{"product_id":"meggs-history-of-graphic-design-isbn-9781119743293","title":"Meggs' History of Graphic Design","description":"\u003cp\u003e\u003cb\u003eThe bestselling graphic design reference, restructured by themes to represent motivations for visual communication over time\u003c\/b\u003e  \u003c\/p\u003e\u003cp\u003eGraphic designers must have a thorough understanding of the field’s rich history in order to inspire and inform their work. \u003ci\u003eMeggs’ History of Graphic Design \u003c\/i\u003eis the industry’s original reference, serving as an essential resource for a generation of professionals, scholars, and students. With over 1,400 high-quality images throughout, this visually stunning text guides you through artistic innovators, breakthrough tools and technologies, and significant artifacts that have pushed the boundaries of graphic design throughout its history. The initial publication of this book was heralded as a landmark, and author Philip B. Meggs is credited with significantly shaping the academic field of graphic design. \u003c\/p\u003e\u003cp\u003eThis new edition foregrounds cultural and social context and elevates diverse voices that are pivotal contributors to the history of graphic design. This seventh edition also covers: \u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eArtifacts, methods, designers, and events from pre-history to the twenty-first century\u003c\/li\u003e \u003cli\u003eTechnological advancements in media and design, from the earliest technologies to recent developments\u003c\/li\u003e \u003cli\u003eA timeline for studying graphic history from multiple viewpoints and culturally diverse approaches\u003c\/li\u003e \u003cli\u003eUpdated ancillary materials, including an instructor’s manual, key terms, and quizzes\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003eYou can’t master a field without knowing its history. \u003ci\u003eMeggs’ History of Graphic Design\u003c\/i\u003e presents a diverse, visually spectacular history of graphic design for students and professionals. The updates to this edition solidify its continuing legacy as a must-have in any contemporary graphic design library. \u003c\/p\u003e\u003cp\u003ePreface to the Seventh Edition x\u003c\/p\u003e \u003cp\u003ePreface to the First Edition xii\u003c\/p\u003e \u003cp\u003eAcknowledgments xiv\u003c\/p\u003e \u003cp\u003eChapter 1: Timeline 2\u003c\/p\u003e \u003cp\u003ePre-History and the Origins of Writing | 75,000 bce–500 bce 2\u003c\/p\u003e \u003cp\u003eWriting, Paper, and Printing | 500 bce–1450 3\u003c\/p\u003e \u003cp\u003eRenaissance Design and Modern Typography | 1450–1800 5\u003c\/p\u003e \u003cp\u003eThe Industrial Revolution | 1800–1899 7\u003c\/p\u003e \u003cp\u003eGraphic Design in the Modern Era | 1900–1950 10\u003c\/p\u003e \u003cp\u003eThe Rise of Design Culture and Media | 1950–2000 14\u003c\/p\u003e \u003cp\u003eDigital Design Comes of Age | 2000–Present 19\u003c\/p\u003e \u003cp\u003eChapter 2: Overview of Graphic Design History 22\u003c\/p\u003e \u003cp\u003eChapter 3: Writing 34\u003c\/p\u003e \u003cp\u003ePrehistoric visual communications 36\u003c\/p\u003e \u003cp\u003eEarly writing in Mesopotamia 36\u003c\/p\u003e \u003cp\u003eEgyptian hieroglyphs 39\u003c\/p\u003e \u003cp\u003eCretan pictographs 43\u003c\/p\u003e \u003cp\u003eThe North Semitic (Phoenician) alphabet 45\u003c\/p\u003e \u003cp\u003eThe Aramaic alphabet and its descendants 45\u003c\/p\u003e \u003cp\u003eThe Greek alphabet 50\u003c\/p\u003e \u003cp\u003eThe Latin alphabet 50\u003c\/p\u003e \u003cp\u003eEarly writing in Mesoamerica 54\u003c\/p\u003e \u003cp\u003eChinese scripts 55\u003c\/p\u003e \u003cp\u003eChinese script styles 58\u003c\/p\u003e \u003cp\u003eThe Korean alphabet 60\u003c\/p\u003e \u003cp\u003eAfrican writing systems 64\u003c\/p\u003e \u003cp\u003eCherokee syllabary 65\u003c\/p\u003e \u003cp\u003eChapter 4: Exalting 68\u003c\/p\u003e \u003cp\u003eThe Book of the Dead in Egypt 70\u003c\/p\u003e \u003cp\u003ePalm leaf manuscripts in South and Southeast Asia 72\u003c\/p\u003e \u003cp\u003eIlluminated manuscripts in Europe 73\u003c\/p\u003e \u003cp\u003eJudaic manuscripts 88\u003c\/p\u003e \u003cp\u003eIslamic manuscripts 88\u003c\/p\u003e \u003cp\u003eEthiopian manuscripts 89\u003c\/p\u003e \u003cp\u003eChapter 5: Inventing 94\u003c\/p\u003e \u003cp\u003eOrigin and early evolution of printing in China 96\u003c\/p\u003e \u003cp\u003eMovable type is invented 98\u003c\/p\u003e \u003cp\u003eMovable type comes to Europe 99\u003c\/p\u003e \u003cp\u003eInnovating the printing press 103\u003c\/p\u003e \u003cp\u003eMechanization of typesetting 104\u003c\/p\u003e \u003cp\u003ePrinting images 105\u003c\/p\u003e \u003cp\u003eLithography simplifies and expands printing 108\u003c\/p\u003e \u003cp\u003ePrinting in color 108\u003c\/p\u003e \u003cp\u003eVictorian typeface designs 109\u003c\/p\u003e \u003cp\u003eMavericks of composition and form 112\u003c\/p\u003e \u003cp\u003eDada and Surrealism—making new truths 112\u003c\/p\u003e \u003cp\u003eReimagining photography 114\u003c\/p\u003e \u003cp\u003eRussian avant-garde—inventing by combination 114\u003c\/p\u003e \u003cp\u003eExperimenting as practice 115\u003c\/p\u003e \u003cp\u003eA universally understood language 118\u003c\/p\u003e \u003cp\u003eTypographic invention in the Netherlands 118\u003c\/p\u003e \u003cp\u003eGraphic design expressionism 119\u003c\/p\u003e \u003cp\u003ePhototypography 120\u003c\/p\u003e \u003cp\u003eCalligraphic abstraction 121\u003c\/p\u003e \u003cp\u003eFigurative typography 121\u003c\/p\u003e \u003cp\u003eExperiments in graphic space 122\u003c\/p\u003e \u003cp\u003eGraphic design tactility 126\u003c\/p\u003e \u003cp\u003eDigital design revolution 127\u003c\/p\u003e \u003cp\u003eSpatial elasticity of layout, typography, and imagery 129\u003c\/p\u003e \u003cp\u003eThe digital-type foundry 133\u003c\/p\u003e \u003cp\u003eDigital image manipulation and composition 135\u003c\/p\u003e \u003cp\u003eChapter 6: Persuading 136\u003c\/p\u003e \u003cp\u003eEarly printing and the Christian church 138\u003c\/p\u003e \u003cp\u003eThe Industrial Revolution and the rise of commercial culture 142\u003c\/p\u003e \u003cp\u003eInnovations in typography for advertising 142\u003c\/p\u003e \u003cp\u003eWood type and the letterpress poster 146\u003c\/p\u003e \u003cp\u003eAdvertising cards, packaging, and posters 147\u003c\/p\u003e \u003cp\u003eThe rise of American editorial design and advertising agencies 148\u003c\/p\u003e \u003cp\u003eThe advertising poster in Europe 149\u003c\/p\u003e \u003cp\u003ePosters in Eastern Europe and Russia 153\u003c\/p\u003e \u003cp\u003eThe Bauhaus influence on advertising 156\u003c\/p\u003e \u003cp\u003eIndependent voices in the Netherlands 157\u003c\/p\u003e \u003cp\u003eNew approaches to photography in advertising 158\u003c\/p\u003e \u003cp\u003eFrom illustration to modernism in American advertising 160\u003c\/p\u003e \u003cp\u003eInternational Typographic Style in advertising 161\u003c\/p\u003e \u003cp\u003eAdvertising at mid-century 167\u003c\/p\u003e \u003cp\u003ePostmodern design and advertising 174\u003c\/p\u003e \u003cp\u003eExpanding brands and media 178\u003c\/p\u003e \u003cp\u003eChapter 7: Unifying 180\u003c\/p\u003e \u003cp\u003eEarly visual sign systems 182\u003c\/p\u003e \u003cp\u003eUnifying early typography 182\u003c\/p\u003e \u003cp\u003eEstablishing book design systems 184\u003c\/p\u003e \u003cp\u003eStandardization of typographic forms 188\u003c\/p\u003e \u003cp\u003eArt Nouveau—unifying decoration, structure, and function 189\u003c\/p\u003e \u003cp\u003eThe decorative arts expand to publishing 194\u003c\/p\u003e \u003cp\u003eStandardization of visual systems 200\u003c\/p\u003e \u003cp\u003eConstructivism—visually programming the total object 205\u003c\/p\u003e \u003cp\u003eUniversal systems for art and design 207\u003c\/p\u003e \u003cp\u003eThe new typography; form from the functions of the text 209\u003c\/p\u003e \u003cp\u003eInternational Typographic Style—a unity of design elements 212\u003c\/p\u003e \u003cp\u003eThe corporate identity program 215\u003c\/p\u003e \u003cp\u003eDesign systems for government 220\u003c\/p\u003e \u003cp\u003eDesign systems for the Olympic Games 224\u003c\/p\u003e \u003cp\u003eUnity and variability through digital typefaces 228\u003c\/p\u003e \u003cp\u003eChapter 8: Representing 230\u003c\/p\u003e \u003cp\u003ePrehistoric visual representation 232\u003c\/p\u003e \u003cp\u003eMesopotamian, Egyptian, and Greek visual representation 232\u003c\/p\u003e \u003cp\u003eChinese chops 233\u003c\/p\u003e \u003cp\u003eEarly marks for books and printers 234\u003c\/p\u003e \u003cp\u003eEarly business trademarks 234\u003c\/p\u003e \u003cp\u003eIndigenous beadwork and symbols 235\u003c\/p\u003e \u003cp\u003eRepresentation of Native culture and identity 238\u003c\/p\u003e \u003cp\u003eSymbolic representation in advertising 239\u003c\/p\u003e \u003cp\u003eRepresentation of Black culture and identity 241\u003c\/p\u003e \u003cp\u003eSymbolizing the Bauhaus philosophy 244\u003c\/p\u003e \u003cp\u003eRepresentation through clarity and order 244\u003c\/p\u003e \u003cp\u003eSymbols and American modernism 245\u003c\/p\u003e \u003cp\u003eVisual identity systems in America 246\u003c\/p\u003e \u003cp\u003eGlobal identity and the Olympics 253\u003c\/p\u003e \u003cp\u003eRepresenting with image 256\u003c\/p\u003e \u003cp\u003eCurrency and postage stamps 258\u003c\/p\u003e \u003cp\u003ePostmodern design and representation 259\u003c\/p\u003e \u003cp\u003eBranding and identity 262\u003c\/p\u003e \u003cp\u003eChapter 9: Explaining 264\u003c\/p\u003e \u003cp\u003eEarly illustrated books 266\u003c\/p\u003e \u003cp\u003eThe German illustrated book 269\u003c\/p\u003e \u003cp\u003eThe Renaissance—innovations in book design 273\u003c\/p\u003e \u003cp\u003eVictorian children’s books 278\u003c\/p\u003e \u003cp\u003eThe rise of infographics 280\u003c\/p\u003e \u003cp\u003ePictographic histories 284\u003c\/p\u003e \u003cp\u003eInformational graphics at mid-century 286\u003c\/p\u003e \u003cp\u003eInformation architecture 292\u003c\/p\u003e \u003cp\u003eVisual storytelling 296\u003c\/p\u003e \u003cp\u003eChapter 10: Refining 298\u003c\/p\u003e \u003cp\u003eThe Italian Renaissance 300\u003c\/p\u003e \u003cp\u003e“Scientific” typeface refinement 301\u003c\/p\u003e \u003cp\u003eRococo era 301\u003c\/p\u003e \u003cp\u003eCaslon and Baskerville 302\u003c\/p\u003e \u003cp\u003eModern style fonts 306\u003c\/p\u003e \u003cp\u003ePrivate presses communicate to the imagination 307\u003c\/p\u003e \u003cp\u003eThe Arts and Crafts movement 307\u003c\/p\u003e \u003cp\u003eCubism’s elemental forms 312\u003c\/p\u003e \u003cp\u003eDe Stijl—reducing the language of form 313\u003c\/p\u003e \u003cp\u003eConstructivism’s geometric forms 314\u003c\/p\u003e \u003cp\u003eTwentieth-century typeface