BLOOMSBURY VISUAL ARTS RIGHTS GUIDE July-December 2017 CONTENTS

FASHION...... 1

DESIGN AND GRAPHIC ARTS...... 11

FILM, PHOTOGRAPHY AND ANIMATION...... 15

INTERIOR DESIGN AND ARCHITECTURE...... 18

WHO TO CONTACT

Joanna Sharland Claudia Galluzzi Senior Rights Manager Rights Executive Bloomsbury Visual Arts Bloomsbury Visual Arts Bloomsbury Publishing Plc Bloomsbury Publishing Plc Kemp House, Chawley Park, Cumnor Hill, Oxford OX2 9PH, UK Kemp House, Chawley Park, Cumnor Hill, Oxford OX2 9PH, UK Direct line: +44 (0)1865 811313 / Reception: +44 (0)1865 727022 Direct line: +44 (0)1865 811306 / Reception: +44 (0)1865 727022 [email protected] [email protected]

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Image on front cover from Paris Fashion, see page 1 Image on inside back cover from Illustrating Fashion, see page 6 Image on back cover from Becoming a Successful Illustrator, see page 11 www.bloomsbury.com FASHION

Paris Fashion A Cultural History Valerie Steele This beautifully illustrated new edition examines the history and culture of style in the fashion capital from the 14th century through to the present day. Paris has been the international capital of fashion for more than 300 years. Even before the rise of the haute couture, Parisians were notorious for their obsession with fashion, and foreigners eagerly followed their lead. From Charles Frederick Worth to Gabrielle “Coco” Chanel, Christian Dior, and Yves Saint Laurent, fashion history is dominated by the names of Parisian couturiers. But Valerie Steele’s Paris Fashion is much more than just a history of great designers. This fascinating book demonstrates that the success of Paris ultimately rests on the strength of its fashion culture – created by a host of fashion performers and spectators, including actresses, dandies, milliners, artists, and writers. First published in 1988 to great international acclaim, this pioneering book has now been completely revised and brought up to date, including a new preface and a final chapter examining Paris as a fashion centre from the mid-1980s to the present day, and encompassing the rise of fashion’s multiple world cities in the 21st century. Lavishly illustrated, deeply learned, and elegantly written, Valerie Steele’s masterwork explores with brilliance and flair why Paris remains the capital of fashion. “This is an original, gracefully written study of Paris fashion, one that manages to say as much about national character, in a sense, as it does about the rise and fall of hemlines ... I would not September 2017 only recommend it to anyone interested in the psychology of clothes, but to anyone planning a 352 pages séjour in France - as much required reading, say, as the Green Guides of Michelin.” Los Angeles 197 colour illustrations Times Book Review 276 x 219mm “Steele has achieved some heroic feats of compression, though without clogging her narrative ... 3rd edition at every stage the argument is buttressed with case histories and anecdotes.” The New York Times 9781474245487 “An impressive compendium of information.” The New York Times Book Review “Steele’s book is a richly textured analysis of sources - artistic, economic, literary, social, and it is a perfect book to recommend to students and many others beside.” Costume Valerie Steele is director and chief curator of The Museum at the Fashion Institute of Technology, where she has organized more than 25 exhibitions. She is also the founder and editor in chief of Fashion Theory: The Journal of Dress, Body & Culture, and the author of more than 20 books including The Corset: A Cultural History; Fetish: Fashion, Sex, and Power; and Women of Fashion: Twentieth-Century Designers. Described in The Washington Post as one of “fashion’s brainiest women” and by Suzy Menkes as “The Freud of Fashion,” Steele combines serious scholarship (and a Yale Ph.D.) with the rare ability to communicate with general audiences. As author, curator, editor, and public intellectual, Valerie Steele has been instrumental in creating the modern field of fashion studies and in raising awareness of the cultural significance of fashion.

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Paris, Capital The Theater of Fashion? of Fashion

Fluctuat nec mergitur Nous savons donc beaucoup de gré à mademoiselle Nathalie des —Motto of the city of Paris sacrifices qu’elle fait pour ses costumes; de beaux habits sur de jolies femmes, rien n’est plus charmant. Théophile Gautier, theater review, 1839

HIS BOOK IS not a history of fashion, still less of haute couture. Rather, it is a cultural history of Paris fashion and an analysis of the reasons why Paris has been regarded Tfor so long as “the capital of fashion.” Certainly, Paris has played a very important, perhaps uniµue, role in the history of fashion. However, it can be difwcult to Žnow how to OTH MODERN FASHION and the modern city emphasized the libido for looking, and interpret the many texts and images devoted to Paris fashion because the myth of Paris is the geography of Paris served as a stage on which to act out the drama of seeing so entrenched in the cultural imaginary. For Paris is not just a real city, it is also a mythical Band being seen. Indeed, the subject of fashion in Paris almost requires some kind city, celebrated by innumerable artists and writers for centuries. To describe Paris as the City of dramatic analogy, because it seems that fashion can only yourish in a particular kind of Light, for example, implies not only the glittering spectacle of shop windows, theaters, of dramatic setting where knowledgeable fashion performers and spectators interact. The and cafés but also the Enlightenment and the image of Paris as a beacon of liberty. In the presence of spectators has “a stimulating effect on the performers,” and all players develop mythology of the city, Paris is not just the capital of France but capital of the world, the an “eye for fashion consciousness.” Rivalry increases, as everyone is potentially a performer, place where all the rewnements of civiliâed life reach their fullest expression, from avant‡ but at the same time the “rules” are mostly maintained, preventing fashion anarchy and garde art to elegant fashion. leading to the creation of new styles.1 Nor do these theatrical terms imply that the actors In recent decades, however, the geography of fashion has become more competitive. were engaged in some duplicitous charade. In anthropologist Victor Turner’s words, they Today there are several recogniâed fashion cities: Paris, ew 9orŽ, London, and Milan are were “making it, not faking it.” What they were making was the cultural signiwcance of always cited, and sometimes also ToŽyo. Ƃs China has become increasingly important in modern fashion. Opposite: the global garment industry, some observers have suggested that Shanghai, once Žnown Fashion only acquires meaning, however, within the context of particular sites, where Mary Stevenson Cassatt. as “the Paris of the East,” might soon become the wfth or sixth fashion capital. Meanwhile, fashion performers and spectators interact and fashion is displayed to greatest effect. Woman with a Pearl Necklace in a Loge, 1879. Oil on doâens of other cities around the world—from Mumbai to Moscow, and from Sydney to Sao Writers on Paris emphasized that fashions “moved and had their being” there in “haunts canvas 32 x 23½ inches Paolo—have also launched their own fashion weeŽs, as governments have recogniâed the of elegance” and pleasure. The arcades of the rue de Rivoli were “set up like theatre (81.3 x 59.7 cm) Framed: Opposite: 3 3 importance of fashion as a source of economic and cultural capital. scenery in a transformation scene,” while the boulevards were “a dream of gold” where 42 x 33 ĉ8 x 4 ĉ8 inches Perhaps Paris was once “the” capital of fashion, but in an age of globaliâation does it still John Galliano for Christian “everything . . . overexcites you.”2 Among the places and spaces of fashion, two are always (106.7 x 84.8 x 11.1 cm). Dior, Haute Couture.FASHIONING Spring– THE PARISIENNE Philadelphia MuseumUPS AND of Art. DOWNS OF PARIS FASHION hold that title? The reality is even more complex. In Fashion’s World Cities, David Gilbert Summer 1998. Photograph © mentioned: the theater and the racetrack. Clearly, fashion and pleasure were linked, for Bequest of Charlotte Dorrance observes: “The concept of ‘Paris fashion’ must represent one of the most powerful and Guy Marineau. men as well as women. The guidebook Les Plaisirs de Paris (1867) warned readers to Wright, 1978, 1978-1-5.

the wgures only make sense in terms of a fashion display. The woman in the dotted fabric is Opposite: yet, “a rented Rolls Royce,” after having reserved a seat for the collection through the Opposite: not really talking to the woman with the parasol; they are too far away from each other for Claude Monet, Femmes au hotel concierge. Wearing a “haughty expression” and carrying “a well-padded purse,” she Model wearing black satin 1 139 that. Rather, they face each other so that we can see the side and back of the wrst dress and Jardin, 1866–1867 (oil on was assured, anyone can “come out with an incomparable dress that will be immediately Christian Dior evening canvas). Musée d’Orsay, Paris, dress, 1949. Photo by Erwin the front of the second dress. France/Bridgeman Images. recognizable back home as an authentic Paris model.” But wrst she must try on the model Blumenfeld/Condé Nast via The central wgure (the only woman who stands) presents us with a perfect view of the she wishes to buy, pay a deposit of roughly half the price (in 1955, about f400 to f1,000), Getty Images. construction and arrangement of her fashionable costume. Her seaside hat has long return to be measured, and return again for several wttings (wrst for the linen toile and streamers—which in England were known as “follow me, boys”—and which here blow then for the dress itself). “It’s a little more complicated and time-consuming and expensive gently in the wind, carrying the eye down her jacket bodice with its wgure-yattering trim perhaps than buying a dress at the Young Wives Shop at a department store back home. . . . and decorative buttons. The skirt and bodice were separate garments, although usually But it will dewnitely be worth it.”13 made of the same material. This particular And if that fantasy did not work out, a licensed copy of a Dior dress could be purchased example is the popular double skirt, whose at an American department store for as little as $24.95.14 By the mid-1950s, Dior’s annual overskirt has been looped up and caught in turn-over was $18 million; there were eight wholly-owned Dior companies, and another place with ribbons. The wgures form a sort sixteen wrms made licensed products. “He’s Atlas, holding up the entire French fashion of frieze, as each yat triangular silhouette industry,” Time declared in 1956.15 Dior was responsible for more than half of Paris couture locks into the next. The surface pattern rises exports, some estimates put it at 66 percent, but the house made much more money to a gentle peak with the standing woman selling licensed copies to commercial buyers (department stores and manufacturers) than and fades away on the right with the two by selling couture originals to individual clients. This was reyected in the scheduling of background wgures—also a common feature fashion shows, which were presented wrst to commercial buyers and only later to private in “real” fashion-plate art. clients.16 As fashion journalist Bettina Ballard observed, “The day was passing when a few Auguste Toulmouche, a student of Gleyre, smart women inyuenced the fashion world by the way they wore clothes. Dior spread the specialized in pictures of lovely ladies. A happy thought that every woman in a Dior dress, or even a copy of a Dior dress, was a wgure contemporary said of his work: “It’s pretty, of fashion.”17 charming, highly colored, rewned—and it’s Of course, there were other stars in the couture wrmament. Dior was often compared with nauseating.”22 His Woman and Roses (1879), the Spaniard, Cristobal Balenciaga, who had been showing in Paris since 1937. Whereas for example, is heavily dependent on fashion Dior was famous for his changing silhouettes, from the Corolla (New Look) to the Oblique, illustration—from the slender elongated wgure the Scissors, the Tulip line, the Y-line, the H-line and the A-line, Balenciaga claimed never to the precious pose, the sweet colors, and the to change his designs, although one can distinguish between his Tonneau or barrel line detailed representation of the dress itself. The (1946–1947), his semi-wtted look (wrst launched in 1951), the “chemise” or “sack dress” dress, of course, is quintessentially late 1870s, (1957), and the “baby-doll” of 1958. As the curator, Alexandra Bosc, observes, looking with its long, skintight bodice moulded over back on the 1950s, one can see a gradual movement away from the hyper-femininity of the a cuirasse corset. At this time, the bustle was New Look, through the growing inyuence of more geometric shapes under the inyuence rapidly (although temporarily) disappearing. of Balenciaga, toward a more youthful silhouette inaugurated by the Trapeze line and But in place of the back protuberance were the baby doll.18 Balenciaga was a perfectionist, whose architectural designs appealed to a variety of other embellishments, including fashion connoisseurs—he was known as fashion’s Picasso—whereas Dior’s pretty, feminine poufs and trains that were intended to render dresses had a wider popularity. In one of her letters, Nancy Mitford recalled overhearing a the wgure more “graceful.” Toulmouche has Frenchman saying: “I’ve been a member of the Jockey Club for forty years, and I’ve never positioned the wgure perfectly to display all heard anyone mention the name of a couturier—and now, all of a sudden, everybody is the most fashionable features of her dress, in talking about nothing but Dior.”19 much the same way that Isabelle Toudouze Jacques Fath was another star of the Paris fashion world, although he had a short career,

Desgranges positioned her wgures in a fashion Afternoon dress. White cotton piqué and black cotton cording. 1867, USA. The from 1937 until his untimely death in 1954. If Dior was the king of fashion, Fath was often plate of 1882. Museum at FIT. Photo © The Museum at FIT. referred to as the crown prince. His clothes were dramatic, young, and sexy. Moreover,

