Design 2013 catalogue by Bloomsbury Publishing

esign 2013 Bloomsbury_Design_Covers_4.0.indd 3

Incorporating

and are now published under the Bloomsbury and Fairchild Books names

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contents Introductory Textbooks

Theory and Practice

UK, Europe and Rest of World Bloomsbury Publishing 50 Bedford Square, London, WC1B 3DP, UK Tel: +44 (0)207 631 5600

Interactive and Digital Design

Sustainable Design

Graphic Design

Illustration

Typography

Colour

Advertising

Marketing and Branding

Design Management

World History of Design

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Product Design

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V isual A rts at B loomsbury

Discover the largest Visual Arts publisher in the world and are now published under the Bloomsbury and Fairchild Books names

One destination for all your teaching and research needs Following the acquisitions of Fairchild Books, AVA Publishing and Berg Publishers, Bloomsbury is now the largest publisher of academic materials for visual arts in the world. We are committed to providing visual arts students, instructors, researchers, librarians and practitioners with: • Resources tailored to meet the needs of students, academics and libraries • Integrated books, journals and digital content • A one-stop shop for all levels: from practical introductory textbooks to scholarly monographs • An understanding of the unique demands of visual arts students • Brands you can trust: Fairchild Books, offering practical, visually stimulating textbooks

Bloomsbury, offering quality scholarly publishing

A complete range of products in core areas To serve you better we will focus on the following subject areas: • Design • Architecture & Interior Design • Fashion & Textiles • Film & Moving Image • Photography • Ceramics This focus allows us to offer real depth of content to all our global customers. It positions Bloomsbury as the only visual arts publisher able to provide a complete range of products to meet the full spectrum of educational needs in these core areas.

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V isual Arts at B loomsbury Digital innovation and online resources Building on the global success of the Berg Fashion Library, we have a number of other exciting digital products in development that will serve research and teaching needs across our larger visual arts programme. These include the forthcoming Bloomsbury Fashion Photography Archive (see www.bergfashionlibrary.com for more information) as well as a range of new online resources for instructors and students to accompany our textbooks.

Fairchild Books: for textbooks and student resources Fairchild Books has a long history of excellence in textbook publishing for the Higher Education market. Their titles are comprehensive, authoritative and adopted as core reading on many fashion, merchandising, retailing and interior design courses worldwide. Also acquired by Bloomsbury in 2012, AVA Academia publishes textbooks in fashion, design and across a range of other visual arts disciplines. Their striking presentation and student-friendly content sets them apart from other academic publications. From April 2013, AVA will publish under Fairchild Books, a Bloomsbury imprint. Readers will find new publications build upon the features that have made these titles so successful, bringing them to a larger audience of students, instructors and practitioners than ever before.

Bloomsbury: for quality scholarly publishing Bloomsbury acquired Berg Publishers in 2008. Berg has an international reputation in fashion and design and a rapidly growing journals programme with a focus on the visual arts. Its flagship journal, Fashion Theory established the serious study of fashion in the academy. In 2010 Berg launched the Berg Fashion Library, winner of the Dartmouth medal. From January 2013, Berg books and journals will publish under the Bloomsbury brand. Researchers, scholars, lecturers and upper level students will find quality, peer-reviewed coursebooks, monographs, readers, reference works and journals within core areas of the visual arts. Theory, Practice and the Profession Rachel Cooper

Articles

Mediation of Conflicts through Design: How American Execution Chambers Represent Conflicting Social Perspectives Amod Damle

THE DESIGN JOURNAL VOLUME 16 SSUE 1 MARCH 2013

Assessing Lifetime Homes Standards and Part M Building Regulations for Housing Design in the UK Clíona Rooney, Karim Hadjri and Cathy Craig Couples’ Wear in Korea: Expression of Relationship Status and Identity through Fashion Judy Park A Systematic Review of the Relations between Industrial Design Education and Industry in Turkey through SWOT Analysis Onder Erkarslan

THE DESIGN JOURNAL VOLUME 16/ ISSUE 1/ MARCH 2013

Editorial

THE DESIGN JOURNAL VOLUME 16/ ISSUE 1/ MARCH 2013

An international refereed journal for all aspects of design

Architectural Design Students’ Explorations through Conceptual Diagrams Fehmi Dogan Book Review

Shaping Sustainable Fashion: Changing the Way We Make and Use Clothes edited by Alison Gwilt and Timo Rissanen Pammi Sinha