design 318\u003c\/p\u003e \u003cp\u003eNew typography in the Netherlands 319\u003c\/p\u003e \u003cp\u003eTschichold returns to traditional typography 320\u003c\/p\u003e \u003cp\u003eRefining form and communication in America 320\u003c\/p\u003e \u003cp\u003ePhototypography expands options for designers 324\u003c\/p\u003e \u003cp\u003eBending graphic design traditions 326\u003c\/p\u003e \u003cp\u003eNew-wave typography 327\u003c\/p\u003e \u003cp\u003eRetro and vernacular design 330\u003c\/p\u003e \u003cp\u003eExpressive typography and design 331\u003c\/p\u003e \u003cp\u003eDigital typeface design and historic sources 337\u003c\/p\u003e \u003cp\u003eChapter 11: Interpreting 340\u003c\/p\u003e \u003cp\u003eVisualizing the unknown 342\u003c\/p\u003e \u003cp\u003eSpace as the essence of design 342\u003c\/p\u003e \u003cp\u003eThe Glasgow School—abstraction and symbolic drawing 343\u003c\/p\u003e \u003cp\u003eThe Vienna Secession—interpreting through symbols 344\u003c\/p\u003e \u003cp\u003eInterpretive typography in Europe 348\u003c\/p\u003e \u003cp\u003eCubism 349\u003c\/p\u003e \u003cp\u003eInterpretations of De Stijl 351\u003c\/p\u003e \u003cp\u003eExpressionism 354\u003c\/p\u003e \u003cp\u003eAmerican books, magazines, and records at mid-century 355\u003c\/p\u003e \u003cp\u003eCCA expresses ideas in advertisements 366\u003c\/p\u003e \u003cp\u003ePosters and the conceptual image 366\u003c\/p\u003e \u003cp\u003eThe Polish poster 368\u003c\/p\u003e \u003cp\u003eThe conceptual studio 369\u003c\/p\u003e \u003cp\u003eAlbum cover art expands 373\u003c\/p\u003e \u003cp\u003eExperimentation with digital tools 374\u003c\/p\u003e \u003cp\u003eEditorial design in the late twentieth century 375\u003c\/p\u003e \u003cp\u003eMotion graphics and film titles 379\u003c\/p\u003e \u003cp\u003eContemporary poster design 384\u003c\/p\u003e \u003cp\u003eChapter 12: Criticizing 392\u003c\/p\u003e \u003cp\u003eThe Arts and Crafts movement 394\u003c\/p\u003e \u003cp\u003eU.S. political cartoons 401\u003c\/p\u003e \u003cp\u003eFuturism 402\u003c\/p\u003e \u003cp\u003eDada 406\u003c\/p\u003e \u003cp\u003eSupermannerism 409\u003c\/p\u003e \u003cp\u003ePostmodern design 412\u003c\/p\u003e \u003cp\u003eFirst Things First manifestos 416\u003c\/p\u003e \u003cp\u003eCritical practice in the Netherlands 417\u003c\/p\u003e \u003cp\u003eCritical editorial design 418\u003c\/p\u003e \u003cp\u003eChapter 13: Mobilizing 422\u003c\/p\u003e \u003cp\u003eWorld War I posters 424\u003c\/p\u003e \u003cp\u003ePosters in Germany between the Wars 427\u003c\/p\u003e \u003cp\u003eRussian Suprematism and Constructivism 427\u003c\/p\u003e \u003cp\u003eSpanish Civil War posters 434\u003c\/p\u003e \u003cp\u003ePosters and the Great Depression in America 435\u003c\/p\u003e \u003cp\u003eMobilizing resources for World War II 438\u003c\/p\u003e \u003cp\u003eAntiwar posters 442\u003c\/p\u003e \u003cp\u003eMobilizing for racial equality 444\u003c\/p\u003e \u003cp\u003eCuban Revolution posters 448\u003c\/p\u003e \u003cp\u003eSolidarity campaign in Poland 450\u003c\/p\u003e \u003cp\u003eFeminism and design 450\u003c\/p\u003e \u003cp\u003ePosters as environmental activism 454\u003c\/p\u003e \u003cp\u003eGraphic design as political activism 454\u003c\/p\u003e \u003cp\u003eArt and Design Movements and Styles 456\u003c\/p\u003e \u003cp\u003eBibliography: 7th edition 460\u003c\/p\u003e \u003cp\u003eBibliography: previous editions 464\u003c\/p\u003e \u003cp\u003eImage Credits 492\u003c\/p\u003e \u003cp\u003eIndex 497\u003c\/p\u003e \u003cp\u003eColophon 510\u003c\/p\u003e \u003cp\u003eAbout the Companion Website 511\u003c\/p\u003e  \u003cp\u003e\u003cb\u003eSandra Maxa\u003c\/b\u003e (Baltimore, MD) is Director of the Graphic Design Master of Arts program at the Maryland Institute College of Art (MICA) where she teaches design theory, process and typography. Her research investigates the connection between mapping, narrative and culture. She has also taught at Pratt Institute, Parsons The New School for Design, and Rutgers University - Newark. \u003c\/p\u003e\u003cp\u003e\u003cb\u003eMark Sanders\u003c\/b\u003e (Baltimore, MD), has taught typography, systems, and interaction design with research focused on reinventing typographic and digital frameworks to address the expanding roles and mediums of design. He has taught at Maryland Institute College of Art (MICA), Pratt Institute, Parsons The New School for Design, and Rutgers University - Newark. \u003c\/p\u003e\u003cp\u003eAs partners at the multi-disciplinary studio Q Collective, Sandra and Mark produce work that reflects a deep interest in identity, interactivity, history and visual culture. Sandra and Mark are also co-authors of the 6th and 7th editions of \u003ci\u003eTypographic Design: Form and Communication\u003c\/i\u003e.   \u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe bestselling graphic design reference, restructured by themes to represent motivations for visual communication over time\u003c\/b\u003e  \u003c\/p\u003e\u003cp\u003eGraphic designers must have a thorough understanding of the field’s rich history in order to inspire and inform their work. \u003ci\u003eMeggs’ History of Graphic Design \u003c\/i\u003eis the industry’s original reference, serving as an essential resource for a generation of professionals, scholars, and students. With over 1,400 high-quality images throughout, this visually stunning text guides you through artistic innovators, breakthrough tools and technologies, and significant artifacts that have pushed the boundaries of graphic design throughout its history. The initial publication of this book was heralded as a landmark, and author Philip B. Meggs is credited with significantly shaping the academic field of graphic design. \u003c\/p\u003e\u003cp\u003eThis new edition foregrounds cultural and social context and elevates diverse voices that are pivotal contributors to the history of graphic design. This seventh edition also covers: \u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eArtifacts, methods, designers, and events from pre-history to the twenty-first century\u003c\/li\u003e \u003cli\u003eTechnological advancements in media and design, from the earliest technologies to recent developments\u003c\/li\u003e \u003cli\u003eA timeline for studying graphic history from multiple viewpoints and culturally diverse approaches\u003c\/li\u003e \u003cli\u003eUpdated ancillary materials, including an instructor’s manual, key terms, and quizzes\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003eYou can’t master a field without knowing its history. \u003ci\u003eMeggs’ History of Graphic Design\u003c\/i\u003e presents a diverse, visually spectacular history of graphic design for students and professionals. The updates to this edition solidify its continuing legacy as a must-have in any contemporary graphic design library.\u003c\/p\u003e","brand":"Wiley","offers":[{"title":"Default Title","offer_id":47989605433573,"sku":"NP9781119743293","price":104.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781119743293.jpg?v=1761784779","url":"https:\/\/k12savings.com\/products\/meggs-history-of-graphic-design-isbn-9781119743293","provider":"K12savings","version":"1.0","type":"link"}