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The Dictionary of Fashion History Valerie Cumming, C. W. Cunnington and P. E. Cunnington This book, first published in 1960, was monumental in scope, providing a comprehensive catalogue of fashion terms from 900 to 1900; this new edition completely updates this landmark work to bring it up to the present day. • What is an Apollo knot? • Who wore a Welch wig? • When were Zouave jackets the height of fashion? This new edition of The Dictionary of Fashion History further updates the landmark work of C. Willett Cunnington, Phillis Cunnington and Charles Beard. With 3,300 terms, and featuring over 60 new and revised entries on diverse topics such as the Onesie, Brothel Creepers and the Birkin Bag, this edition is even more comprehensive and brings this costume historian’s bible fully up to date. With many more images to accompany the text and illustrate key fashions – including cartoons, prints and lavish colour photographs of surviving garments – this version of the dictionary brings dazzling and unusual garments to life for researchers, students, costume designers and everyone interested in the subject. Clear, concise, and meticulous in detail, this essential reference work answers countless questions relating to the history of dress and adornment and will continue to be the definitive guide for many years to come. September 2017 is currently Editor of Costume: The Journal of the Costume Society. She is a former 384 pages Valerie Cumming Chairman of The Costume Society (2004-2009) and has worked with museums for many years as a 191 colour illustrations curator, administrator and trustee. 246 x 189mm 2nd edition 9781472577702 Battledress jacket 22 23 Beard Frou-frou dress 116 117 Gabardine, gaberdine acquired from army surplus outlets and was popular his beard might reveal his social rank or occupation, velvet, lawn or other rich material, sometimes deco- b with students. or express “every man in his humour”. The following b f rated with gold or jewels. g Batts are documented and important styles: Frou-frou dress (M, possibly F) (F) Cadiz beard: sometimes called Cads beard, after the Period: 17th century. Period: 1870. expedition to Cadiz in 1596. A large and disordered Heavy, low shoes laced in front; for country wear. A day dress with a low corsage covered with a short growth. “His face, Furr’d with Cads-beard” (1598, E. Batwing sleeve muslin tunic, the skirts rounded off in front and worn Guilpin, Skialetheia). See Dolman sleeve. over a light, silk underskirt trimmed with innumerable Bavarette Goat beard: “How, Sir, will you be trimmed? Your small, pinked flounces. Named from the 1869 com- Period: 17th century. moustachios sharp at the ends like a shoemaker’s edy by Henri Meilhac and Ludovic Halévy. “A bib, mocet or mocheter to put before the bosom of awls, or hanging down to your mouth like goat’s Frounce a child” (1611, Cotgrave). flakes?” (1591, J. Lyly, Midas). (F) See Muckinder. Period: Mid-14th century to ca. 1610. Peak: a common name for the beard, exclusive of Bavarian pelisse-robe A pleated or gathered frill, a flounce; adapted from the moustache. The beard cut to a point and often (F) its original meaning a wrinkle of the brow, a frown. starched. “Some spruce yonker with a starcht beard Period: 1826. The skirt over the wheel farthingale was often and his whiskers turned up” (1623, J. Mabbe, The A pelisse-robe with two lines of trimming descend- frounced to avoid the hard line produced by the Rogue). ing from the shoulders to the bottom of the skirt en understructure. tablier (the French term which is an elegant way of Pencil beard: a slight tuft of hair on the point of the Frouting describing an apron or a feature which copies the look chin. “Sir, you with the pencil on your chin” (1599, Ben Period: 17th century. of an apron). Jonson, Cynthia’s Revels). Rubbing perfumed oil into a garment to sweeten it. Bavarian-style dress Frouze, fruz Pick-a-devant, or Barbula: so called “when it ends in (F) Period: Late 17th and early 18th centuries. a point under the chin and on the higher lip, chin, and Period: 1826. A term implying crimped false hair or a wig worn to cheeks” (1688, R. Holme, The Academy of Armory). A carriage dress with rows of decorative bands down cover up baldness. “This woman . . . has adorned the front in the Bavarian style. Pisa beard: synonymous with “stiletto beard”. “Play her baldness with a large white fruz” (1678, Sir G. Bavaroy, beveroy with your Pisa beard! Why, where’s your brush, pupil?” Etherege, The Man of Mode). (M) (1618, Fletcher, Queen of Corinth). See Frizz-wig. Period: Early 18th century. Full bottom, full-bottomed wig,French wig Roman T-beard, also called Hammer cut: a straight A coat, the exact nature of which is unknown but (M) The Present Fashions (Winter), ca. 1828–29; London tailor Benjamin Read was masterly at advertising his skills and tuft under the lower lip, forming the “handle”, the possibly from bavarois (Bavarian), a garment intro- Period: 1660 to early 18th century. this is from a series of twice-yearly advertisements for his business that he published and sold. They are related Woman’s bathing costume, ca. 1905–15; a two-piece Beach pyjamas, ca. 1930–40; cotton with a lively flo- waxed moustache horizontal forms the cross-piece of “Maids any Cunny Skinns” from The Cryes of London by duced during the War of the Spanish Succession, A massive wig with a centre parting and close curls to but different than fashion plates as they cram a large cast of adults and children into a fashionable London bathing costume of dark blue cotton edged with piping ral print, wide shawl collar and sleeveless. Chertsey the hammer or T 1618–1650. Marcellus Laroon II, ca. 1687/8. This seller or hawker of 1701–1713). “A sandy colour Beveroy broadcloth framing the face, and extending all round on to the setting, akin to a theatrical performance. The men and male children always outnumber females—Read was not in and couched cord decoration. The two pieces comprise Museum: M2012.24. rabbit skins is offering fur for lining or trimming gar- coat” (1711, London Gazette). Round beard, or Bush beard: “Some made round like shoulders. Later in the 18th century it was worn on competition with the many fashion plates in women’s magazines. Fur is always found in winter advertisements, a calf-length body suit fastened at the shoulders and a ments, a popular commodity during the unusually cold Bavolet a rubbing brush” (1587, Harrison’s England). formal occasions and by the learned professions only. as trimming, edging and lining, and ermine, a luxury commodity, often appears, as in the trimming and muff to knee-length overskirt. Chertsey Museum: M.2012.33. winters of the late 17th century. These are the clothes (F) Fun fur the left. Menswear is depicted in the many forms which tailors like Read could provide, short and medium-length Beanie Spade beard: a beard in the shape of a pioneer’s of a woman who had to work hard to make a living: a Period: 1830 onwards. Period: 1960s onwards. greatcoats with front, back and side views, formal evening dress with satin-lined cloaks, riding clothes with boys’ (F & M) spade (that of an ace of spades on a playing card), wide-brimmed straw hat over a kerchief with another The curtain or pendant fabric at the back of a bonnet Either cheap fur, such as rabbit skins, or synthetic furs skeleton suits and short tunic coats and a full range of accessories—top hats, military-style caps, gloves, canes, Period: 1920s onwards. broad above with curved sides to a point below. kerchief around her neck. Her outer garment is similar Princess Beatrice of Battenberg (the correct spelling shading the neck. dyed in bright colours and worn in place of expensive riding crops and boots. Private collection. An American term originally describing a small, round, Thought to give a martial appearance and favoured to a man’s coat with full sleeves and deep cuffs and is but often ignored at the time), the youngest daugh- Bayadere trimming traditional furs. felt cap worn by schoolchildren. This developed into a by soldiers. “. . . whether he will have his peake cut patched and torn; beneath is a calf-length petticoat or ter of Queen Victoria who married Prince Henry of (F) Funnel sleeve female hat in the 1940s. In the late 20th and early 21st broade pendant like a spade, to be terrible like a war- simple mantua. The tie around her waist may indicate Battenberg in 1885. Period: 1850s. See Pagoda sleeve. centuries it describes a knitted cap, with or without a rior?” (1592, R. Greene, Quip for an Upstart Courtier). she is wearing an apron. Her shoes are protected by Battledress jacket Flat trimming of velvet woven in or sewn on to the Fur turnover edge. “His spade peake is as sharpe as if he had been a pattens. Private collection. (M) dress fabric. Period: Medieval onwards. Beard Pioneer” (1592, T. Nashe, Piers Pennilesse). Beards Period: 1939 onwards. Beachwear The short, fine, soft hair of various animals, from inex- G (M) “some like a spade, some like a fork, some square” A waist-length, khaki, wool jacket, buttoned and sin- (F & M) pensive pelts such as rabbits, to expensive ones such Period: ca. 1550–ca. 1650. (1621, J. Taylor, Superbiae Flagellum). gle-breasted with two buttoned chest pockets worn Period: 1920s onwards. as sables, used to line and trim garments and later to “Plaited or ruffled trimming for women’s petticoats Gabardine, gaberdine ceased to be a fashionable garment but remained Although the beard was worn by men in earlier peri- by conscripts and regular soldiers during the 1939–45 As seaside holidays increased in popularity a range of Marquisetto, also Marquisotte: cut close to the chin, form the outer layer. and scarves” (1730, Bailey, Dictionary). Furbelows (M, occasionally F) popular among the poor and was defined as “a cloake ods, it was from the mid-16th century that it acquired war and for several subsequent decades. Correctly informal garments emerged, including beach gowns, neatly trimmed 1570–ca. 1620. Furbelow, below were usually flounces of the same fabric as the gar- Period: Early 16th to early 17th century. of felt for raynie weather”, and also as “a horseman’s a peculiar social significance; in that hundred years termed a battledress blouse, it had a cross-over beach pyjamas, beach robes, beach sandals, beach (F) ment, or of lace, and were also used on gowns and A long, loose overcoat with wide sleeves, worn with cloak or coat”. there were over fifty named cuts of beard in fashion. Stiletto beard: “Some sharpe steletto fashion, dag- fastening band at the waist, not dissimilar to certain shirts and beach wraps. These were often brightly co- Period: 18th century. aprons. The French term, often used, was falbala. or without a girdle at the waist. After the 1560s it See Glossary of Fabrics and Materials. The traveller returning from abroad would sport a ger like” 1610–1640 (1621, J. Taylor, Superbiae blouses. It was one of many garments which could be loured and sometimes made of towelling. style of beard indicating the country he had visited; Flagellum).

The Dictionary of Fashion History The Dictionary of Fashion History The Dictionary of Fashion History The Dictionary of Fashion History

Fashion History A Global View Linda Welters and Abby Lillethun Explores the under-researched fashion histories of non-western cultures in one complete volume to offer a global understanding of dress and culture. From the indigenous people of sub-Saharan Africa to Eastern trade networks dating back to the Bronze Age, fashion has occurred in cultures beyond the West throughout history. This book explores the geographic places and historical spaces that have been largely neglected by traditional fashion studies together for the first time, reversing the dominant narrative that privileges Western Europe in the history of dress. Adopting a cross-cultural approach, Welters and Lillethun explore a vast array of non-western cultures to examine key issues such as gender, production, consumption and colonisation. Case studies include the cross-cultural trade of silk textiles in the Ottoman Empire, the indigenous dress of Hawai’i and the cosmetics of the Tang Dynasty in China and Japan. Examining the new lessons that can be deciphered from archaeological findings and theoretical advancements, the book shows that fashion should be understood as a global phenomenon, originating much before the fourteenth century European court, which is continually, and erroneously, cited as fashion’s birthplace. Providing a fresh framework for fashion history scholarship, Fashion History: A Global View will inspire inclusive dress narratives for students and scholars of fashion, anthropology and cultural studies. Linda Welters is Professor of Textiles, Fashion Merchandising and Design and Director of the Graduate Program at the University of Rhode Island, USA. December 2017 Abby Lillethun is Associate Professor of Fashion Studies in the Department of Art and Design at Montclair 224 pages State University, USA. 50 mono illustrations 234 x 156mm 9781474254762

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Consumptive Chic A History of Beauty, Fashion and Disease Carolyn Day A uniquely interdisciplinary exploration of the intimate relationship between fashionable women’s clothing, beauty, and disease and the rise of tubercular chic. During the late 18th and early 19th centuries, there was a tubercular ‘moment’ in which perceptions of the consumptive disease became inextricably tied to contemporary concepts of beauty, playing out in the clothing fashions of the day. With the ravages of the illness widely regarded as conferring beauty on the sufferer, it became commonplace to regard tuberculosis as a positive affliction, one to be emulated in both beauty practices and dress. While medical writers of the time believed that the fashionable way of life of many women actually rendered them susceptible to the disease, Carolyn Day investigates the deliberate and widespread flouting of admonitions against these fashion practices in the pursuit of beauty. Through an exploration of contemporary social trends and medical advice revealed in medical writing, literature and personal papers, Consumptive Chic uncovers the intimate relationship between fashionable women’s clothing, female roles, beauty and disease. Illustrated with over 40 full colour fashion plates, caricatures, medical images, and photographs of original garments, this is a compelling story of the intimate relationship between the body, clothing, beauty and disease – and the rise of ‘tubercular chic’. • Connects beauty, fashion and disease in a creative and innovative way • Genuinely interdisciplinary, combining detailed medical knowledge with fashion culture • First book to explore connections between fashion and consumption neglected in the histories of tuberculosis October 2017 Carolyn Day is Assistant Professor at Furman University, South Carolina, USA. 224 pages 43 colour and 64 mono illustrations 246 x 189mm 9781350009370

Fashion and Masculinity in Renaissance Florence Elizabeth Currie The first major study of masculinity and Italian Renaissance fashion based on exciting archival materials, such as surviving garments and personal courtier diaries. Dress became a testing ground for masculine ideals in Renaissance Italy. With the establishment of the ducal regime in Florence in 1530, there was increasing debate about how to be a nobleman. Was fashionable clothing a sign of magnificence or a source of mockery? Was the graceful courtier virile or effeminate? How could a man dress for court without bankrupting himself? This book explores the whole story of clothing, from the tailor’s workshop to spectacular court festivities, to show how the male nobility in one of Italy’s main textile production centres used their appearances to project social, sexual, and professional identities. Sixteenth-century male fashion is often associated with swagger and ostentation but this book shows that Florentine clothing reflected manhood at a much deeper level, communicating a very Italian spectrum of male virtues and vices, from honour, courage, and restraint to luxury and excess. Situating dress at the heart of identity formation, Currie traces these codes through an array of sources, including unpublished archival records, surviving garments, portraiture, poetry, and personal correspondence between the Medici and their courtiers. Addressing important themes such as gender, politics, and consumption, Fashion and Masculinity in Renaissance Florence sheds fresh light on the sartorial culture of the Florentine court and Italy as a whole. Elizabeth Currie is a lecturer and author specialising in the history of fashion and textiles. She was July 2017 formerly a Research Fellow and Tutor in the History of Design at the Royal College of Art, UK and an 224 pages Assistant Curator in the Furniture, Textiles and Fashion Department at the Victoria and Albert Museum, UK. 40 mono illustrations 234 x 156mm 9781350031630

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Indian Khadi Cloth From National Fabric to Luxury Fashion Phyllida Jay The first study of khadi cloth to examine the politically symbolic textile’s place in contemporary fashion markets since Indian independence, exploring how it developed from cloth of the nation to luxury fabric. Historically known as the symbol of economic and political freedom at the heart of Mahatma Gandhi’s struggle for Indian independence, the hand-woven and hand-spun khadi cloth has been reinvented as a global luxury textile in contemporary Indian high fashion. This is the first book to address the thriving fashion industry that surrounds khadi in India, alongside the legacy of Gandhian thought in the postcolonial era, exploring how the textile has evolved from national cloth to high fashion fabric. Based on extensive ethnographic research, including interviews with designers, consumers and NGO advocates, Jay questions the relationship between the material and the social that continues to frame the production and consumption of November 2017 khadi. How does khadi’s symbolism as a “moral” cloth change against a backdrop of conspicuous consumption and display? 192 pages What happens to its potential to address issues of inequality and nationhood as it moves into the realms of ready-to-wear 30 mono illustrations couture and heritage luxury? Caught between its historical symbolism and emergence in luxury fashion, khadi crystalises broader questions about the role of non-western fashion in modernity, artisanal craft, ethical and sustainable fashion, and 234 x 156mm social relationships mediated through the materiality of cloth. 9781474240017 Phyllida Jay has a doctoral degree in anthropology from University College London, UK, and is currently an independent researcher. Islam, Faith and Fashion The Islamic Fashion Industry in Turkey Magdalena Craciun An ethnographic investigation into the Islamic fashion industry in Turkey exploring the complex relationship between dress and religious identity. Through in-depth research into contemporary Islamic dress in Turkey, this book examines the aesthetic desirability, religious appropriateness and ethical credibility of the contemporary Turkish fashion market. Craciun tackles the delicate and often incompatible relationship between clothing worn in recognition of religious belief and clothing worn purely because it is fashionable. Âlâ, the first glossy magazine for pious Muslim women is used as a starting point for wider discussions of how Islamic clothing is designed, manufactured, sold and advertised in Turkey. Through case studies including an interview with the designer of the outfit that graced the first cover of the magazine and interviews with the editors, the book questions the commercialisation and normalisation of Islamic dress in contemporary Turkish society. This timely analysis of fashion, religion, September 2017 ethics and aesthetics presents dress as a contested locus of modernity and will be key reading for students of fashion, anthropology and visual culture. 224 pages 12 mono illustrations Magdalena Craciun obtained her PhD in Anthropology at University College London in 2010, working under Daniel Miller. She carried out fieldwork in Romania and Turkey, and her research interests include dress, fashion, Islamic fashion, materiality, 234 x 156mm authenticity, brands, fakes, markets, Eastern Europe and Turkey. 9781474234375