Edited by Rachel Cooper

SBN 978 1 4725 1810 1 SSN 1460-6925

Online at www.ingentaconnect.com

www.bloomsbury.com ISBN 978-1-4725-1810-1

90100

9 781472 518101

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INTRODUCTORY TEXTBOOKS www/TEXTBOOK

Designing An Introduction Karl Aspelund Designing: An Introduction is a current and comprehensive introduction to design fundamentals including 2D and 3D design concepts. The design process is explored in practical terms of conceptualizing, researching, assembling, and presenting, and then examined in the context of 2D, 3D and virtual environments, emphasizing user experience and the constraints and needs of client-defined creativity. Chapters open with key terms and objectives and close with multiple offerings for review and practice, while sidebars and end-boxes place focus on topics such as ergonomics, sustainability, and individual designers from a variety of disciplines. • Additional teaching resources: Instructor’s Guide and PowerPoint presentation available • Includes activities to guide the creation of a design journal, as well as interviews and advice from designers • Provides chapter summaries, lists of objectives and key terms, exercises, assignments, and questions for classroom discussion Karl Aspelund is Assistant Professor in the Department of Textiles Fashion Merchandising and Design at the University of Rhode Island, USA , and has been a designer, artist and teacher for over 20 years in apparel, theatre, film and digital media. He is also the author of The Design Process, 2nd Edition (Fairchild Books, 2010).

UK March 2014 • US January 2014 356 pages • 385 colour illus • 152 x 228mm / 6 x 9 in PB 9781609014964 • £74.99 / $115.00

Designing: An Introduction

Chapter 3: The Elements of Design

Fairchild Books

temperature, even before considering color relationships, combinations, and contrast.

The most obvious division of colors is by hue: simply the “name” of the color, the “pure”color as found in a spectrum or color wheel : “Blue,” “red,” “green” and so on, corresponding to the division of colors seen in a spectrum. However, this basic division quickly runs into problems. In response to the statement “it is blue,” one could for example ask “what kind of blue?” A quick look around your environment will quickly reveal a range of colors within each hue: A number of blues, reds, greens, yellows of varying impact and effect. To get a more precise description, we have to add descriptors that inform us of value, intensity and temperature. The basic “pure” hues are therefore for the most part a structure on which the other descriptors are attached. There are, however, certain variations where a certain value of a hue will

Color The world we see around us resonates with color. Color affects our daily life and perceptions and is conspicuous by its absence – an absence used to describe a dull or harsh existence, when the world is grey, or black-and-white.” It transcends the physical when we describe our moods with color and use colors to describe flavors and smells. Color signifies status, evokes memories, and signals safety and danger. It is a sensory experience that begins to affect us before we can even speak, and operates on our nervous system on a very basic and primordial level. Describing color therefore often requires direct references to physical things: “Fire engine red.” “Buttercup yellow.” “Electric blue.” One could say that in this way color can not really be described, only experienced. (If you’ve not seen a fire engine, how do you know “fire engine red”?) Despite all this, approaching color in design may, at first glance, seem to be fairly straightforward: Choose a pleasing scheme, apply, and move on. In fact, while sketching and planning the aesthetics of a design, this may work rather well. But the practical use of color —where color has meaning and is not only decorative – requires a more measured approach. (Road signs, logos, uniforms, and many labels are a quick and effective example of this.) Either way, there is a point in the design process where intuition must give way to ordered information. The choices made must be explained and rationalized, if not verifiably held to a standard. The reverse also holds true, in that during the sketch phase of a design, intuitive choices may be made with more confidence when they are based on systematic knowledge. All of this makes it necessary to understand different ways of ordering color into systems and categories of hue, value, intensity, and

The Design Journal Identifying Elements: Color Create three “color stories” in your design journal, by isolating only the hues in: a) Your immediate environment b) The clothes you are wearing c) The view out the nearest window Identify the hues, then cut swatches from magazines and/ or colored paper. Experiment with creating a balance between the size of the swatches and the “amount” of the hue you see. Paste the swatches on three left-hand journal pages after experimenting with what effect the positioning of the swatches has on the overall statement. Now create three color stories on the corresponding right-hand journal pages, where you replicate in the actual colors you see as closely as possible, again experimenting with balance of size and position. Now choose any designed object you like to apply these color stories to. Create six sketches of the object, using each of the color stories in whole or part. Which result is the most pleasing? Why do you think that is?

