandifit isfake,doesit reallymatter?

Constructedimages cancarry just as

potent amessage asan ethicaldocumentary,

soyour taskistocontrolboththesubject

andthe wayitsrepresented,choosing one

ofthe followingthemes:

1 The staged environment

Explorethe workofscu lptor andphotographer

ThomasDemand,who createslife-sized

environments,whichare usuallybland,

corporatespaces.Hi sworkplays trickswith

our perceptionsoffact andfiction.

Usinganemptystudiospaceasastarting

point,try andrecreatea photographyou

havefound.Put allyour effort intocreating

theset andapproachthe photographyasa

documentationtask.

2 Living doll

Mannequins,dolls andmodel soldiershave

beenusedbymanyartistsandphotographers

toparticipate ascharacters ininvented

scenarios.DavidL evinthalsuseof toy

characters,stagedand lit ina dramatic

manner,createa curiouslytwilight version

ofhistoricalevents,imbuingthetoyswith

humancharacteristics.

Sourceatoyfigureanddeviseascenario

whichparallelsarealevent.Usethetoyto

playout a role,standinginfor a realperson.

3 Interspecies

Asger Carlsensfirst photobook, Wrong,

projectsa terrifyingvision ofWestern culture.

Nightmarishscenariosof animalspecies

mixingwithhumanformsarecreatedwith

deadpan,but slickdigitalretouching.

Makeaphotographofaperson,thentry

andmergesome other lifeform element into

your compositionusingPhotoshop.Aim for

anunsettling, subtleend result or your work

willlook contrived.

Output

Producetwofinalimageswithan

accompanyingtitle.

3.12

Lee Avisons

staged photograph

suggests something

is aboutto happen.

3.13

153152

Non-destructive editing< | Core image editing| >Monochrome conversionChapter5: TREATMENT

5.9b5.9a 5.10

Making darkimageslighter

Open your Levelsdialog and work on the Input

slidersfound at the base of the histogram

shape. Drag the centralgrey midtone slider

to the left untilyour image becomes brighter.

Thiswill not change your highlight and

shadow points.

Making lighterimagesdarker

When faced with imagesthat are lighter than

you want them to be, use the Input slidersto

make your corrections. Drag the centralgrey

midtone slider to the right untilyour image

becomesdarker and losesitswashed out look.

Avoid going too far or your printoutswill look

dark and heavy (see images5.9a and 5.9b).

5.10

Careful image editing

permits the actual

lightingatmosphere to

be conveyed in the final

printorscreen display,

as this example shows.

Chapter 1: HowEquipment WorksDigital SLR Compact Cameras Medium Format Camera LensEssentials Computers andMonitors Adobe Photoshop Image Editing Software: AdobeLightroom ProjectChapter 2: Shooting Skills

Camera Quality Settings FileFormats Aperture ShutterSpeeds and Movement Exposure and How toMeasure it Properly CameraMetering Modes CameraProgram Modes The Lensand Focussing Depth of Field Viewpoint Composing yourImage; Seeing the World inMonochrome ProjectChapter 3: Themes andtheir WorkflowsBasic ObservationalDocumentary: Urban Texture Culturally Aware Documentary:Out of Season Candid/Street

Photography: People on theStreet Eco/Political Study:The Threatened Landscape Photo Essay Narrative: A Dayin the Life Location Portrait:Public/Private Studio Portrait:Alter-Ego Collaboration withOthers: Constructed Reality Current Issue Story: Signs ofthe Times Late Photography:The Aftermath Staging/Performance: A Re-Enactment Developing own Work:A Personal Project

Chapter 4: ProjectDevelopmentResearching your Project Planning and Prep Testingand Review Shaping yourProject ProjectChapter 5: TreatmentEssential Software Skills Creative Emphasis Project:

Sample Files to Test EditChapter 6: Outputand FinishingDesktop Printing RemotePrinting Services OnscreenUse Project

BibliographyGlossaryIndex

By embedding the text withinproject themes rather thanpresenting it as a complex dataprocessing activity, this booktakes a different view of therelationship between technologyand practice in digitalphotography, synchronizingsimple and efficient digitalworkflows with inspirationalpractical projects. Readers willbecome confident softwareusers, while developing all-important visual andconceptual skills.