Nancy Deihl The Hidden History of American Fashion Women Designers in the 20th Century The Hidden Edited by Nancy Deihl History of This is the first in-depth consideration of the first generation of revolutionary designers who defined American American fashion in its emerging years, yet who have been largely forgotten from fashion history. Fashion While names such as Charles James, Oscar de la Renta, Ralph Lauren and Calvin Klein are familiar, their once-eminent forebears have been largely erased from the canon of fashion history in the United States. From one of America’s first WOMEN DESIGNERS couturiers, Jessie Franklin Turner, to Zelda Wynn Valdes, who dressed the likes of Josephine Baker and Ella Fitzgerald, the IN THE 20TH CENTURY book captures the lost histories of the luminaries who paved the way in the world of American fashion design. Focusing on unsung female designers, the authors reclaim a place in history for the women who contributed to the rich tapestry of the industry as it stands today, including designers who dressed celebrities and socialites, and millions of fashion-conscious American women. This lavishly illustrated collection takes us from Hollywood to Broadway, from sportswear to sustainable fashion, and explores December 2017 important crossovers between film, theatre, and fashion, including couture, tailoring, millinery, costume and accessory design. 272 pages Uncovering fascinating histories of the design pioneers we should know about, the book enlarges the prevailing narrative of fashion history and will be an important reference for fashion students, historians, costume curators and fashion enthusiasts. 60 mono illustrations 234 x 156mm Nancy Deihl is Director of the Costume Studies MA program at New York University, USA, specializing in the history of fashion and textiles from 1850 to the present. Deihl is co-author, with Daniel James Cole, of The History of Modern Fashion 9781350000469 (2015).

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Beyond Design The Synergy of Apparel Product Development Sandra Keiser, Deborah Vandermar and Myrna B. Garner

The Synergy of Apparel Takes students step-by-step through the pre-production processes of apparel product development— Product Development BEYOND Sandra J. Keiser | Myrna B. Garner | planning, forecasting, fabricating, line development, technical design, pricing, sourcing and distribution Deborah A. Vandermar 4TH decisions. DESIGN EDITION This informative, full-colour text demonstrates how the various pre-production processes must be coordinated to get the right product to market, when consumers want it, and at a price they are willing to pay. It builds on the themes of sustainability, business ethics, and the impact of fast fashion and social media while seeking to address opportunities for both large and small companies, and entrepreneurs. New to this edition • Includes international examples and case studies that address the effects of globalisation • Advances the discussion of the pros and cons of fast fashion versus slow fashion • Revised, easier-to-read charts and graphs and 30% new colour photographs September 2017 • Thoroughly revised chapters on Sourcing and Costing and Pricing updated with most recent information on trade 512 pages laws, changes in sourcing criteria and wages in international sourcing countries 500 colour illustrations Sandra Keiser is an Associate Professor at Mount Mary University, USA. She served as chair of Mount Mary’s Fashion 279 x 215mm Department for 26 years. 4th edition Myrna B. Garner is Associate Professor in the Department of Family and Consumer Sciences at Illinois State University, 9781501315480 USA, and a member of the Graduate Faculty. Deborah Vandermar was previously an instructor in Apparel Design and Merchandising at the International Academy of Design and Technology in Seattle, USA, for seven years after a career of more than 30 years in Apparel Production with companies such as JH Collectibles and Nordstrom.

Pattern Cutting The Architecture of Fashion Pat Parish This inspirational introduction to the principles of pattern cutting includes step-by-step instructions and design activities, and includes new sections on working with different fabrics, pattern instructions for zero waste design, and exciting new interviews with practising designers. Pattern making represents a core need-to-know skill for every budding fashion designer, but mastery of this complex part of the design process can prove tricky. Pattern Cutting: The Architecture of Fashion is designed to demystify the process and clearly demonstrates the pattern fundamentals, enabling readers to easily construct in both 2D and 3D, and quickly get to grips with basic blocks, shape, sleeves, collars, circles and trousers. The author approaches the subject through an exploration of proportion, balance, line and form, identifying key shapes and structures from the catwalk and translating them into 3D through a number of cutting, draping and construction processes. This innovative approach provides readers with the inspiration, tools and confidence to interpret and adapt basic patterns and so take their designs to the next level.

Now fully revised, this popular and inspirational sourcebook for young designers has been completely updated to reflect December 2017 new directions in construction design and techniques, with a renewed emphasis on the impact of sustainability on 224 pages construction. Beautifully illustrated with all-new contemporary pattern flats, including more pattern instructions for zero waste design, as well as simple step-by-step instructions, this second edition includes invaluable information about Over 400 colour illustrations working with a range of fabric types, including techno fabrics like spacer, scuba and neoprene, and explores how 300 x 220mm different fabrics change pattern cutting and affect shape. Insightful interviews with some of the most exciting practising 2nd edition designers from around the world provide a professional look at pattern cutting in practice, complete with handy tips, 9781474272384 short cuts and tricks of the trade. Pat Parish’s teaching career began at the Royal College of Art, London. Alongside her teaching, she also worked as a freelance pattern cutter for designers such as Betty Jackson and Anne Tyrrell, and created collections with Amanda Wakely, Edina Ronay, Bruce Oldfield and many others. She currently teaches at Croydon University College in the UK.

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The Fundamentals of Fashion Design Richard Sorger and Jenny Udale An updated version of this popular and bestselling fashion title, which provides students with a beautifully illustrated introduction to fashion design, complete with interviews and exercises. This new edition offers a fully-illustrated introduction to the key elements of fashion design, from the initial concept of a fashion idea to realising it in 3D form. It offers 25% new interviews featuring contemporary designers such as Michele Manz and Winni Lok, which contextualise the ideas explored within the book and offer key insights into both working and succeeding within the fashion industry. New images provide up-to-date illustrations of concepts covered in the book and a new preface by fashion designer and instructor Shelley Fox introduces the edition. A range of design exercises also help readers to discover and experiment with design techniques. The Fundamentals of Fashion Design provides a rich and dynamic resource that inspires readers to succeed at what they are best at – designing clothes. Richard Sorger has taught at the London College of Fashion and Central Saint Martins. He is currently the fashion design tutor at Middlesex University, UK. Jenny Udale is a freelance textile and womenswear designer. She is currently a lecturer at Middlesex University and Ravensbourne College, UK. August 2017 208 pages 200 colour illustrations 230 x 200mm 3rd edition 9781474270007

WK(GLWLRQ Illustrating Fashion ,OOXVWUDWLQJ Concept to Creation )DVKLRQ Concept to Creation Steven Stipelman 67(9(167,3(/0$1 This beautifully illustrated book provides a step-by-step approach to drawing the fashion figure, garment, details and the various techniques used to render fashion illustration. For the more advanced student or working designer, Illustrating Fashion explores concepts such as manipulating the figure, more complex poses and rendering techniques and concepts of fashion art. Illustrating significant historical and contemporary designer garments, Stipelman helps the student understand a specific contribution by that designer and how it applies to the lesson. Readers will explore and develop their own talents and goals, thus creating their own illustration style. Key features • Chapters begin with an overview of the subject, including a brief fashion history or the relationship of the garment detail to the figure • Full colour illustrations throughout highlight rendering techniques from basic to advanced November 2017 • Explores advanced concepts and refined rendering techniques 464 pages • Includes dedicated chapters on men, children and accessories 1000 colour illustrations • Features 20% new illustrations including updated fashion styles 279 x 215mm • Shows new drawings of the side back figure and expanded 4th edition sections on advanced rendering techniques 9781501322945 Steven Stipelman is a Professor of Fashion Design at the Fashion Institute of Technology (FIT), USA. He has taught at Parsons School of Design and has conducted workshops at colleges and universities around the country. Stipelman was a fashion artist at Women’s Wear Daily for 25 years and his fashion illustrations have published internationally. He is a recipient of The Chancellors Award for Excellence in Teaching.

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Silent Selling Best Practices and Effective Strategies in Visual Merchandising Judy Bell and Kate Ternus This text provides an all-inclusive approach to best practices in visual merchandising. Capturing the direction and evolution of today’s retail industry, Silent Selling: Best Practices and Effective Strategies in Visual Merchandising, is a blend of practical activities and creative problem-solving activities to carry students well beyond the basics of visual merchandising. New features on digital tools introduce some of the most widely used resources in the retail industry today. A new “Design Gallery” feature opens every chapter with full page colour photographs that reflect the theme of the material to come and is later reintroduced with a description about the retailer, including origin of the business, mission, and interesting and unusual highlights. Readers gain an understanding of experts’ recent discoveries and learn valuable techniques while being encouraged to think outside the box using Bell’s “Look-Compare-Innovate” model. With these informational tools, students can learn to create and deliver professional merchandise presentations that will facilitate their move from the classroom to the workplace. Judy Bell is the founder and CEO of Energetic Retail, a firm that collaborates with retailers and design firms to develop sales-building presentation strategies. She is the former Group Manager of Creative Merchandising Solutions for Target. August 2017 Kate Ternus is a former marketing instructor at Century College, USA, a community college where she taught for more than twenty years. Her earlier retail career included visual merchandising, sales management, 448 pages and special events at Dayton’s, Donaldson’s, Meier & Frank, Macy’s and Casual Corner, among others. 280 colour illustrations 279 x 215mm 5th edition 9781501315565

Fashion Curating Critical Practice in the Museum and Beyond Edited by Annamari Vänskä and Hazel Clark Brings together international approaches to fashion curation in the 21st century as practised in the museum, commercial spaces and online. As the practice of fashion curation extends into commercial galleries, public and retail spaces, and even to the individual self, the professional concept of “curating” is understood less and less. Today, everyone is seemingly able to “curate”, but where does this leave the old-fashioned understanding of collection and display of clothing in the museum? This thought-provoking volume explores the practice of fashion curating in the 21st century within the wider frame of the arts, bridging the gap between methods of display and notions of “the curatorial” in fashion exhibitions, commercial settings and the virtual world. From fashion’s first foray into the museum with historically orientated displays of epoch and style, to creative collaborations between luxury fashion brands and artists, this book challenges understandings of fashion curation by drawing on the palpably new spaces, places and actors in today’s curating scene. Exploring museum displays in venues such as the V&A, Somerset House, MoMu and the Royal Ontario Museum, alongside the ways that brands such as Dior, Chanel and Louis Vuitton have made use of “the curatorial” in their own commercial strategies, the book asks pressing questions about controversial funding and collaboration from the commercial fashion sector, and the limitations of producing exhibitions that are at the same time critical and popular. Annamari Vänskä is Professor of Fashion Research at the Aalto University, Finland, and Adjunct Professor of Art History and Gender Studies at the University of Helsinki, Finland. She is also a Visiting Professor at November 2017 Shanghai College of Fashion, Donghua University, China. 256 pages Hazel Clark is Professor of Design Studies and Fashion Studies, and Research Chair of Fashion at 50 mono and 16 colour illustrations Parsons School of Design, New York, USA. Her books include the co-edited Old Clothes, New Looks (Berg, 2005) and Design Studies: A Reader (Berg, 2009). 244 x 169mm 9781474287098

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Retailing in Emerging Markets Jaya Halepete Iyer and Shubhapriya Bennur This book covers all the factors that directly influence the apparel retail industries in select emerging markets from around the world, featuring contributions by global retail experts from each of the selected countries. Emphasising the apparel and beauty industries Retailing in Emerging Markets provides an in-depth study of the retail landscape within Brazil, China, India, Russia, Turkey, Qatar, Thailand, South Korea and Mexico. Each chapter focuses on a single country, discussing the organisation of its retail industry, analysing consumer behaviour, and presenting strategies for effectively entering its market. This new edition includes fully updated data, statistics and economic perspectives on each of the countries covered. Readers will emerge armed with a deeper understanding of the political, economic, and cultural factors driving each market—an understanding essential for building and maintaining a competitive edge in today’s global retail environment. New to this edition • Two new chapters on South Korea and Qatar investigate the current marketplace opportunities and challenges • Increased coverage of the legislative landscapes and long-term economic outlooks for each country • Updated and new chapter case studies analyse the expansion strategies of international retailers • New Chapter Summaries and Critical Thinking Questions offer additional learning tools • Includes 25% new photos and current maps to bring the chapters to life • Expanded contributor biographies highlight the expertise of each scholar Jaya Halepete Iyer is a retail professional with more than 15 years of experience in the global fashion October 2017 industry. She was previously Assistant Professor at Marymount University, USA, where she taught a 368 pages Fashion in the Global Marketplace course. 95 mono illustrations Shubhapriya Bennur is Assistant Professor in the Textiles Merchandising & Fashion Design Department at 228 x 152mm the University of Nebraska-Lincoln, USA. 2nd edition 9781501319068

Setting Up a Successful Jewellery Business Angie Boothroyd This book is a guide to setting up, running and growing a jewellery business for jewellery entrepreneurs working in all materials and at all levels. An updated edition of the best-selling handbook, this all-encompassing guide for jewellery entrepreneurs of all levels covers key lessons for setting up, running and growing a jewellery business. From the college graduate looking to set up a workshop, to the established maker ready to expand their business, Setting up a Successful Jewellery Business equips creative jewellers with the essential knowledge and tools to operate a professional jewellery business. Encouraging individuals to define their business objectives and strategy for the future, the guide deals with topics including: presenting your brand; protecting your designs; how much to charge for your work; selling to shops, galleries and individuals; creating your website and driving traffic to it; managing your time and finances plus other essential business skills. Updated with two new chapters, an expanded section on social media and a revised appendix, this is an indispensable jeweller’s companion that provides the resources to take your business forward. Angie Boothroyd is an independent jeweller based in London. She trained at London Guildhall University and the Royal College of Art and has exhibited her award-winning work throughout the UK and internationally, including at such prestigious events as Goldsmiths’ Fair, London and COLLECT at the Saatchi Gallery, London. October 2017 160 pages 234 x 156mm 2nd edition 9781474241960