Ch.7

Introduction Section I: The Nature, Elements and Principles of Design 1: What is Designing? 2: A Brief History of Designing 3: The Elements of Design 4: The Principles of Design

contents

Hue

Section II: Informing Design 5: Researching and Planning for Designs 6: Creating and Presenting Designs Section III: Thinking Design 7: Thinking “Print”: Graphic Design and Elements in Two Dimensions 8: Three-Dimensional Thinking 9: Thinking about Experience: 4-D Design 10: Thinking “On-Screen” Appendix 1: Notable Designers Appendix 2: Resources for Design Glossary Index

Thinking about Experience: 4-dimensional design Human beings operate in the combined dimensions of space and time, and time has increasingly become a larger factor in the design in the form of "experience." The inclusion of time as an element in design became increasingly important after the concept of "the user experience" entered the vocabulary as designing for the Web created a need for ease of interaction and "user friendly" became a mantra. At the same time the shift from objects in a physical world to applications on a screen has led to a different approach to functionality. The screens on our phones, cameras, and tablets are increasingly becoming the “space” within which we operate and instead of the displacement of motion in space, experience on-screen is that of events taking place in a dimension that is unrelated to human scale. It is simulated space presented in a two-dimensional format of a screen. Our experience over time and the actual time things take need to both be considered as needs and constraints of design. As we have become more and more accustomed to on-screen interaction the metaphors and modes of the virtual world have begun to affect the demands of experience in the three-dimensional physical world. But there are design problems involving time that have been around for much longer, for example in theater, film, and architecture. Designers for film and television must for example consider the order of events in a narrative, where the experience of the viewer is set against the unfolding of events on the screen. Real-time (events taking place in scientific clock-time) frequently is disregarded so the subjective edited time (the internal time) of the screen narrative may become dominant and believable. Even simple narrative in animated sequences on Web pages and ads need to consider the use of time and rhythm. Experience is also a factor in the world of physical objects and gravity. User experience and the relationship of human behavior to form, shape, and scale in buildings and interiors must also consider time. The order in which the user/ audience/ enters a space and experiences its elements sets up a rhythm and the person moving through a

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INTRODUCTORY TEXTBOOKS www/TEXTBOOK

Design and Designing A Critical Introduction Edited by Steve Garner and Chris Evans Design and Designing provides a broad and critical understanding of what is essentially a practical subject. The book covers the design process, modelling and drawing, working with clients, production and consumption, sustainability, professional practice and design futures. Chapters are written by expert teachers and practitioners from around the globe, each presenting an accessible and engaging overview of their field of design. Every chapter is highly illustrated with a combination of images and information boxes, which extend or highlight key material. Each section concludes with a design project, a hands-on activity for the reader. • Covers all aspects of design: from production to consumption, from creativity to working with clients • Covers all types of design: from product to graphic, from fashion to games • Packed with pedagogic material: images, case studies, highlight boxes and activity projects Steve Garner has led some of the UK’s most innovative and popular design courses, most recently as Professor of Design at The Open University, UK. Chris Evans has 20 years’ design and management experience with major companies and leads the teaching of Design at Aston University, Birmingham, UK.

UK March 2012 • US May 2012 512 pages • 218 bw and 32 colour illus

SECTION 1: THE DESIGNING PROCESS Section Introduction 1. The Passport to Practice 2. Design Thinking 3. Problem Finding and Problem Solving 4. Designing Design Design Project 1: Design Process Game SECTION 2: CREATING AND COMMUNICATING Section Introduction 5. Models of Design and Models in Design 6. Why do Designers Draw? 7. Computer Aided Design: Past, Present, Future 8. Games Design and the Importance of Narrative Design Project 2: Inspiration SECTION 3: DESIGNING FOR PEOPLE Section Introduction 9. User-centred Design 10. Design Semiotics 11. Designing for Mood, Randall Teal 12. Ethics and Design: I Can but Should I? Design Project 3: Hand Hygiene SECTION 4: BUSINESS, MARKETS AND CLIENTS Section Introduction 13. The Business of Design 14. The Design Brief: Are You Listening? 15. Designing for Markets 16. Creative Analysis in Packaging Design Design Project 4: Where in the World?!