Tim Dalyteaches Photography

at the University of Chester, UK,and leads practical workshopsfor the Royal PhotographicSociety in Bath, UK.

UK December 2013US February 2014

200 pages200 colour illus230 x 200mm / 9.1 x 7.9 inchesPB 978294049606826.99 / $46.95Series: FundamentalsFairchild Books

TheFundamentalsof DigitalPhotographyTim Daly

Photography


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Textbook

WHEREIS THELANDSCAPE?

The urge to represent our surroundings might be described as a human instinctthat crosses cultures and presents itself as far as our earliest ancestors. Thehunting scenes, animals and topographic features depicted on the walls of caves,

some of which date back as far as 30,000 years, could be considered the rst

examples of landscape art. Today, landscape pictures still ll our homes, as well as

our workplaces; depicting places we have visited, or locations we aspire to travel to,

or that generally evoke some kind of escapism from our actual environment.

Since photographys discover in the nineteenth century, landscape has been a

popular subject for both amateur and professional photographers alike. Landscape

art can of course be found in museums and galleries across the world, however,

landscape imagery can be seen in many other everyday contexts, such as wit hin

advertising, on calendars, in books and magazines, and even on logos and product

packaging.

The long history associated with landscape art has played a role in our

understanding of landscape imagery, specically what may or may not be accepted

as a landscape picture. Many contemporary photographers have attempted to

shake off this history and produced work that is contrary t o established styles.

Others have engaged with this history yet with a more critical line of enquiry, such

as by embracing traditional conventions to engage their audiences attention, to then

present them with the subjects, themes and ideas that they feel needs to be seen.

Perspectives on Placeaims to develop your practical photographic skills and enable

you to realise photo opportunities more prociently through a discussion ofspecic techniques, equipment and approaches that are used by todays professional

landscape photographers. However, we will also explore the many different

ways that photographers and artists have explored and continue to expand the

boundaries of this exciting genre.

It is easy to be inspired by visually arresting photographs made by photographers

working in far-ung locations. Many students and amateurs hold the preconception

that in order to make interesting landscape images they must have access t o exotic

or dramatic locations. As we shall see in Chapter 2, travel is often a component to

landscape photography, however, this is not always the case. What the examples of

other photographers discussed within this book will demonstrate, is that interesting

landscape imagery exists wherever we are. Hopefully their work will inspire you to

see more of these opportunities, whatever is on your doorstep.

INTRODUCTIONWHERE IS THE LANDSCAPE?

Fig. 0.1HANS VAN DER MEER

Budapest. Hungary, 2000 from the series European Fields

In1988, Hans vanderMeerhad achance encounterwithaphotoarchive in

the Netherlands and was struck by acollecti onof vintage press photographs

of footballmatches. Some of these photographs were takenfrom the kind of

highvantage point that vander Meeradopted forhis ownlaterinvestigations.

These kinds of elevated views seemed remarkable tothe photographer

wholike the rest of us, are mainly familiarwit hsports photography being

predominantly about the details of the matchortournament (close up

and actionshots), ratherthan imagery that gives asense of the event itself.

VanderMeers project, which has expanded considerably overthe years,

reclaims the signicance of the actualplace inwhich these amateurleague

footballmatches take place. Suchanapproachhas led toau nique body of

photographic work inrelationto bothsports and landscape photography.

The photographerhas provided us withrecords of these matches, whichare

completely eclipsed by the sports more glamorous leagues, and show the

games inthe context of the landscapes whichthe players are connected to.