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Global Sourcing in the Textile and Apparel Industry Jung Ha-Brookshire The only authoritative textbook on global sourcing, including step-by-step procedures used by today’s apparel sourcing professionals. Over 95% of today’s textile and apparel products are globally sourced, making sourcing one of the most important business functions in the industry. Global Sourcing in the Textile and Apparel Industry examines this crucial function in the textile and apparel industries, providing practical insight into both how and why global sourcing is pursued. Chapters include step-by-step global sourcing procedures and explore the theoretical, political, economic, social and environmental implications of global sourcing decisions with an emphasis on sustainability. A real-world approach using current examples and a hypothetical company called Amazing Jean helps students see how sourcing tasks are completed in the fashion industry. New to this edition • New cases studies at the end of each chapter offer real-life scenarios that today’s sourcers may face • Emphasis on sustainable implications of global sourcing integrated throughout • Current trade data, agreements and examples of industry trends throughout the book • Added coverage of trend analysis and forecasting in sourcing • Significant updates to the future of global sourcing section, including technology, UN’s sustainable June 2017 development goals, and on- or near-shoring trends • 25% new colour images 280 pages • New glossary includes essential terms and definitions from the book 100 colour illustrations 279 x 215mm Jung Ha-Brookshire is Associate Professor in the Department of Textile and Apparel Management at the University of Missouri, USA. She is a Fulbright Scholar who teaches and researches global sourcing after 2nd edition eight years of apparel sourcing industry experience in New York City. 9781501328367

Fashion Supply Chain Management Michael Londrigan and Jaqueline M. Jenkins The first book to explore the global fashion supply chain from fibre to consumer. Aspiring fashion professionals will gain 360 degree knowledge of how fashion is made and reaches customers. Fashion Supply Chain Management covers the key elements of the global supply chain essential to running a fashion business, including raw materials, sourcing and production, inventory, logistics, information systems and the retailer. This is the first textbook to focus on the apparel and textile industry with unique coverage of Corporate Social Responsibility (CSR) and retailing on a global scale. This practical resource gives readers an understanding of how the fashion industry supply chain relates to various roles in a fashion company – from designer to merchandiser – and ultimately creates value for the consumer. Key features • Covers strategies for managing a global supply chain in the fashion industry • Provides tools for complex decision-making • Evaluates how to manage relationships in the fashion industry supply chain • Examines the impact of technology in the “production calendar” in a fashion company Michael Londrigan is the Dean of Academic Affairs of LIM College, USA, and former Chair of the Fashion Merchandising Department. He has over 30 years of experience in the apparel and textile industry focusing on retail, wholesale and textiles. February 2018 Jacqueline M. Jenkins is the Dean of Graduate Studies for LIM College, USA, where she leads the 352 pages development of graduate-level programs including the Masters of Business Administration (MBA) and the Master of Professional Studies (MPS) programs in Fashion Merchandising and Retail Management, Fashion 80 mono illustrations Marketing, Visual Merchandising, and Global Fashion Supply Chain Management. 254 x 203mm 9781501317781

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Sustainability and the Social Fabric Europe’s New Textile Industries Clio Padovani and Paul Whittaker This book uses case studies to explore how textile designers, businesses and artisans have produced innovative business models that contribute to social sustainability. While the topic of sustainability in textile manufacture has been the subject of considerable research, much of this is limited to a focus on materials and practices and their ecological impact. Padovani and Whittaker offer a unique exploration of the textile industry in Europe from the perspective of social sustainability, shifting the focus from the materiality of textile production to the industry’s relationships with the communities from which the products originate. Featuring six in-depth case studies from design entrepreneurs, artisans and textile businesses around Europe, from Harris Tweed in Scotland to luxury woollen mills in Italy, Sustainability and the Social Fabric explores how new centres of textile manufacturing have emerged from the economic decline in 2008, responding creatively and producing socially inclusive approaches to textile production. Case studies each represent a different approach to social sustainability and are supported by interviews with industry leaders and comparisons to the global textile industry. Demonstrating how some companies are rebuilding the local social fabric to encourage consumer participation through education, enterprise, health and wellbeing, the book suggests innovative business models that are economically successful and also, in turn, support wider societal issues. Essential reading for students of textiles, fashion, design and related subjects, this book will demonstrate how a business ecosystem that focuses on inclusive growth and social innovation can lead to sustained mutual benefit for textile industries and their local communities. August 2017 Clio Padovani is a Research Fellow at the University of Southampton, UK. 208 pages Paul Whittaker is Associate Dean, Faculty of Business and Law, at the University of Southampton, UK. 35 mono illustrations 234 x 156mm 9781474224116

Fashion Journalism History, Theory and Practice Sanda Miller and Peter McNeil A complete overview of the theory and practice of fashion journalism for students. Fashion Journalism: History, Theory and Practice is an accessible, comprehensive guide to writing about fashion in any form, from style blogging through to magazine interviews to news reportage and exhibit reviews. The book features a wide range of global fashion case studies, from Carmel Snow’s reporting on Dior’s ‘New Look’ to 1970s responses to Yves Saint Laurent, and Diana Vreeland’s role as a fashion editor. Through a series of highly engaging exercises, students will learn how to find inspiration for their writing, carry out successful research, structure their work logically, develop their visual insights, use a style appropriate to their readership and to make the leap from merely descriptive writing to informed criticism. This text will be essential reading for students of fashion, design, cultural, journalism and media studies. Peter McNeil is Professor of Design History at the University of Technology, Sydney, Australia. Sanda Miller is Senior Lecturer in Media and Visual Arts at Southampton Solent University, UK.

November 2017 160 pages 10 mono illustrations 234 x 156mm 9781472535818

10 DESIGN AND GRAPHIC ARTS

Becoming a Successful Illustrator Derek Brazell and Jo Davies Prepares students to enter the working world of illustration. Combining advice and tips from practising illustrators, agents and commissioners, this is a must-have guide to working in illustration. This edition features even more ‘Spotlights on…’ sections, with advice from practising illustrators as well as the people who commission them. You can enjoy added coverage in fields such as moving image, character illustration and social media. There are also new exercises to get you started planning and building your business, and over 200 inspirational examples of artwork, most of which are new to this edition. You can expect practical tips on how to seek work, how to market yourself and how to run your illustration business in an enterprising way, with advice that will prove useful long after your first commission. Building on the resources of the first edition, this continues to be the must-have guide to practising professionally as an illustrator. • Featured illustrators include: Millie Marotta, Mark Ulriksen, Natsko Seki, Ellen Weinstein, Stephen Collins and many more • Featured topics include: finding clients, fields of work, financial and legal requirements, self-promotion, managing your business Derek Brazell is a manager at the Association of Illustrators and is the Publisher of their illustration magazine. November 2017 Jo Davies is Associate Professor of Illustration at Plymouth University in the UK and an active illustrator. 192 pages

CHAPTER 0NE ILLUSTRATIVE ENTERPRISE WHERE DO ILLUSTRATORS WORK? 200 colour illustrations ChAPTER TWO THE PROFESSIONAL 270 x 210mm 1.3 WhERE DO WORLD OF THE ILLUSTRATORS WORK? Editorial

ILLUSTRATOR Imagery is all around us, and increasingly, it is shifting You should work on a unique style/ or a topic I was asked to fill in as art director for The Editorial illustration has a long tradition and although 2nd edition from the most obvious applications like book jackets and of interest that is consistent in your portfolio New York Times OPED page whenever print publications are rivalled by digital platforms, T-shirts, to subtler uses like decoration and illumination illustration’s ability to represent events and complex and can be applied across different contexts. the current art director was away, and I on products and advertising. issues is still required in areas such as national and Chapter 1 has revealed the broad areas in which you may I do believe it is important to separate yourself learned a great deal about the other side regional newspapers and their supplements and consumer typically find illustration commissions, but there will be In an increasingly visual world the skills of the illustrator from other artists in order to stand out. It also of illustration. Working with editors and magazines (women’s, men’s, food, gardening, travel, can be called upon for a myriad of uses. Applications can business-to-business and trade). Digital platforms, 9781474284240 others that the tenacious creative will be able to discover. makes it easier for clients to come to you if they other illustrators enhanced how I approach be ordered into a broad range of areas, although these are which may be editions of existing publications or online It pays to maintain a broad outlook, keeping alert to all are looking for your particular style. In the words my job. I would see how other illustrators flexible definitions and there will be crossover between versions, also use illustration. The brief for this work possible avenues of income. Don’t limit yourself to what the various areas. An illustrator will be dealing with an of a mentor of mine, ‘differentiate or die’. conducted themselves during a job and may be dictated by the art director or come directly from appears to be the easiest route, as this could result in a art director as the main point of contact for the majority Nancy Liang would try to emulate those who I enjoyed reading the text that is to be illustrated. Artwork can be low level of commissions. Now that you have evaluated of the commission types described here. working with. required at short notice and with very short deadlines – maybe a couple of days. Occasionally, turnover from your strengths and identified areas that you can improve Wesley Bedrosian generation of visuals for approval to final artwork can upon, you are in a realistic position to build on your be a matter of hours. ambitions for an expansive client list. 1.5 Editorial illustration will accompany journalistic text, ranging from concept based images to purely decorative It’s important that you learn what it means to be a pieces. It can be anything from small vignettes to double- professional illustrator and how to work with clients. page spreads in magazines and occasionally, although Developing an enterprising attitude towards finding more rarely, covers for publications such as the New potential avenues for your work and building a robust 1.6 Yorker and The Guardian. Subject matter can include current affairs, politics, finance, lifestyle, travel, health network of professional contacts is more likely to make and technology. your career sustainable and long-lasting. Cartoons are a popular element of daily news platforms with some magazines concentrating on humour and current affairs, although there are limited opportunities in cartooning.

1.5 1.6 Nancy Liang, an illustration Wesley Bedrosian, from a gif made as part of Complications of the voting an ongoing personal series, process, Governing Magazine. 2.1 ‘Old Spaces’, based on Wesley works largely within Thereza Rowe forgotten spaces, mostly editorial illustration across all in Sydney, Australia. subjects including politics, technology and finance.

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Reportage Illustration Visual Journalism Gary Embury and Mario Minichiello This text is the first to be published on the subject of reportage illustration for students, and is a practical and inspirational book for anyone interested in the field of observational drawing or visual journalism. The power of reportage drawing is in the immediacy of the images that are created and the feeling of the illustrator’s presence on location. Comparable in some ways to photojournalists, reportage illustrators are acting as visual journalists, proactively creating narrative work about issues and subjects, translating what they witness into handmade imagery. There is evidence that illustrations connect to people in powerful ways whether they are drawings created while embedded with troops in Afghanistan, documenting during a courtroom trial or recreating the energy of the crowd at a rock concert. This area of applied illustration also provides career opportunities for students and takes them out of the classroom and into different environments and situations. With practical information about tools, techniques and coping in various situations as well as inspirational interviews and advice from reportage artists working in the field, this book will fill a gap in this growing market. Gary Embury is a senior lecturer at the University of the West of England, Bristol and an illustrator with over 20 years of experience. Clients include The Guardian, The Daily Telegraph, Radio Times, Aardman Animations, BBC, British Telecom, Barclays Bank, The Economist, New Scientist, The Sunday Times February 2018 Review, Sunday Times Magazine, Microsoft, Penguin Books, Macmillan, and many other advertising, editorial and publishing clients. He is the editor of reportager.org which showcases and initiates projects in 184 pages the area of drawn reportage. 200 illustrations Mario Minichiello is a Professor at the School of Design Communication and IT at Newcastle University, 270 x 210mm Australia. He is also Head of the Hunter Centre for Creative Industries and Technology as well as the author 9781474224598 of The Art of Conflict, which contains his reportage drawings during his assignment in the Afghanistan war. Over the past 15 years, alongside his academic career, he has worked as an illustrator, primarily in the field of national and international broadcast and broadsheet media. His reportage illustration work for BBC Newsnight formed part of their BAFTA Award for news and current affairs. His work has also appeared in The Guardian and Financial Times.

11 DESIGN AND GRAPHIC ARTS

Introduction to Graphic Design A Guide to Thinking, Process & Style Aaris Sherin This book introduces first year graphic design students to the fundamental elements of design and provides a solid foundation that will prepare them for the future. Introduction to Graphic Design is a clear and engaging introduction for students who are just starting out in their studies. The concepts and terminology as well as the basic purpose of graphic design can be challenging and confusing. The goal of this book is to demystify these concepts with clear and straightforward information, answers to common problems and down-to-earth advice. Each chapter starts with a list of key terms and concepts and ends with a Chapter in Review summary to provide an easy reference so that students can start to produce competent design work more quickly. Additionally, Design in Practice case studies plus exercises and boxes highlight step-by-step methods for achieving clarity, visual impact and techniques for developing original visual solutions. Aaris Sherin is the author of Sustainable Thinking: Ethical Approaches to Design and Design Management for Fairchild Books in 2013. She has also authored and co-authored several books with Rockport Publishers including Colour Fundamentals and Using Images to Create Graphic Impact among others and has been a guest editor for GroveArt (OUP). She is currently Assistant Chair: Department of Art and Design at St. Johns University in New York. November 2017