SECTION 5: SUSTAINABLE DESIGN AND DESIGNING Section Introduction 17. Berlin: A Sustained City 18. Designing for Life Cycles 19. Is Sustainable Design Viable? 20. Eco-intelligence: Designing for the Real World Design Project 5: Global Lessons 2024

contents

Introduction

244 x 189mm / 9.6 x 7.4 in PB 9781847885760 • £24.99 / $49.95 HB 9781847885777 • £75.00 / $150.00 Individual eBook 9780857852205 • £24.99 / $37.99 Berg Publishers

SECTION 6: THE PROFESSIONAL PRACTICE OF DESIGN Section Introduction 21. Old Materials, New Materials 22. User-centred Collaboration in Graphic Design 23. The Importance of Detail Design 24. Developing Your Intellectual Property Design Project 6: Team of 24 SECTION 7: DESIGN FUTURES Section Introduction 25. Building Bridges to New Realms 26. Complexity: What Designers Need to Know 27. Managing Design: A Roadmap to a Career 28. Motivation and the Learningscape of Design Design Project 7: 24 Carat Designing

Plate 13 The semiotics of colour. (Copyright Bob Eves) (see Chapter 10)

Endnotes Bibliography Index

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INTRODUCTORY TEXTBOOKS A Reader Edited by Hazel Clark and David Brody “Incredibly inclusive, this is essential reading for students and teachers of design studies in any context. A superlative collection of authoritative contributions from many of the most influential writers on design, past and present.” Paul Atkinson, Sheffield Hallam University, UK “A great deal of food for thought for beginning design students from numerous subdisciplines and is also a good refresher for more advanced scholars.” Design Issues

key titles

TEXTBOOK

Design Studies

2009 • 608 pages • 50 bw illus • 244 x 189mm / 9.6 x 7.4 in PB 9781847882363 • £19.99 / $39.95 HB 9781847882370 • £60.00 / $119.95 Berg Publishers

The Design Process

www/TEXTBOOK 2nd edition

Karl Aspelund A guide through the seven stages of the design process. Beginning at Inspiration, readers travel through Identification, Conceptualization, Exploration/Refinement, Definition/Modeling, and Communication on the way to Production. • Resources include end-of-chapter exercises, designer perspectives, recommended readings, Instructor’s Guide and Power Point presentations 2010 • 304 pages • full colour • 279 x 216mm / 8.5 x 11 in PB 9781563678721 • £50.00 / $78.00 Fairchild Books

Beautiful Thing

TEXTBOOK

An Introduction to Design Robert Clay “An excellent academic introduction to design for both students and wider audiences.” Choice “A noble endeavour and Clay sets about it extensively; covering Classicism, Modernism, and Post-Modernism; product design, graphic design and architecture. All the important figures, from Leonardo Da Vinci to Zaha Hadid, and their major works, are explained in the same scrupulous and balanced way.” Blueprint 2009 • 224 pages • 134 bw and 24 colour illus • 244 x 189mm / 9.6 x 7.4 in PB 9781847882639 • £19.99 / $39.95 HB 9781847882646 • £60.00 / $119.95 Berg Publishers

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THEORY AND PRACTICE TEXTBOOK

Symbol, Pattern and Symmetry The Cultural Significance of Structure Michael Hann Symbol, Pattern and Symmetry: The Cultural Significance of Structure investigates the cultural significance of pattern and symbol in decorative arts throughout history, demonstrating how connections and comparisons in geometrical pattern can be made across different cultures and how the significance of these designs has influenced craft throughout history. • A unique combination of historical material (mainly non-European and pre-colonial) not covered elsewhere in single-textbook form • Features a vast array of illustrative examples from a widespread number of historical and cultural examples, from Byzantine, Persian and Assyrian design, to case studies from Celtic, Japanese and Chinese patterns • Highly illustrated, with extensive use of exclusive material not published elsewhere Michael Hann is Chair of Design Theory at the University of Leeds, UK and Director of the University of Leeds International Textiles Archive.

UK November 2013 • US January 2014 448 pages • 480 bw and 32 colour illus 246 x 189mm / 9.7 x 7.4 in PB 9781472503121 • £29.99 / $49.95 HB 9780857854889 • £95.00 / $160.00 Individual eBook 9780857854902 • £29.99 / $45.99 Bloomsbury Academic

2: Geometry and Culture 3: Cradles of Civilisation and Initiators of Trade 4: Cultural Interaction and Exchange: the Importance of the Silk Route 5: Stupas, Mandalas and Nirvana: the Origin and Diffusion of Buddhism

contents

1: Introduction

6: Mosques, Minarets and Minbars: the Origin and Diffusion of Islam 7: From Syrian Umayyads to Christian Kings: Achievements in the Decorative Arts and Architecture in Islamic Spain 8: The Decorative Arts of Safavid Persia 9: The Decorative Arts of the Ottoman Empire 10: The Decorative Arts of the Mughal Dynasty 11: Visions from the East: Influences on European Decorative Arts 12: Cultural Diffusion, Adoption and Adaptation Bibliography Index