Fig. 0.1

Contents

IntroductionWhere is the Landscape?Distinction as a GenreWhy explore landscape art?Health/Safety/Law/EthicsGiving and Receiving FeedbackChapter 1: TAMING

THE VIEWGeography, Metaphor,

AutobiographyFrames and FormatsLenses for LandscapesTripod or Handheld?

The Zone SystemManaging Dynamic RangeCompositional ConventionsLandscape NarrativesAssignment 1Chapter 2: DEFINING

NATUREWhat is beauty?The Pastoral and the

PicturesqueThe Qualities of LightThe SublimeWhere is the Wilderness?Voyages in the LandscapeAssignment 2

Chapter 3: SYNTHETICVISIONS

Depth-of-field and focal planesThe Temperature of LightAnalogue and Digital FiltersInfrared LightLighting the LandInterpreting TechnologiesPictorialism vs. Straight

PhotographyAssignment 3Chapter 4: LANDSCAPE,

POLITICS and POWER

Landscapes of IndustryNew TopographicsEnvironmental PoliticsGender and the LandscapePersonal and National IdentitiesAssignment 4Chapter 5: The PRESENCE

of ABSENCELandscape and MemoryLandscapes of ConflictThe AftermathLiminal SpacesFrom Spaces to PlacesAssignment 5

GlossaryBibliography

WebographyIndex

UK December 2014US February 2015

192 pages200 colour illus270 x 210mm / 10.6 x 8.3inchesPB 978147253389037.99 / $65.95Fairchild Books

Perspectives on Placeprovides an inspiring andchallenging insight into theterritory of contemporarylandscape photography, whichwill help foundation level andundergraduate students toimprove the visual qualities oftheir landscape images as wellas develop their understandingof how to represent thelandscape more meaningfully.

The book bridges theory andpractice by exploring howparticular visual approacheshave been adopted by

photographers and artists tofacilitate the communicationof ideas and themes, as wellas more abstract concepts.Practical issues, such aseffective composition andmanaging challenging lightingconditions are also discussed.

Jesse Alexanderis a freelancephotographer, writer andeducator.

Photography

Students

Explores and explains key technical principles, like controlling depth-of-field, using filters and making themost of natural light through examples from leading contemporary landscape photographers.

Perspectiveson PlaceTheory andPractice inLandscapePhotographyJesse Alexander


25/48 23

Jo Metson Scott and Nicola Yeoman: Formations, 2010from the series And Then

Suzanne Mooney: Benna Belafrom the series Behind The Scenes


26/4824

Textbook

Packed with inspiring full-colour images, theBasics Photography Box Set is a one-stopguide to composition, lighting and exposure forphotographic projects.

Technical diagrams sit alongside stunningimagery by master photographers such as HenriCartier-Bresson, Ruth Bernhard, Murdo Macleod,Harry Callahan and Martin Parr

Image captions include information about thetype of camera and technical settings used tocreate each photograph

In-depth case studies and practical exercisesshow readers how key techniques and conceptscan be applied to different forms of photographicpractice, such as still life, portrait, documentary,action/sports, fine art and advertising

BasicsPhotographyBox SetDavid Prkel


728 pages600 colour illus165 x 240mm / 9.4 x 6.9 inchesPB 978147257813664.99 / $111.95Series: Basics PhotographyFairchild Books

UK July 2012US September 2012

184 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 978294041177123.50 / $34.50Series: Basics PhotographyAVA Publishing

Superlative book on a subject oftentoo lightly dismissed but of the utmostimportance. Clearly written, cleverlyillustrated, thorough but straight to the point.

A must for... well, everyone!Armando Vilas-Boas, IADE, Portugal

The second edition of Compositionis dividedinto six core chapters covering the historicalbackground and the formal elements ofcomposition, how to organize space and timewithin the photographic frame, how to applycomposition in real-world situations and, beyondthat, how to use the ideas presented in the bookto create original, compelling images through anactive and enquiring approach to composition.