(left) CRITIQUE AND ANALYSIS Then make a list of words that pop into your head. Words Once you have completed your list you need to think Presenting Work-In-Progress BRAINSTORMING AND should come spontaneously and be unedited. They don’t about how the words might relate to the assignment. Drawings of items 208 pages that are associated The more time you spend looking at work, the easier it need to relate to the project in any discernable way. Identify ways each of the words or phrases can connect Every project is different and the requirements of an assignment with cows and milking is to differentiate between effective aspects of a project IDEA DEVELOPMENT to the topic. Construct a mental image and then make provide the concept for vary depending on the facilities available and the type of project • Don’t worry about whether the ideas will lead to a and those which still need improvement. In-progress quick sketches of those pictures. You should end up with the designer to connect you are working on. Some projects are better suited to being design solution. Instead, let your mind wonder. At first the brand name “milky and final critiques are embedded in most project-based several pages of rough sketches and notes. printed where as others will be easier to critique on screen. Your Brainstorming is a structured activity used to develop you might think about what you ate for lunch, a snippet land” with the different design classes, but the format for how a critique is milk product sold by the instructor will tell you which method to use when presenting creative solutions to a problem. It can be both visual of a song or the vacation you are planning with friends. • Don’t worry about compositional details or drawing conducted will vary depending where you are studying company. Design Izyum drafts of your projects. and verbal. Some people use lists and diagrams to Resist the urge to edit; this is free association. ability. Both will only slow you down. Creative Group, Kiev, and your instructor’s preferences. The most common 500 colour illustrations brainstorm and others use sketches and images. Ukraine form of critique requires participants to display and • Spend at least 10 to 15 minutes working on your list • Some ideas will be more literal and others will be This section includes several common brainstorming talk about their work. Then the instructor and/or fellow of words. Keep the facts about the project visible, but abstract. Sketches: Detach from the sketchbook or notebook for easy techniques which can be used to develop concepts for students will give advice on how well the work has met don’t worry too much about relating the ideas to the viewing. Remove uneven edges with scissors or an X-Acto knife. design projects. • This process may produce additional words or the criteria outlined in the assignment. Sometimes project. The goal is to get out of your comfort zone and Go over pencil lines with a black pen or marker so the drawings phrases. Jot these down as well. the feedback will include proposals for how to develop find new ways of conceptualizing content. can be seen from a distance. specific aspects of a project, but at other times the Take a break. It’s best to wait at least a day to evaluate FREE ASSOCIATION • Most of what is produced during free association and Printouts of in progress work: Carefully trim white edges off paper critique may focus almost exclusively on listing areas in sketches, but when time is limited try to step away 270 x 210mm sketching doesn’t end up being used in final layouts. with an X-Acto. If a layout includes extra white space around it, it need of revision. Critiques can also be conducted as one Free association is a technique used to generate from your brainstorming for at least a couple of hours That’s okay. The more words we produce the greater will be impossible for that space not to be considered as part of on one meetings or in small groups. Working in small ideas. Begin by writing down facts about the project. between sessions. the chance that a unique concept will emerge. If some the design. groups allows students to practice giving each other Include goals, info from the brief or assignment, and a of the words immediately generate mental pictures Now, it’s time to review the design concept sketches. more direct feedback and in some cases fellow students few details about the core values of the “client” or the Printouts of final work: If possible print on good quality bright- you can make quick thumbnail sketches of your ideas. Evaluate how well each idea conveys the message? If you may even make notes directly on your work similar to information which needs to be conveyed. white paper. Trim white edges off paper if they are not part of the keep in mind the goals of the assignment, good ideas how an instructor would. composition. Depending on the requirements of the assignment, should stand out on the page. Choosing two or three of 9781472589293 (above) mount work on Foamcore or board (see page xxx). Make sure to Critiques exist to help you improve your work. They also the best won’t be difficult. Concepts are like ingredients When designing items using multiple paste/mount work onto the board before trimming edges of the mimic the professional environment by simulating which can be used to produce different dishes. A single materials, it is often necessary to test (below) them first. You may need to create board. scenarios similar to those you might find in the Brainstorming and idea development concept can be applied to different size formats and mock-ups by hand before sending a workplace. At first it may be difficult to hear negative can produce a range of different 1 2 3 even different design deliverables. Three-dimensional objects and multi-page documents: design out for printing/production. comments about your work. This is especially true visual solutions. Some will be more (right) If you need to show mock ups to the Packaging and three-dimensional objects or signage can be successful than others but as you Once you have identified several potentially successful When you normally think when you have spent hours working on a particular client make sure they are neat and shown as digital renderings or as fully produced mock-ups. begin to work on visual exploration concepts, the next stage is to use type and images to of being cold you might the craft is well done. Design: &Lary, piece or when you feel you have already come up with don’t worry about which iterations “look not imagine an iron on When creating mock-ups, carefully construct three-dimensional visually express your idea. The principles of arrangement Singapore an innovative or unusual idea. Unfortunately, not all the best” instead try to come up with your nose but letting designs so they are as neat as possible and make sure to protect as many ideas as possible. Quantity outlined Chapter 7 will help you create balanced free association be open good ideas work well in all situations and even great them during transit. Construct multipage projects using high is a hallmark of good brainstorming compositions. Not every concept will work as a finished and free can produce ideas may not be suitable for particular content or for and these designers came up with unexpected visuals. quality paper and board. Consider using the “booklet” feature of design solution. Eliminate ideas that don’t work and keep a targeted audience. For example, you might come up many different versions of the identity. Design: Katie Mias, Adobe InDesign or printing double-sided pages if signatures are Design: Jessica Monteavaro Garbin and the ones that do. Consider using the ideas with actions New York with a great logo but if it doesn’t hold up visually when it needed. Three-dimensional objects and signage or other large- Fabricio Lima Dos Santos from page xxx to explore different ways of thinking about is reduced to a smaller size it can’t be put on a business scale work can be digitally inserted in a photograph of real space content. card. Similarly, the logo might feel too formal for use 4 5 6 to show how it could appear in a real-life setting. in package design and you might need to go back and (above) When creating 3-dimensional objects, Websites, motion graphics, User interface designs: Show work rethink the design. Sometimes great concepts fail to documentation is key to being able to on screen. Test websites and motion graphics to ensure the come together visually. You might have an idea to use an show the final product in a portfolio. As images are rendered correctly, the audio is operational, and all of image of constellations in space as the background for a student this often means producing a comp or mockup specifically so the links work. Unless otherwise stipulated in a project brief or packaging for a tech product. The connection between you can photograph it in a real world assignment, design work should be presented in the same media the concept and the content is great but the visual might situation. The designers of this used for the final output. For instance, websites and motion be too complex to work with the typography. In these “inclusive watch” photographed the Ways of framing the design problem Reasons not to start a design digitally packaging alongside the brochure graphics should be shown digitally (usually by projecting the work instances, a total revision or new version of the project about the “product.” Design: These questions provide a lens to assess the goals of a project • Your concepts are unlikely to be as original or experimental onto a large pull-down screen or a monitor) whereas print design may needed. It’s important not to get discouraged by Bruketa&Zinic, Zagreb, Croatia and to tease out specifics about what criteria will determine and packaging should be printed on paper and trimmed to size the critique process. Unrealized versions of a project • You may focus on details too quickly success or put together (for packaging design) and made into a three- are never a waste time. Even if an idea isn’t applicable 7 8 • You may be influenced more by software tools than by the dimensional sample. to one project, it might be used on a future assignment. • What is the viewer or user going to get out of the design? concept Keep cast-offs for later by jotting the concepts down in a • Who is the target audience? sketchpad or save a version of original work in a flat file • Your layouts may seem stilted and predictable or a portable portfolio. • Does the design have a purpose? • Should the tone be informational or persuasive? • What would you want to see if you were the viewer/user?

30 Chapter 2 / Concepts and Ideas Revision and Experimentation 31 18 Chapter 2 / Concepts and Ideas Brainstorming and Idea Development 19

Reinventing Print Technology and Craft in Typography David Jury This book looks at the rise of digital technology and examines the infinite possibilities it offers and the profound cultural and technical influence it has had in all aspects of visual communication. It then focuses on our current post-digital age, in which typography embraces both the digital and the traditional craft of typography from letterpress to hand-drawn fonts. With the rise of digital technology as a design tool and its acceptance as simply part of the tool chest for today’s design studios, there has been a re-evaluation and return to exploring pre-digital typography. Design studios no longer flaunt their digital hardware, in fact quite the opposite. This attitudinal change toward digital technology has coincided with a growing fascination and re-evaluation of those pre-digital skills and processes that had been considered in recent years to be irrelevant. Reinventing Print focuses on those skills and processes which have been re-appropriated and irreverently liberated by a new generation of typographers, designers, and artists, raised with digital technology in their pockets and forever at their fingertips. In this post-digital age, traditional typographic craft is new, different and therefore exciting, potent and culturally subversive. David Jury teaches at Anglia Ruskin University in Cambridge, UK. He is also the author and designer of a number of books including Graphic Design Before Graphic Designers; About Face: Reviving the Rules of December 2017 Typography; Letterpress: The Allure of the Handmade; and What is Typography? From 1996 to 2006 he 208 pages was the editor of TypoGraphic, journal of the International Society of Typographic Designers. He has won Awards of Excellence from D&AD, ICOGRADA, ISTD and the New York Type Club. 500 colour illustrations

270 x 210mm Chapter 1: Technology as a driver of creativity Chapter 1: Technology as a driver of creativity Chapter 1: Technology as a driver of creativity Chapter 1: Technology as a driver of creativity

Previous page: Below: Page opposite: Introduction William H Bradley, printed woodcut, detail from the Libreria book shop, which opened in London 2016. Caffé Nero, free-standing printed notice, 2016 label on the cover of The American Chapbook, issue The concept of the small bookshop is attracting a incorporating ‘rough-hewn’ hand-drawn lettering number one, published by the American Type Founders new generation of proprietors or ‘entrepreneurs’. In the which incorporates low-tech photocopier process. 9781474262699 Company, (ATF) 1904. spirit of famous bookshops such as Shakespeare and The ‘dressed-down’ appearance is calculated to entice Bradley’s illustration depicts an 18th century street Company in Paris and City Lights in San Francisco, customers to part-take in a survey and the possibility vendor selling chapbooks – small, folded, unbound Libreria is cultivating itself as a community hub and of winning that icon of sophistication, an iPad. booklets, crudely printed, which sold for a penny. even owns a printing press with which it intends to Bookshops existed but their stock was expensive – publish limited edition books. even newspapers were beyond the means of most The curved yellow shelving, designed by students people, – so the chapbook was the sole reading from Central St Martin’s School of Art, lends a free- material in most family homes. spirited, cheerfully bohemian aura.

For a brief period, screen-based digital technology seemed destined to supplant all other text-carrying media. Digital technology is more mobile, searchable, editable, and sharable, so what could possibly stop it eliminating print? And in the same way that print culture was linked with the rise of modern industrial society, so the demise of print was linked with the fall of modernism as a new media rose to dominate every Telephone directories aspect of contemporary life. In that process, paper-based media underwent a rigorous The telephone directory was not just a work of reference but a symbol of national identity and an intrinsic tool that had a essential presence in every house, office, shop Who benefits from all the endless newspaper examination causing some of its most prestigious and, apparently, indispensable inches about how the oppressed peoples of achievements, for example: dictionaries, thesauruses and encyclopaedias, to be found and school in almost every country around the world. Its pervasive presence ensured the world are going to be liberated by tech- that everyone from a very early age became familiar with its distinctive pages and learnt nology. most vulnerable. Graphic communication – printed ink on paper – has been threatened with how to use it. Each country had its own, deftly different way of organising precisely the Criticism of the internet has been, at the very same information and these differences stood for something akin to a national identity. least, muted. So all-pervasive is its presence imminent obsolescence on several occasions, mostly during the 20th century. It’s that it seemed impossible to know from demise was always ‘postponed’ because technology could not, finally, deliver what the So much so that when changes were being considered a national debate on type and where or even how to oppose it. ‘But god, if typographic design would ensue. The adage that good typography should be invisible,99 there is going to be an opposition, a response, imagination had concocted. But the arrival of the ‘desk-top’ computer in 1984 changed it’s not going to come in the form of tweets’ everything and with that the invention of the Internet heralded a communications would (if briefly) be forgotten as the telephone directory, that most utilitarian of revolution, a very different and far more genuine threat to print by far one of the first printed items, was scrutinised by all. of which being the closure of many newspapers. And yet, news stands remain a com- The first telephone directory of subscribers was a single 14 cm. x 21 cm. sheet a point, helpful because its universal usefulness was demonstrated by the sheer mon sight, magazine racks have increased and their design and contents grow more issued in New Haven usa, in 1878, and did not even include the telephone numbers. number of connections it contained. But telephone companies also realised that there diverse than ever. The number of bookshops has dwindled, but not because of digi- Later the same year an up-dated directory, this time a booklet, was published. The first was an optimum size, generally around 700 pages, beyond which the book became too tal technology’s replacement of the book itself, – indeed, the number of books being known telephone book in the uk was published in January 1880, a year after the unwieldy, a fact emphasised by The Guinness Book of Records having an entry for the published continues to grow – rather because of the success of Amazon. Even so, new public phone service was introduced. The telephone remained a luxury item until highest number of telephone directories torn in half in two minutes. bookshops have begun to appear, cultivating themselves as a community hub and given the 1940s, when the number of subscribers suddenly began to rise. By the 1970s the With both the quantity and size of pages fixed, the telephone companies were emphasis by enterprises such as Libreria in London, who have their own printing press telephone was ubiquitous and even began to offer the kinds of services predicted forced to seek advice about the typography. A number of countries commissioned Above: with which to publish limited edition books. by Octave Uzanne, providing an elemental ‘information super high-way’: on which research into typeface design and alternative layouts. The first directory-specific type- Matthew Carter, Bell Centennial, a condensed sans And, most convincing of all, you are reading these words printed on paper. Why? serif designed specifically to work at a small (6 point) children could dial up a bedtime story; teenagers could ‘dial-a-disk’; and housewives Above: face had been designed by Chauncey Griffith in 1937 for the American Bell Company. size and incorporating oversized ink traps into the Banks & Miles, character development of the Because they are in a ‘book’: still the most effective, efficient and attractive ‘interface’ phone for ‘the recipe of the day’. Meanwhile, the telephone directory was getting ever Bell Gothic was the result. However, by the 1970s, Bell began to have their directories letterforms that would fill in and negate the effects typeface Phonebook and a later sample setting ever conceived. This is no surprise, the book was devised between the 2nd and 4th of ‘ink spread’ and poor quality paper when printed. larger – and more expensive to produce. The size and weight of the directory was, to for British Telecom, c. 1980s. composed using high-speed cathode ray tube (crt) phototypesetters and technical

6 7 142 143

12 DESIGN AND GRAPHIC ARTS

Visual Communication Design An Introduction to Design Concepts in Everyday Experience Meredith Davis and Jamer Hunt Aimed at introductory students in visual communication and graphic design, this book introduces the concepts of design through the focus of user experience. This is a core textbook for students of basic design and visual communication design. It follows the user experience cycle: attention, orientation, interpretation and extension and retention of meaning. Each chapter includes an introduction to the interpretive task, definitions of the elements and principles related to the task, illustrations and diagrams plus examples of professional design work that makes use of the element or principle. For example, Chapter 2 on getting attention discusses the various ways that design can capture the viewer’s eye such as by using proportion, contrast, colour, pattern, etc. Meredith Davis is an award winning educator and designer. She teaches at North Carolina State University and is the author of Graphic Design in Context: Graphic Design Theory as well as of numerous articles. She is the former president of the American Center for Design and the Graphic Design Education Association and is part of the accreditation commission for NASAD (National Association of Schools of Art & Design). Jamer Hunt teaches is Associate Professor of Transdisciplinary Design at Parsons New School of Design in NYC. He has served on the Board of Design and Culture and is on the Icograda Design Education Manifesto Steering Committee. He is the author of numerous articles. October 2017 224 pages 200 colour illustrations