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THEORY AND PRACTICE TEXTBOOK

Doing Research in Design Christopher Crouch and Jane Pearce Doing Research in Design presents new ways of thinking about the relationship between design and research by positioning design as a social as well as a material practice. • The most up-to-date overview of research methods in design available • Examines the social impacts of design, as well as its functionality or efficiency • Links design research with sociology and philosophy, in a unique cross-disciplinary approach Christopher Crouch coordinates Higher Degrees by Research in the School of Communications and Arts at Edith Cowan University, Australia, and is Professor in the School of Art and Design, Southwest University, Chongqing, China. Jane Pearce is Senior Lecturer in Education at Murdoch University, Australia.

contents

Introduction • Positioning the Designer • What Do Designers and Researchers Do? Thinking, Doing and Researching • Practice and Praxis, Reflection and Reflexivity • Thinking about Research: Methodology • Doing Research: From Methodologies to Methods • In the Picture: Ethnography and Observation • Understanding through Story: Narratives • Using Case Studies and Mixed Methods • Action Research • Writing about Research • Bibliography • Index

UK April 2012 • US June 2012 224 pages • 8 bw illus 244 x 172mm / 9.6 x 6.8 in PB 9781847885791 • £19.99 / $29.95 HB 9781847885807 • £55.00 / $99.95 Berg Publishers

Becoming Human by Design Tony Fry Tony Fry’s Becoming Human by Design is the last part in his ground-breaking trilogy of books that re-examine the relation between design and humanity. It argues that traditional models of human evolution fail to explain in full how we came to be what we are. Instead, it demonstrates just how vital the role of design has been in shaping human life – and humans themselves – and how recognising its significance in this respect is key to our survival. Tony Fry is Director of the sustainment consultancy Team D/E/S and Professor of Design, Griffith University, Queensland College of Art, Australia. He is also author of Design Futuring: Sustainability, Ethics and New Practice (Berg, 2008) and Design as Politics (Berg, 2010). >> See also page 13

UK October 2012 • US December 2012 272 pages • 5 bw illus 189 x 156mm / 7.4 x 6.1 in PB 9780857853554 • £17.99 / $29.95 HB 9780857853547 • £55.00 / $99.95 Individual eBook 9780857853561 • £17.99 / $27.99 Berg Publishers

Writing Design Words and Objects Edited by Grace Lees-Maffei “This volume promises to become essential reading for anyone interested in the historical and contemporary circumstances by which words describe design, and design defines language.” Jeremy Aynsley, Professor of History of Design, Royal College of Art, London, UK

Packed with case material for students, with studies from the UK, US, Europe and Australasia

“Writing Design will be a pivotal book on the fast-filling design criticism bookshelf.” Alice Twemlow, Chair, MFA Design Criticism Department School of Visual Arts, NY, USA Bringing together a wide range of scholars and practitioners, Writing Design reveals the difficulties, ethics and politics of writing about design. Grace Lees-Maffei is Reader in Design History in the School of Creative Arts at the University of Hertfordshire, UK.

UK December 2011 • US January 2012 288 pages • 51 bw illus 244 x 172mm / 9.6 x 6.8 in PB 9781847889553 • £19.99 / $34.95 HB 9781847889560 • £60.00 / $99.95 Berg Publishers

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THEORY AND PRACTICE TEXTBOOK

Understanding How Designers Think and Work Nigel Cross “Mixing analysis with case studies, Nigel Cross provides a succinct introduction to ‘design thinking’. His message that creativity can be taught, nurtured and developed - should empower even the most elementary design students.” Elizabeth Guffey, Purchase College, NY, USA “A highly accessible read that will doubtless help many designers to better understand - and perhaps also to question the things they do in their work life, and why they do them.” The Designer Magazine 2011 • 192 pages • 40 bw illus • 189 x 150mm / 7.4 x 6 in PB 9781847886361 • £14.99 / $24.95 • HB 9781847886378 • £45.00 / $79.95 • Individual eBook 9781847888464 • £14.99 / $22.99 Berg Publishers

key titles

Design Thinking

The Designed World Images, Objects, Environments Edited by Richard Buchanan, Dennis Doordan and Victor Margolin The Designed World brings together key essays from the preeminent journal, Design Issues. Essays are structured to cover the life of a designed object from conception and fabrication to evaluation. The essays are grouped into themed sections, with each section separately introduced and each concluded with further reading. 2010 • 416 pages • 86 bw Illus • 244 x 189mm / 9.6 x 7.4 in PB 9781847885852 • £24.99 / $39.95 • HB 9781847885869 • £70.00 / $119.95 Berg Publishers