David Prkel has taught photography at theprestigious Kodak Imaging Centre in the US and inhis own workshops in Northumberland, UK.

CompositionDavid Prkel

Photography

2nd edition

Praise for the first edition:Exceptional. A number of students I knowhave bought this and so they should.Informative and inspiring. K. J. Shepherdson,Canterbury Christ Church University, UK

One of the best [texts] I have come across

thus far; thorough, clear, well-designed,great examples.Michelle Given, Murray StateUniversity, USA

The second edition of Lightingincludes new casestudies, work from contemporary photographers,and a selection of exercises to explore aphotographers creativity.

LightingDavid Prkel

UK February 2013US March 2013

192 pages200 illus230 x 160mm / 9.1 x 6.3 inchesPB 9782940411955

23.99 / $37.95Series: Basics PhotographyAVA Publishing

Textbook2nd edition

Students

Fully updated and revised with exciting new work, informative case studies and practical exercises.

Box contents

Composition, 2nd Ed / David Prkel / PB 9782940411771Lighting, 2nd Ed/ David Prkel / PB 9782940411955Exposure/ David Prkel / PB 9782940411054

Working in Black and White/ David Prkel / PB 9782940373857


27/48 25

Textbook

Textbook


736 pages800 colour illus165 x 240mm / 9.4 x 6.9 inchesPB 9781472567529

69.99 / $120.95Series: Basics CreativePhotographyFairchild Books

Packed with stunning full-colour images fromstudents and professionals, the Basics CreativePhotography Box Setis an inspiring guide tocreating meaningful photographs.

Covers critical theory as well as the morepractical aspects of creating meaningful images

Includes 24 in-depth case studies and 18activities Features 800 stunning full-colour images from

both well-known photographers and students

Natasha Caruana is a lecturer of Photographyat the University for the Creative Arts, Farnham,UK. Anna Foxis Professor of Photography atthe University for the Creative Arts, Farnham,UK. Richard Salkeldis Senior Lecturer in theArt and Design department at the Universityof Gloucestershire, UK. Maria Shortis aphotographer, educator and writer. Jeremy Webbis a photographer and tutor with over 25 yearsexperience.

Basics CreativePhotographyBox SetNatasha Caruana, Anna Fox,

Richard Salkeld, Maria Shortand Jeremy Webb

UK March 2012US May 2012

176 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 978294041166523.50 / $34.50Series: Basics CreativePhotographyAVA Publishing

An important and timely book. Broad inscope, with focused examples, this is aneffective and engaging introduction tothe convergences of practice and theory;

spontaneity and systematic enquiry; criticalengagement and creative exploration thatresearch in photography involves. FergusHeron, Artist and Senior Lecturer in Photography,University of Brighton, UK

The book is an excellent way to teachstudents about the process of research in thecreative field. Elisabeth Strunk Effron, The ArtInstitute of Raleigh Durham, US

If you are looking for guidance inestablishing a research process for your nextphotographic project, then this book is foryou. Clive Waring, SilvershotzMagazine

Natasha Caruanais a lecturer of Photography atthe University for the Creative Arts, Farnham, UK.Anna Foxis Professor of Photography at theUniversity for the Creative Arts, Farnham, UK.

Behind the ImageResearch inPhotographyAnna Fox and Natasha Caruana


184 pages200 colour illus230 x 160mm / 9.1 x 6.3 inchesPB 978294041189423.99 / $41.95Series: Basics CreativePhotographyFairchild Books

Striking visual examples, engaging case studies,and brief activity points make this a clear andinspiring introduction to theories of representationand visual analysis and how they can be appliedto photography. Introducing the development ofphotography as well as different approaches toreading images, the book looks at elements suchas identity, gaze, psychoanalysis, voyeurism, andaesthetics.

Richard Salkeldis Senior Lecturer in the Art andDesign department at the University of Gloucester,UK.