SCALE April Greiman’s 8,200 square foot media installation on PROPORTION buildings in Koreatown, Los Angeles uses the enormous 270 x 210mm scale of a hand and rice bowl to contrast with the street- Scale is a proportional relationship between the size level distraction of Wilshire Boulevard. In this case, As a noun, proportion refers to a consistent relationship of something and the sizes of other things. We often unnatural scale relationships attract attention and among parts of a whole, regardless of its size. As an make sense of the world around us, both consciously communicate the cultural content of the area (FIGURE adjective, proportional or in proportion describes the 3.32). The over-scaled photography in the landscape and unconsciously, by testing how things size up to quality of something that is harmoniously sized in is reminiscent of photomontages in early twentieth- 9781474221573 human form. century work. relation to something else. And as a verb, to proportion something means to change its size without changing its While size constancy involves an adjustment we make James Langdon faced a scale challenge in his design aspect ratio, maintaining its height-to-width relationship in our perception of things — a mental judgment of the for an exhibition of Tony Arefin’s graphic design work without cropping it. size of something despite conflicting visual evidence (FIGURE 3.33). Graphic design objects are typically small — scale is a means for comparing measurements. We and can be overwhelmed by gallery walls. Langdon determine that the size of a model is one quarter the grouped publications on color-blocked horizontal Proportional systems have been around for centuries Social practice, too, can influence proportional design elements on the page. Grid modules are used singly or in size of the actual object it represents or that the vertical surfaces, creating a bigger impression than would have and were used by various cultures as expressions of strategies. The floor plans of traditional Japanese houses combination, thus achieving harmony through common FIGURE 3.39 Layout Grid for Penguin proportions of a building can be expressed in increments been possible by simply hanging objects on white walls, ideal beauty. Early measurement systems were based on are based on the tatami mat as a unit of measurement units of measurement and the visual alignment of Books, 1940s FIGURE 3.30 that correspond to the height of the average man. but also maintaining the intimacy of printed books. A the human body (hands, feet, and the length of a stride (FIGURE 3.38). One mat sleeps one person and multiple elements (FIGURE 3.39). Jan Tschichold (1902- 19TH Amendment, large typographic panel anchors the space. 1974) Grand Central Station, or arm reach). Natural forms also inspired proportional mats combine to form social groupings. The size of the German typographer New York, 1994 Unexpected scale relationships are effective in gaining FIGURE 3.32 systems. The golden ratio or “divine proportion” — a mat dictates the distance between columns supporting Overly simple grids offer few alternatives for the Tschichold discussed Drenttel Doyle Partners attention for environmental applications. In 1996, Koreatown Technology shape based on the proportion of 1:1.618 — can be found the base of the house. In colonial American homes, diversification of form within the layout; a three- the importance of In commemorating Wall, 2007 proportion in The Form the 75th anniversary of Drenttel Doyle Partners commemorated the 75th April Greiman in naturally occurring forms, such as the spirals of a builders determined the standard size of bricks by the column grid, for example, presents designers with of the Book, referring to the 19th amendment anniversary of the passing of the 19th amendment by Located at the nautilus shell (FIGURE 3.37). When a square is removed average length of logs cut for fireplaces. Other materials only three possible line lengths for text type, one of the relationship of text to the United States intersection of Wilshire to margins in medieval Constitution, which gave applying the text of the law in eight-foot letters (9,936 and Vermont in Los from the golden rectangle (a shape based on the 1:1.618 follow suit; 4’ x 8’ sheets of plywood, for example, which is probably too long for readability at small point manuscripts. The text American women the point type) on the marble floor of the waiting room in the usual discrete labeling and display techniques of Angeles, Greiman’s ratio), the remaining shape is another golden rectangle. correspond in size to a row of adjacent bricks. sizes (FIGURE 3.40). By contrast, a twelve-column area of the layout used right to vote, Drenttel Grand Central Station in New York City (FIGURE 3.30). art museums (FIGURE 3.31). Audiences confronted the technology wall In various ways throughout Western history, designers grid suggests more possible line lengths and offers the proportions of the Doyle Partners applied on the building by Golden Section. the text of amendment Passersby read the one-sentence amendment, granting excess of modern living through the sheer number of Architectonica frames utilized this proportion to configure relationships among Designers use proportional grid systems to organize other typographic and graphic opportunities that add in 9,276 point type to the women the right to vote, as they walked to and from the images and entered and left the galleries through a big, the entrance to the elements in fields as diverse as architecture and book typography and images within layouts. Grids describe interest to the layout, such as a one-column indent floor of Grand Central subway station in FIGURE 3.40 Station. The terminal has station on their way to work each day. overarching question (literally) about the future. Rather Koreatown. At 8,200 design. columns, margins, and horizontal divisions of space at the start of paragraphs or alignments among Complex grids 44 train platforms, more than a few enlarged photographs that occupied the square feet, the image that guide decisions about the size and placement of figures in a complex financial chart. Combinations of PROPORTION Complex grids offer than any other station in of the rice bowl was Simple two- and three-column more opportunities for the world. Similarly, Bruce Mau’s 2006 exhibition at the Museum space, audiences saw a plethora of photo-album sized equally sized columns achieve visual harmony among grids limit possible contrast in photographed in the The aspect ratio of a image describes the sizes of elements. Columns sizing photographs, the proportional relationship between of text set at the full page width its width and height. of Contemporary Art in Chicago, titled Massive Change, images that dominated by their sheer number; the scale area and overshadows elements. Swiss designer Karl Gerstner memorialized generally contain too many char- text blocks, and graphic the typical chaos of acters to be legible; readers have elements than do single challenged audiences to think about sustainable design of the images was small but together they made a big FIGURE 3.37 the aesthetic merits of proportional grid systems in his difficulty locating the next line at the urban street. Golden Section the left edge of the paragraph. two- and three-column through typography and image collections that exceeded impression. The resulting book, Designing Programmes, in which he argued that grids. This complexity The Golden Section or The options for sizing photographs are one streetscape becomes a Golden Rectangle is a the more elaborate the system, the greater the artistic and two column widths, which influence the allows designers to photomontage of images form in which the ratio number of images that can appear in the layout. Because there are only two possible “code” elements by size freedom, but that all elements must be accountable to column widths, captions must rely on at different scales. typeface choices, point size, and of the longer side to the While a simple grid defines column style to differentiate them or line length and to the same mathematical logic (Gerstner, 1964). proportional relationships, it from feature text. establish relationships shorter side is 1.618. provides fewer details through FIGURE 3.31 Throughout the history of which to develop secondary through shared FIGURE 3.33 alignments among elements and Massive Change art and architecture, this variations in the composition alignments. The grid Exhibition, Museum The Graphic Design of By defining formal possibilities through a system from spread to spread. 5 maintains proportional proportional relationship of Contemporary Art, Tony Arefin, 2012 has been seen as the of proportionally related sizes, the grid also allows unity through multiples Ikon Gallery, of the same units of Chicago, 2005 most aesthetically designers to code different types of information visually. Bruce Mau Design Birmingham, England pleasing. measurement. Curator: James Langdon Mau’s exhibition and The line length in a caption is different from the text of the companion book Photographer: Stuart the major feature article. The space between baselines the aspect ratio explored how design Whipps FIGURE 3.38 The more complex the grid, the greater the of an image Langdon’s exhibition of type in a paragraph are half that of lines in a raised options for the diversification of form. Columns of describes methods could be used Japanese Tatami Mats Captions appear text can be set at various line lengths that span of Tony Arefin’s work distinct from the multiple but consistent units of measurement, the proportional to solve problems at the Tatami is a type of mat quote. Through such decisions, the proportional grid feature text through typeface choices creating proportional harmony among elements on relationship level of social, political, clustered small used for flooring in but maintain the the page. Spatial details, such as indents, treat- supports a hierarchy among elements on the page, proportional logic ment of quotes, and distances among elements publications on color- of the layout. environmental, and traditional Japanese reinforce proportional relationships. economic systems. blocked tables, massing houses, originating as directing attention to the most important elements first, form for a bigger Similarly, all photographs and images correspond The exhibition not only seating in aristocratic PROPORTION proportionally to the line lengths of typeset text while maintaining their ability to live harmoniously with 5 inhabited large gallery impression. Langdon homes of the Heian despite optional sizing. spaces, but the sheer used typography on the period (794-1185). other elements on the same page (FIGURE 3.41). While the audience may not focus on these number of average-sized walls to attract attention Although the size of the measurements while reading a document, they and provide a shift in do recognize when the layout of elements feels photographs expressed mat varies by region, chaotic or when the compositional strategy lacks the value of working at scale. the proportions of a visual interest and coding among elements. between a variety of scales on room in a house are n its width and height issues of sustainability. often determined by the mat as a unit of measurement.

32 CHAPTER 3 / GETTING ATTENTION SCALE 33 36 CHAPTER 3 / GETTING ATTENTION PROPORTION 37

Designing Disability Symbols, Space and Society Elizabeth Guffey This compelling study provides a design history of disability, exploring how designers have responded to the needs of disabled people through designed products and symbols. Designing Disability traces the emergence of an idea and an ideal — physical access for the disabled — through the evolution of the iconic International Symbol of Access (ISA). The book draws on approaches from design history, material culture and recent critical disability studies to examine not only the development of a design icon, but also the cultural history surrounding it. Infirmity and illness may be seen as part of human experience, but ‘disability’ is a social construct, a way of thinking about and constructing responses to human conditions. Elizabeth Guffey’s highly original and wide-ranging study addresses the period before the ISA, tracing the design history of the wheelchair, a product that spoke to the mobility needs of a growing community of veterans and polio survivors from the 1930s onwards. She examines the rise of ‘barrier-free architecture’ in the US, which takes shape around the modern wheelchair, and the consequent need for signage. She analyses the reception of the ISA, with the symbol becoming widely adopted and even a mark of identity, especially for the Disability Rights Movement. But ultimately, a growing debate has unfurled around this symbol; the most vigorous critique today has evolved with guerrilla art, graffiti and studio practice, and above all, it reflects a series of new challenges to design and disability in the 21st century. Elizabeth Guffey is Professor of Art and Design History at State University of New York, Purchase. Her area of specialisation is 19th, 20th and 21st century design history. She has authored numerous books and articles on design, and was a founding editor of the leading design journal Design and Culture. November 2017 224 pages 75 mono illustrations 234 x 156mm 9781350004276

13 DESIGN AND GRAPHIC ARTS

The Teabowl East and West Bonnie Kemske Teabowls have become an iconic form in ceramics, and this book considers everything from their history to their current status and use, giving examples and insights from many contemporary artists. Having travelled from the East, where it was an inherent part of the Japanese tea ceremony, this iconic ceramic form has evolved and adapted to become something very different in the West. Revered for its oriental associations and its connotations of sophistication and simplicity, the teabowl enjoys an elevated status. Here Bonnie Kemske looks at the form as a whole, considering the history and ideas behind the original tea ceremonies, to how it travelled to the West and the way it is used today. She also explores the wide range of teabowls being made today and the contemporary, international potters making them. The book also tackles some difficult questions, notably, how has the concept of the teabowl changed as it has been reinvented in contemporary ceramics? How does it sit in relation to its history? This book is wide in scope, thorough in detail, and essential reading for anyone involved in making or using these tactile objects. Bonnie Kemske is a professional writer and critic, as well as a ceramic artist with a PhD from the Royal College of Art, UK. She was editor of Ceramic Review from 2010 to 2013, and has contributed articles to many international magazines such as New Ceramics and August 2017 La Ceramica. In 2013 she curated an exhibition of teabowls 160 pages The teabowl: east & west The iconic teabowl at the request of the Japanese Embassy in London.

100 colour illustrations The guest turns the teabowl back so the front is facing him, places it down and but even with no mark, a signature foot ring might tell the guest who the potter is. The briefly bows. He then looks closely at the teabowl. This is called haiken. It is the time potter’s mark may be to the left and under the hip of the teabowl or it may be within when the guest can truly appreciate all aspects of the teabowl. It may be the only time the foot ring. If the bottom is unglazed, the exposed area may reveal the clay’s origin the guest ever sees this particular chawan. With his hands in the bow position on and how the bowl was fired. If there is one, the guest will consider the quality of the 276 x 219mm the mat, the guest considers the teabowl’s overall shape (including the rim, especially edge of the glazing. if it is irregular), colour, style and decoration, and the corresponding quality called Placing the teabowl back onto the tatami, the guest bows briefly before returning Figure 13: Sonia Lewis and Peter keshiki, or ‘landscape’, which is an appreciation of the subtle characteristics of the it to the host. After the guest has indicated that he has had enough tea, the host Sōrin Cavaciuti, Fujihana, bowl by glaze. Distinctive qualities have names such as sesame seed (goma), a stone erupting finishes thetemae , cleaning the teabowl and other utensils and carrying them out of Lewis, decoration by Cavaciuti, 2015. 9781472585608 (ishihaze), and scorch marks (koge). The guest will also look to see how the remaining the tearoom. WesternThe raku teabowl:fired, 10.5 × east7 cm. & west The teabowl travels photo by ian olsson. tea or froth has pooled in the bottom, called the chadamari. Potters are mindful of the chadamari, sometimes creating a slight indentation in the bottom. This is a subtle, rather than an obvious feature. After a general look, the guest can lean forward and, keeping his elbows on his knees, lift the teabowl. He may turn it over to look at the Richard Hirsch was another pioneer in Western raku, who along with Soldner visited (opposite) Figure 46: Paul Soldner, bottom, which is an integral part of its aesthetic. The guest may see the potter’s stamp, Raku Kichizaemon XIV in Japan in 1978. It was at a demonstration attended by Tea Bowl, 1960s. Earthenware, 13.97 × 12.7 cm. los angeles (ca), Crown Prince Akihito and Kichizaemon that Soldner and Hirsch discovered that the los angeles county museum Japanese did not use post-reduction after raku firing. Kichizaemon was insistent that of art (lacma), gift of pauline A list of teabowl attributes derived from the tea ceremony their firing technique not be called Raku, but Western raku in America was already so blank, 2015. ©photo scala, popular by then that there was no going back. Those who understand the differences florence. digital image museum • A chawan, or teabowl, is a handleless bowl. The dimensions vary, but are associates/lacma/artresource do, however, now distinguish between Raku and Western raku. most commonly about twelve or thirteen centimetres across and nine or ten ny/scala, florence. Although an early teabowl maker, Hirsch is now known mostly for his strong, centimetres in height. abstracted ritual-like forms. His approach exemplifies how the Zen of raku (and • It should be shaped so the fingers can lift it from underneath, and be shallow enough that the thumb reaches the rim. This may mean the inclusion of a foot ring. therefore the teabowl) has continued into other contemporary genres: • It should stand securely on tatami without wobbling. • It should be heavy enough to feel substantial, but light enough to not be Raku, for me: cumbersome, usually about 300–500 grams, depending on the type of teabowl. Encompasses acceptance of the unexpected • The teabowl should fit snugly and pleasurably in the hands, with the left hand Seeks out discovery and joyful surprise holding it underneath and the right hand wrapped around the side. Rejects the notion that the accidental is always fortuitous • The rim should feel pleasing and engaging to the lips. Relies on experience, discipline and focus to achieve success • The clay and firing qualities should be such that the bamboo implements tapped Incorporates the utilization of intuition and improvisation on its rim produce a mellow and satisfying sound. Balances spontaneity and looseness with controlled skilfulness • The inside and outside of the teabowl should be smooth enough for a damp linen Strives for a seamless fluidity between concept, material, process and technique cloth to be run over the surfaces. Ultimately, in spending most of my working career as an artist seeking to • The inside bottom should be smooth enough that it does not damage the fine define this term, raku has become my personal philosophy, not merely a way of bamboo tines of the whisk. The bottom can be subtly shaped to create a reservoir working, but a way of life.81 for any tea and froth remaining after the guest has drunk. • The potter’s mark can be inside the foot ring or on the underside of the bowl, Although many teabowls created in this genre were and are used, the teabowl in these often on the left, but ultimately it is up to the host to determine the front of artists’ raku repertoires signals a significant development in contemporary ceramics, the teabowl. a moment when a utilitarian item, a Japanese teabowl, became a sculptural object, having lost its function through cultural relocation.

Wood-firing and Westernanagama

30 31 While some potters outside Japan were exploring the new raku technique, others were experimenting with anagama and other wood-firings (figures 47, 48). The anagama kiln and teabowls are closely tied, historically and contemporarily. A few of the many potters who make chawan and fire in anagama or wood-fired kilns include Janet Mansfield, Chester Nealie, Steve Harrison, Ian Jones, Peter Rushforth and Cher Shackleton in Australia; Rob Barnard, Tim Rowan, Steve Sauer, Lucien M. Koonce, Jeff Shapiro, and Judith Duff in the United States; Nic Collins, Svend Bayer, and Stephen Parry in the UK; and Uwe Löllmann in Germany. Many of these potters, such as Peter Callas (US), were pioneers; others, such as Tom Charbit (France), have come into a well-established wood-firing tradition and have taken the aesthetic in different directions.

90 91

Design Anthropology Object Cultures in Transition Edited by Alison Clarke A thoroughly revised new edition of a key text which considers the wide range of connections between design and anthropology. Design Anthropology brings together leading international design theorists, design consultants and anthropologists to explore the changing object culture of the 21st century. Decades ago, product designers utilised basic market research to fine-tune their designs for consumer success – today the design process has been radically transformed. The user is now centre-stage in the design process. From design ethnography to cultural probing, innovative designers are employing anthropological methods to elicit the meanings, rather than the mere form and function, of objects. This important volume offers the definitive guide to the issues facing the shapers of our increasingly complex material world. An impressive range of international contributors includes Jamer Hunt, Susanne Küchler, Harvey Molotch and Daniel Miller. This new edition includes newly-commissioned articles responding to new areas of interest and practices within the field. Alison J. Clarke is professor of design history and theory, and director of the Victor J. Papanek Foundation at the University of Applied Arts, Vienna, Austria.

November 2017 272 pages 70 mono illustrations and a 16-page colour plate section 246 x 189mm 2nd edition 9781474259033

14 FILM, PHOTOGRAPHY AND ANIMATION

Sound Design for Moving Image From Concept to Realization Kahra Scott-James A hands-on guide to integrating sound into animation productions, using real-world examples to provide practical and theoretical insights into the art of sound design from script to screen. Sound Design for Moving Image offers a clear introduction to sound design theory and practice to help you integrate sound ideas into your animation productions. Contemporary animation soundtracks are often made up of hundreds of separate tracks, and thousands of individual sounds, including elements of dialogue, music and sound effects. As a result, many budding animators find them a daunting prospect, and are tempted to leave sound to the last stages of post-production. This book, from award-winning Sound Designer Kahra Scott-James, encourages you to incorporate sound into your pre-production planning, to make the most of this powerful narrative tool. This book includes detailed and insightful interviews with leading sound designers, including Randy Thom, Director of Sound Design at Skywalker Sound, and Glenn Kiser, Director of the Dolby Institute, as well as practical projects to help you hone your skills using video and sound files available from the companion website - making this is a complete sound course to take you from novice skills to confident practitioner. Kahra Scott-James is an Audio Producer/Sound Designer at Entirely Sound Ltd, New Zealand and she has lectured across New Zealand, Australia and Ireland in sound for film, animation, digital media and games for the last 14 years. Her screen credits range from short films to features, interactive movies, December 2017 television series, animation, documentary, and PC/iPod games and her work has been screened in a 270 pages number of international festivals, with film and television awards from Denmark, Singapore, Korea, NZ, 200 colour illustrations Canada, USA, and Germany. 270 x 210mm 9781474235112

Public Images Celebrity, Photojournalism and the Making of the Tabloid Press Ryan Linkof This history of British tabloid photojournalism, a globally influential cultural form, charts the origin of the unauthorised celebrity snapshot through the first half of the 20th century. The stolen snapshot is a staple of the modern tabloid press, as ubiquitous as it is notorious. The first in- depth history of British tabloid photojournalism, this book explores the origin of the unauthorised celebrity photograph in the early 20th century, tracing its rise in the 1900s through to the first legal trial concerning the right to privacy from photographers shortly after the Second World War. Packed with case studies from the glamorous to the infamous, the book argues that the candid snap was a tabloid innovation that drew its power from Britain’s unique class tensions. Used by papers such as the Daily Mirror and Daily Sketch as a vehicle of mass communication, this new form of image played an important and often overlooked role in constructing the idea of the press photographer as a documentary eyewitness. From Edward VIII and Wallis Simpson to aristocratic debutantes Lady Diana Cooper and Margaret Whigham, the rage of the social elite at being pictured so intimately without permission was matched only by the fascination of working class readers, while the relationship of the British press to social, economic and political power was changed forever. Initially pioneered in the metropole, tabloid-style photojournalism soon penetrated the journalistic culture of most of the globe. This in-depth account of its social and cultural history is an invaluable source of new research for historians of photography, journalism, visual culture, media and celebrity studies. November 2017 224 pages Ryan Linkof is Assistant Curator in the Wallis Annenberg Photography Department at the Los Angeles County Museum of Art (LACMA). As well as curating many exhibitions he has taught courses in film history 50 mono illustrations and humanities at the University of Southern California, and the history of photography at Brooks Institute. 244 x 169mm His published work has appeared in Photography and Culture, Études photographiques, Media History, and 9781474243964 the New York Times. He is a contributing author to the volumes British Queer History: New Approaches and Perspectives (2013), and Getting the Picture: The Visual Culture of the News (Bloomsbury, 2015).

15 FILM, PHOTOGRAPHY AND ANIMATION

Sculptural Photographs From the Calotype to Digital Technologies Patrizia Di Bello Explores the role played by sculpture at key moments in the history of photography by contributing to its conceptualisation as an art of mechanical reproduction. This is the first monographic study of the role played by sculpture at some of the key moments in the history of photography. Its central argument, that sculpture has provided a model to conceptualise photography as an art of mechanical reproduction, is developed through a close reading of case studies, from 1847 to 2011, that have been selected not only to explicate the conceptual and technological continuities in the relationship between the two media, but also because of the way in which they illuminate the materiality of photographic objects – daguerreotypes, stereoscopic cards, colour slides, different types of prints, and their reproductions in books and magazines. This analysis is rooted in an understanding of the practical, social and aesthetic implications of photographic as well as sculptural technologies, to demonstrate how photographs of sculptures, less contingent upon private affections or fugitive historical events than other types of images, are particularly useful to unpack how photography’s changing materiality shapes the meaning of images as they are made, circulated, looked at and handled at different historical moments. While there is a growing body of work related to what photography has done for sculpture by disseminating works, facilitating the study of the medium, or changing sculptural aesthetics, this study focuses on what sculpture has done for photography by providing not only beautiful and convenient subject matter, or commercial and cultural opportunities for photographers in the market for art reproductions, but also an exemplar to think about photography as a medium in its own right, based, like much sculpture, on mechanical means of reproduction. December 2017 Patrizia Di Bello is Senior Lecturer in History and Theory of Photography, Birkbeck College, University 256 pages of London, UK. She is the author of Women’s Albums and Photography in Victorian England, editor (with Colette Wilson and Shamoon Zamir) of The Photobook from Talbot to Ruscha and Beyond, editor (with 50 mono illustrations Gilbert Koureas) of Art, History and the Senses, 1830 to the present and of Illustrations, Optics and Objects 234 x 156mm in Nineteenth-Century Literary and Visual Cultures (with Luisa Cale). She is co-director, with Lynda Nead, 9781350028227 of the History and Theory of Photography Research Centre at Birkbeck and is on the editorial board of the journals History of Photography, Art History and Photographies.

Understanding Photojournalism Jennifer Good and Paul Lowe An introductory textbook designed to guide students through the rich historical and theoretical debates surrounding photojournalism. Understanding Photojournalism explores the interface between theory and practice at the heart of photojournalism, mapping out the critical questions that photojournalists and picture editors consider in their daily practice and placing these in context. Outlining the history and theory of photojournalism, this textbook explains its historical and contemporary development; who creates, selects and circulates images; and the ethics, aesthetics and politics of the practice. Carefully chosen, international case studies represent a cross section of key photographers, practices and periods within photojournalism, enabling students to understand the central questions and critical concepts. Illustrated with a range of photographs and case material, including interviews with contemporary photojournalists, this book is essential reading for students taking university and college courses on photography within a wide range of disciplines and includes an annotated guide to further reading and a glossary of terms to further expand your studies. Jennifer Good is Senior Lecturer in the History & Theory of Photojournalism and Documentary Photography at London College of Communication. University of the Arts, London, UK. Paul Lowe is Course Leader of the Masters programme in Photojournalism and Documentary Photography at London College of Communication, University of the Arts, London, UK.

September 2017 256 pages 47 mono illustrations 244 x 169mm 9781472594907

16 FILM, PHOTOGRAPHY AND ANIMATION

Picturing the Family Media, Narrative, Memory Edited by Silke Arnold-de Simine and Joanne Leal Picturing the Family explores how memory and identity are performed through visual representations of the family, bringing together the perspectives of scholars, photographers and artists. Whether pasted into an album, framed or shared on social media, the family photograph simultaneously offers a private and public insight into the identity and past of its subject. Long considered a model for understanding individual identity, the idea of the family has increasingly formed the basis for exploring collective pasts and cultural memory. Picturing the Family investigates how visual representations of the family reveal both personal and shared histories, evaluating the testimonial and social value of photography and film. Combining academic and creative, practice-based approaches, this collection of essays introduces a dialogue between scholars and artists working at the intersection between family, memory and visual media. From the act of revisiting old, personal photographs to the sale of family albums through internet auction, the 12 chapters each present a different collection of photographs or artwork as case studies for understanding how these visual representations of the family perform memory and identity. December 2017 Silke Arnold-de Simine is Senior Lecturer in Memory, Museum and Cultural Studies at Birkbeck, University of London, UK, and co-organiser of the Cultural Memory Research Series at the Institute of Modern Languages Research, UK. She is author 256 pages of Mediating Memory in the Museum: Empathy, Trauma, Nostalgia (2013). 70 mono illustrations Joanne Leal is Head of the Department of Cultures and Languages and the Programme Director of the MA in Comparative 234 x 156mm Literature at Birkbeck, University of London, UK. She is co-author of Wim Wenders and Peter Handke: Collaboration, 9781474283601 Adaptation, Recomposition (2011). She teaches and researches in 20th- and 21st-century literature and film. Photography and the Cultural History of the Postwar European City Tom Allbeson An in-depth analysis of 16 case studies of the publicly-circulating urban photography in postwar France, Britain and Germany that reveal how photography shaped the reconstruction of urban spaces in Western Europe after the Second World War. In 1945, civilians of the cities and towns of postwar Europe faced the daunting task of urban reconstruction and recovery. Through a broad range of case studies, from publicly-circulating aerial photography to press coverage of the opening of UNESCO headquarters, this book explores the impact of urban photography at a critical moment in European architectural history. Tracing how images trafficked between conceptual, media and material spaces in France, Britain and Germany, the book reveals how photography shaped the architecture of each country, reflecting each nation’s attitudes to the past and vision of its future. Fascinating reading for historians of visual and urban culture, this is the first volume to analyse how official November 2017 publications and the illustrated popular press pictured and promoted pivotal ideas and perspectives on the city, nationhood and Western Europe. 288 pages 60 mono illustrations Tom Allbeson is a Research Fellow at the Centre for Advanced Studies at the University of Nottingham, UK. Before this he worked in the museums and heritage sector as a freelance journalist. 244 x 169mm 9781474234962 Photography and Cultural Heritage in the Age of Nationalisms Europe’s Eastern Borderlands (1867-1945) Ewa Manikowska The first volume to explore how photographic practices have been employed in activities of nation-building and the formation of collective memory and identity in east central Europe. This book examines the role of photography as a powerful language of expressing collective identities in Eastern Europe during the period of dramatic socio-political transformation associated with the slow rise of national and ethnic consciousness, the dawn of empire and the outbreak of the two World Wars. From the 1867 All-Russian Ethnographic Exhibition to the war-time Nazi scientific surveys, this innovative account looks closely at how photographic practices and records were applied, borrowed, appropriated, transmitted to exert or subvert power, and used as a tool in negotiating collective identities. Discussing a wide range of little-known archives, libraries September 2017 of scientific institutions, learned societies, and professional and amateur photographers, it focuses on those ambitious 256 pages photographic projects which not only shaped the various national, ethnic or imperial identities but also went to the heart of 58 mono illustrations and 16 colour the idea of Eastern Europe. illustrations Ewa Manikowska is Professor of Art History at the Institute of Art, Polish Academy of Sciences, Warsaw. She has researched 244 x 169mm and published primarily in the areas of history of collecting, cultural transfer, survey photography and cultural heritage. 9781472585660

17 INTERIOR ARCHITECTURE AND DESIGN

Portfolio Design for Interiors Harold Linton and William Engel The portfolio is the single most important document that a student has to demonstrate his or her expertise. This book uses real student examples, backed by industry standards and the expertise of the authors, to prepare aspiring interior design professionals to impress. Portfolio Design for Interiors teaches the aspiring interior designer how to create a professional quality portfolio. Using over 150 real examples of outstanding student portfolios, authors Harold Linton and William Engel demonstrate how to analyse, organise, problem-solve, and convey diverse types of visual and text information in various forms of historic, contemporary, and innovative styles. The text features a robust art program and examples of various presentation applications, including graduate study, employment, scholarships, grants, competitions, and fellowships. This is an accessible and comprehensive resource for students learning professional portfolio design. Harold Linton is a Professor at George Mason University, USA. William Engel is a Professor at New York School of Interior Design, USA.