ReadingPhotographsAn Introductionto the Theoryand Meaning ofImagesRichard Salkeld

Photography

Box contents

Design Principles/ Jeremy Webb / PB 9782940411368Context and Narrative/ Maria Short / PB 9782940411405Behind the Image / Anna Fox and Natasha Caruana / PB 9782940411665Reading Photographs/ Richard Salkeld / PB 9782940411894


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THE OTHER BROWNIES

The Brownie name did not,as might be thought,

have any link with that of its designer,Brownell.

Instead,it came from a series of well-known

childrens book characters, the Brownies,which

had been popular since 1881.Created by the

Canadian illustrator and author Palmer Cox,

they were used by Kodak to advertise the camera,

and even appeared on its packaging until around

1907 (see left). Kodaks marketing department

used the characters reputedly with no

acknowledgment or payment to Cox,which

is ironic considering the lengths Kodak went

to in preserving its own trademarks.

26 KodakBrownie

AN INSTANT HIT

The camera began shipping on February 1st,1900,f or the price of

$1 in the United States and 5 shillings (25 pence) in the United Kingdom.

The first 15,000 cameras had a push-on back, but following feedback from

customers and dealers a re-designed version with a strengthened back was

being sold by June.

If the original Kodak camera of 1888 had taken the photographer away

from the darkroom,then the Brownie brought photography within the reach

of everyone.The camera itself was affordable even for the working classes,

and the six-exposure films cost just 25 cents.A network of chemist shops

and photographic dealers offered developing and printing services,although

the camera was also supported with a processing kit and a range of accessories

that would allow the owner to produce his or her own photographs.The

resulting photographs could then be put in to Brownie albums. In many

respects the camera itself was unremarkable.What made it successful,other

than the price, was the associated marketing.The Brownie was advertised

extensively in newspapers and magazines to reach its intended market.

In June 1900, magazines carrying Brownie advertisements had a combined

circulation of 6 million in the US alone.In addition,dealers supported by

Kodak were supplied with printed circulars,banners, and show cards for

shop windows.

In Britain,Kodak Limiteds Trade Circular proclaimed that the Brownie

would bring into photography thousands of new workers and users, and

as with all our inventions,s implifications and advertisingwill create new

customers for our dealer friends.The company envisaged it as being everyones

first camera,after which they would move on to more expensive models.

It was deliberately aimed at children and women rather than men, who

had hitherto been the main buyers of cameras.To support sales the Kodak

company quickly announced a Brownie Prize Competition in 1901,which

was open to members of its Brownie Kodak Club. Membership was limited

to boys and girls under 16 years old.Prizes totalled 100, and over 3,000

entries were received.

The response from the public was exceptional.They are selling like

wildfire,the company announced one month after its introduction,as it

struggled to supply its dealersorders. By the time the original Brownie was

superseded by the No.1 Brownie in October 1901,around 245,000 had

been sold.Needles s to say,other camera manufactures quickly brought out

their own models copying the simplicity of the Brownie and aiming at the

same markets that Kodak was targeting.They used names such as Buster Brown,

Kewpie,Nipper,and Scout, but none had the impact of the Brownie,which

was underpinned by Kodaks massive advertising and marketing budget.

27

BELOWAND RIGHT Thepopularityof the Brownie

wasdue inlarge part to

carefulmarketing.It wasthefirstcameraspecifically

totarget womenand

childreninits advertising.

12 Kodak Brownie

PRODUCED :19001980| COUNTRY:UnitedStates | MANUFACTURER :Kodak

Name the camera that transformed amateur photography,and for mostpeople it would be the humble Brownie box camera.For much of thetwentieth century the Brownie was the first camera a person bought,and

even in a digital age the name continues to be used as shorthand for an

amateur camera.

Between 1900 and 1980 a vast range of camera modelsmore than

125in total, depending on definitionwere sold under the Brownie name.