2 tHe spirit oF ConCeption & Creative Design proCess robust research

roBust research carlita pickett Research is an important step in creating any portfolio. Upon graduation with a BFA in Interior Design from the Illi- First of all, you need to investigate the sites of firms that nois Institute of Art, Carlita’s goals were focused on find- interest you. How are their layouts designed? What are ing employment. The work included in her portfolio (figures their typography styles? What are their color systems and 2–28 to 2–31) represent products from her studio design backgrounds to their images? Not that you should copy coursework. The portfolio was designed with Adobe InDe- them, but you should be aware of what they are showing sign and printed on a Mylar paper stock, then hardbound. and what styles they are using. She produced two books—one was retained by the school How would you design your portfolio to look like you while the other was used for finding employment. The total would fit in with them, without matching? Look at keywords cost for both books was $200.00 with a local printer. Time 2 tHe spirit oF ConCeption & Creative Design proCess that each firm uses; this may even help you with developing involved amountedcollecting to a total i magesof three fmonthsor a fworkingorm Board con- September 2017 your narrative. The second mode of research should involve tinuously several hours per day. Upon graduation, she found technical process that will build your portfolio. Deciding employment and feels that the portfolio was instrumental on aa udreysize and c methodhabaud of reproducing your ideas on paper in landing a job. The greatest design challenge of the book willAudrey require designed some research. a very cleanWhere presentationare you going of to her have work waslayouts resolving of renderingsthe layouts and for eachmaterials. project The and color-coded still finding dia - 176 pages it done?at NYSID What using are theira square limitations? format Whatfor basically kinds of rectilinear paper a designgrams threadare placed to unify to andrelate run nicely throughout above the and book. around She the do projectsthey have, (figures or can 2–4 you to bring 2–6). your Her own? layouts Binding echo issues the spa - feelsdeveloped the faculty floor was plans. instrumental The concept in helping statements her throughout with justi - needcious review design in early of her stages form of boards development. and work For successfullyinstance, thefied design left process.alignment are in a soft gray and inform the over- some bindings may require you to format the pages 1/4 of imagination is everything. it’s the preview of life’s coming attractions.” with color to tie together different projects from differ- all design. Her contact information on the back cover is 140 colour and 30 mono illustrations an entinch categories to the right of or interior left to design.make allowances She employs so thata balance the easy to find and functions as a complement to her cover imagesof full do bleed not run double-page into the gutter. spreads The gutterand cropped is the inside smaller design. – albert einstein margins or blank space between two facing pages. Some- times you may design an image that shares both pages, in Figures 2–4 to 2–6 Audrey was a graduate student at NYSID and cre- which case there is no space, but you must carefully plan ated her portfolio to use for seeking employment opportunities after 304 x 228mm spacing so that images align according to your intentions. graduation. She was entirely pleased with the result as it reflected her collecting iMages You could spend hours researching bindings. Perfect confidence in composing effective layouts with positive and negative binding, plastic, coil, and holes for rings are all readily two-dimensional page space. Audrey attributes the success of her book to a professional portfolio design class offered at NYSID and taught by available. Perfect binding will give you the look of a paper- for a forM Board the author, William Engel. She used InDesign to create the spacious back novel. Coil bindings come in many colors, clear, and 9781628924725 “Form boards” are created by collecting image samples are the pictures arranged? Are they arranged casually or layout design and printed it on semi-gloss paper to avoid strong reflec- metal. It may even become a design element in your book tion. Audrey Chabaud, New York School of Interior Design, N.Y., N.Y. of designs and spaces you admire from an assortment of are they organized on a spacing structure (grid)? Is there a should you choose an intense color. Consider having differ- 8.5” x 8.5”. clippings taken from magazines, swatch books, journals, strong sense of order or gravitational center? What are the ent ways of connecting the pages in your “book.” Perhaps collection brochures, corporate reports, and more. Cuttings characteristics of form that interest you? Will these compo- a shoe repairperson or dry cleaning sewing service could made from sample materials, color systems, fabrics, typog- nents of a shape and structure be visible in the design of stitch your pages together. raphy, and spaces of interest will help you understand what your book? There are many opportunities to create a book If you plan to use online publishing such as Lulu, you will need to make design decisions that are relevant that reflects your particular “likes” based on the way you ISSUU, Blurb.com, or Adorama.com, you will need to see to you. You possess qualities that are original and unlike have made this board. what they require and what they have as options for your anyone else, which should be reflected in your form board. We are all challenged by having to look at ourselves design. They have come a long way, and many offer a vari- To discover your tastes, sort through and identify relevant and how we view the world of interiors. Designers often ety of paper and hardcover options as well. Their products images that have interest‘‘ for you. These clippings and have a difficult time designing their own homes. While our and documents change from year to year, so you have to do sample materials reflect your current sense of aesthetics tastes are broad, our preferences are quite particular. That Figures 2–28 to 2–31 Carlita made the choice to base her portfolio on your research. A lot of the self- publishing sites have pack- that will continue to evolve and change over time. is the beauty of what constitutes individual style. specific classes she had in school. Her first section on specialty design ets of samples you can get at a minimal cost. It is always included branding for a store, a display case, and 2D studies for a sus- Look through Pinterest pages, Instagram photos, and a good idea to feel the surface and paper. tainable installation for a hotel. In a way, the course descriptions are additional source materials and assemble the results into the program notes for her projects that she has placed in the beginning a presentation board format either by hand or digitally. of each section of her portfolio. Carlita Pickett, Illinois Institute of Art, Compose the images in InDesign if you prefer. Don’t forget Chicago, Ill. 9” x 11”. to look at styles of typography and graphic elements of line, Here’s a tip: shape, texture and color. As you assemble a virtual palette of the visual elements of design, consider evidence in use Your portfolio is also an instrument in the of hierarchical spatial (grid) systems, intriguing objects, hands of a gifted designer that enables 46 47 spatial constructs, and displays of new art forms. The door conversation. There are many approaches to is open to gathering snippets of all your likes and wherever designing this form that we call a portfolio. your passions reside. You are, however, a “creative” who under- Before designing your portfolio, you have already identi- stands a portfolio is never quite complete 9781628924725_txt_app_02.indd 46-47 12/13/16 11:47 AM fied a field of likes and dislikes on your form board. How and is a continuously evolving entity reflec- tive of professional growth and change.

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9781628924725_txt_app_02.indd 32-33 12/13/16 11:46 AM

Creating Interior Atmosphere Mise en scène and Interior Design Jean Whitehead Richly illustrated with inspiring examples taken from the world of art, design and film, this book provides a framework for understanding how interior atmosphere is created in a variety of different physical settings. The perception of space and creation of atmosphere are central to this book. The creation of interior atmosphere is explored through the ’scenic interior’ and the mise en scène, a film theory for understanding interior staging. You will learn about the principles of film mise en scène and how these principles can be applied to interior settings, to help tell the ‘story’ of the interior and create a complete atmosphere that is an immersive experience. Packed with inspiring examples and case studies, ranging from film interiors, architectural and art installations, to the work of notable interior designers, stylists and architects with an interior interest, this book broadens current thinking around the design of the interior. It introduces fundamental design principles such as lighting, colour, scale and composition, as well as spatial theories relating to atmosphere and immersive environments, and includes 18 practical design exercises to allow readers to apply and contextualise the ideas presented in the book. Each chapter includes two in-depth case studies, each one accompanied by full colour visuals and a photo diagram that deconstructs the interior using text and January 2018 arrows. 192 pages This book also re-addresses the balance in favour of interior decoration; many college courses and 200 colour illustrations subsequent books address the architectural aspect of interior design but this book is ideal for students learning to embrace how specific effects can be achieved through the use of softer decorative techniques. 270 x 210mm Jean Whitehead is Senior Lecturer in Interior Design BA (Hons) at Falmouth University, UK. Jean has 9781474249676 an Interior Design degree from Glasgow School of Art, and a Masters in Interior Design from Manchester Metropolitan University, UK.

18 INTERIOR ARCHITECTURE AND DESIGN

Lessons in Drawing Plans and Interiors Patricia Potwin Ellis Step-by-step lessons for teaching interior design students manual drafting and drawing perspective interiors. Lessons in Drawing Plans and Interiors features step-by-step illustrated lessons for students learning manual drafting and perspective drawing for interiors. Starting with the fundamentals, the book guides new learners through complete lessons for all of the major drafting and perspective drawing projects. Each step is demonstrated by 2-colour illustration following the same order in which professionals do the work of drawing plans and interiors. Clear, concise, and above all visual, this book speaks directly to the needs of beginner students. It features a rich ancillaries program to help instructors incorporate these lessons into their curriculum and assess student work, including CAD drawings for final projects, exercises, class handouts, project evaluation sheets, sample schedules and syllabi, templates for December 2017 drafting features, and test banks. Lessons in Drawing Plans and Interiors enables beginning 280 pages students to learn manual drafting and drawing interiors in the best possible way—by guiding 200 2-colour illustrations them through the step-by-step work. 215 x 279mm Patricia Potwin Ellis, M.A., M.F.A., taught architectural drafting at Mississippi College, USA. 9781501319495

Image: Patricia Potwin Ellis

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19 INTERIOR ARCHITECTURE AND DESIGN

China’s Urban Revolution Understanding Chinese Eco-Cities Austin Williams This fascinating title explores the myths and realities of China’s vast eco-city programme. By 2025, China will have built 15 new ‘supercities’ each with 25 million inhabitants. It will have created 250 ‘eco-cities’ as well: clean, green, car-free, people-friendly, high-tech urban centres. From the edge of an impending eco-catastrophe, we are arguably witnessing history’s greatest environmental turnaround - an urban experiment that may provide valuable lessons for cities worldwide. This book explores the progress and perils of China’s vast eco-city program, describing the complexities which emerge in the race to balance the environment with industrialisation, quality with quantity, and the liberty of the individual with the authority of the Chinese state. Lifting the lid on the economic and social realities of the Chinese blueprint for eco-modernisation, Williams tells the story of China’s rise, and reveals the pragmatic, political and economic motives that lurk behind the successes and failures of its eco-cities. This is a timely and readable account which explores a range of themes – environmental, political, cultural and architectural October 2017 – to show how the eco-city program sheds fascinating light on contemporary Chinese society, and provides a lens through 224 pages which to view the politics of sustainability closer to home. 25 mono illustrations Austin Williams is Associate Professor of Architecture at Xi’an Jiaotong-Liverpool University in China and Director of 216 x 138mm the Future Cities Project. He is the China correspondent for The Architectural Review and has written for a wide range of 9781350003255 magazines and newspapers, from The Economist to the London Review of Books. Remaking Cities An Introduction to Urban Metrofitting Tony Fry Renowned design theorist Tony Fry brings a conceptual design perspective to the challenge of urban sustainability, introducing ideas and actions for the new practice of metrofitting. Unprecedented challenges await the future of the world’s cities. Accelerating population pressure, climate change, food insecurity, poverty and geopolitical instability – in the face of such problems our current attempts at producing a sustainable agenda for the world’s cities appear fragmented and inadequate. Fresh thinking is needed. In Remaking Cities, renowned design theorist Tony Fry brings a conceptual design perspective to the challenge of urban sustainability and resilience. In a typically far-sighted and provocative work, Fry presents ideas and actions for ‘metrofitting’ – a new kind of practice in architecture and urban design. Metrofitting expands the technological concept of retrofit up to the city scale, placing social, cultural, political and ethical concerns at its heart. Metrofitting is not about visionary technology, it is about transforming existing cities by combining available resources with human creativity, prompted by new thinking about July 2017 new and old urban problems. It requires overcoming outmoded Eurocentric assumptions of what constitutes a city, rethinking their forms and structures, and understanding their metabolic processes and social and economic functions. This book 256 pages provides conceptually strong practical approaches that will ultimately change the whole way we view cities and the way the 30 mono illustrations urban future is designed. 234 x 156mm Tony Fry is Professor of Design at Griffith University, Australia and Visiting Professor at the University of Cincinnati, USA. A 9781474224154 cultural theorist, designer, and consultant who has specialised in sustainability and cultural change, Tony has published ten books including Becoming Human by Design (2012) and Design as Politics (2011). Shadow-Makers A Cultural History of Shadows in Architecture Stephen Kite This is the first book to explore the power and cultural significance of shadows in architecture. The making of shadows is an act as old as architecture itself. From the gloom of the medieval hearth through to the masterworks of modernism, shadows have been an essential yet neglected presence in architectural history. Shadow-Makers tells for the first time the history of shadows in architecture. It weaves together a rich narrative – combining close readings of significant buildings both ancient and modern with architectural theory and art history – to reveal the key places and moments where shadows shaped architecture in distinctive and dynamic ways. It shows how shadows are used as an architectural instrument of form, composition and visual effect, while also exploring the deeper cultural context – tracing differing conceptions of their meaning and symbolism, whether as places of refuge, devotion, terror, occult practice, sublime experience or as metaphors of the unconscious. Within a chronological framework encompassing medieval, baroque, enlightenment, sublime, picturesque, and modernist October 2017 movements, a wide range of topics are explored, from Hawksmoor’s London churches, Japanese temple complexes and the shade-patterns of Islamic cities, to Ruskin in Venice and Aldo Rossi and Louis Kahn in the 20th century. 272 pages 125 mono illustrations Stephen Kite is Professor of Architecture at the Welsh School of Architecture, Cardiff University, UK. His previous publications include Building Ruskin’s Italy: Watching Architecture (2012), Adrian Stokes: An Architectonic Eye (2009), and 234 x 156mm An Architecture of Invitation: Colin St John Wilson (2005, co-authored with Sarah Menin). He is an Editor of the journal 9781472588098 Architectural Research Quarterly.

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