Variations included box and folding models,and the original cardboard

body was later switched to molded plastic. But while the camera changed

over the years,three core concepts remained throughout: they were well

designed,simple to operate, and low in price.In no small part due to these

qualities,the Brownie camera was the most successful range of all time. It

introduced photography to many millions of people across the world, and

even well known photographers,such as Ansel Adams,Mary Ellen Mark,

and John Chillingworth,all started their careers with a Brownie camera.

BAC K TO BASIC S

The original Kodak camera of 1888 (see page 00) had done much to

simplify the process of photography,but it was expensive and sold in

relatively low numbers.The Pocket Kodak of 1895 took the idea of a simple

box-type camera further and was more popular, selling some 100,000 in its

24 Kodak Brownie 25

first year.In 1898, realizing that he needed to go back to basics in terms of

camera design and production in order to keep the cost of manufacturing

down,George Eastman asked Frank Brownell to des ign a camera that would

be cheaper and easier to use than any Kodak had yet made. He recognized

that if he could produce a cheap,reliable camera for under a dollar,it

would encourage more people,particularly children and woman,to take

up photography,and this in turn would boost the sales of film and paper,

where most of Eastman Kodak Companys profits were made.

The Brownie camera was the result.It was the subject of several United

States patents in 1899 and 1900,of which number 622955 related to the

shutter and 725035 described the main features of the camera.The camera

was little more than a cardboard box with a lens mounted at the front.It

was innovative in simplifying the device to a bare minimum.The camera

body was made of jute board, reinforced with wood and covered in

imitation black leather.The few controls were nickel-plated.At one end was

a simple meniscus lens of 100mm focal length with an aperture of f/14 and

a simple single-speed rotary shutter.The camera back was held on by two

metal springs and was removed to allow a newly introduced daylight-

loading roll film,later designated 117, to be inserted.This allowed for sixexposures, each 2.25 x 2.25 inches.The shutter release and winding key to

advance the film were located on top of the camera.To take a picture, the

camera was simply pointed at the subject and the exposure made. From

July 1900 a separate clip-on waist-level viewfinder was available for an

additional 20 cents.With no other controls,it was the first point-and-shoot

camera to produce acceptable results in sunshine.

FRANK BROWNELL

Frank Brownellthe designer of the originalBrowniehad been working for George Eastmansince 1885,making the Eastman-Walker roll-filmholder and undertaking woodworking for Kodakcameras.In 1892 Eastman built a factory inRochester,NY,which he called the CameraWorks.This he rented to Brownell,who begandesigning and making cameras for Eastmansrapidly expanding company.By the timeBrownell retired ten years later in 1902, morethan sixty new camera models and designs hadcome out of the Camera Works,promptingEastman to describe Brownell as the greatestcamera designer the world has known.

BELOW Twodiagramsof

the Box Brownie camerafrom US patent 725034,

filedon July25,1900,and

listing Frank Brownell asthe inventor.

The History of Photography in50 Cameras relates the excitingstory of this ground-breakingtool by selecting 50 key cameramodels and investigating themin chronological order. Theorigin and development of eachmodel is described in detail,along with its impact on thescience, consumption and art ofphotography.

Covers cameras of all forms,from the rst mousetrapcamera of 1835 to the latestcamera-phone

Illustrated throughout with

a wide range of iconicphotographs taken by themodels described, as well asstudio shots of all fifty camerasand related equipment

Traces the stories of thephotographers who used andpopularized these cameras

Michael Pritchard FRPSwasa photography specialist andDirector at Christies, London,UK, for over twenty years and iscurrently Director General of theRoyal Photographic Society, UK.

UK October 2014

224 pages227 x 170mm / 8.9 x 6.7 inches150 colour illusHB 978147257538820.00Bloomsbury Visual ArtsEurope rights onlyNot for sale outside Europe

The History ofPhotography in50 CamerasMichael Pritchard

Photography


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