The Banham Lectures Essays on Designing the Future Edited by Jeremy Aynsley and Harriet Atkinson “Reyner Banham could not have hoped for a better testament to his lively intelligence than the incisive essays in this volume. His impact on several generations of architects, designers, and scholars is more than evident.” Victor Margolin, University of Illinois, Chicago, USA 2009 • 352 pages • 200 bw and 32 colour illus • 244 x 189mm / 9.6 x 7.4 in HB 9781847883025 • £27.99 / $49.95 Berg Publishers

By Design

2nd edition

TEXTBOOK

Why There Are No Locks on the Bathroom Doors in the Hotel Louis XIV and Other Object Lessons Ralph Caplan This second edition of the popular classic features updated examples of timeless ideas, illustrated in full colour. A concluding chapter discusses what has, and has not, changed since the first edition, examining design responses to radical technological development and shifting consumer demands. 2004 • 288 pages • colour illus • 152 x 228mm / 6 x 9 in PB 9781563673498 • £35.00 / $53.50 Fairchild Books

Cracking the Whip

TEXTBOOK

Essays on Design and Its Side Effects Ralph Caplan A collection of essays that looks at just about everything in design: clothes, hardware, posters, cars, airports, chairs, lighting, vending machines, cities and bathrooms. Previously published in distinguished forums ranging from ID Magazine, Print, and Interior Design to The New Yorker, The New York Times, and The Nation, Caplan brings to these essays an erudition tempered by clarity, charm and humour. 2005 • 320 pages • bw illus • 152 x 228mm / 6 x 9 in PB 9781563673900 • £25.00 / $41.50 Fairchild Books

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INTERACTIVE AND DIGITAL DESIGN TEXTBOOK

The Fundamentals of Interactive Design Michael Salmond and Gavin Ambrose “A fantastic entrée into the field of interactive design ... Succinctly pragmatic advice is paired with stunning and diverse examples from all areas of interactive design.” Jess Larson, Professor of Studio Art, University of Minnesota, Morris, USA The Fundamentals of Interactive Design is a very visual introduction to designing media that engages, entertains, communicates and ‘sticks’ with the audience. Packed with examples of groundbreaking interactive design, this book provides professional insights through interviews with leading interactive designers and case studies featuring digital media companies and websites. • Includes examples from leading international brands such as Smirnoff, Panasonic, Lynx, Heineken, CocaCola and IKEA • Technical specifications are included to help the reader to understand how platforms for interactive design are made, and analysis of successful apps, websites and games are included to inspire and educate • Projects and detailed further resources encourage readers to explore the world of interactive design Michael Salmond is a digital interaction designer, artist and digital theorist and currently teaches interaction and digital design at Florida Gulf Coast University, Florida, USA. Gavin Ambrose is a practising graphic designer whose client base includes the art sector, galleries, publishers and advertising agencies. He has written and designed several books on graphic design, branding and packaging.

Basics Interactive Design 01: Interface Design

UK March 2013 • US April 2013 200 pages • 200 colour illus 230 x 200mm / 9.1 x 7.9 in PB 9782940411863 • £26.99 / $42.95 Library eBook 9782940447480 • £81.00 / $130.00 Series: Fundamentals AVA Publishing

TEXTBOOK

David Wood Interface Design shows foundation and beginning undergraduate digital design students how to develop effective, user-focused front-end designs for a range of digital media interfaces. Using case studies and interviews to delve deeper into the subject, experienced designer and educator David Wood clearly explains and demonstrates the principles of effective visual communication for user interfaces. • A front-end design book that takes the aspiring interface designer beyond design artifice, into designing better user interactions • With engaging interviews from industry professionals, as well as practical tasks for students to complete • Shows how to integrate core design principles into user-friendly digital interfaces David Wood is a design lecturer and researcher at Glasgow Caledonian University, UK.

UK July 2013 • US August 2013 184 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 in PB 9782940411993 • £23.99 / $37.95 Library eBook 9782940447572 • £72.00 / $116.00 Series: Basics • Fairchild Books

Richard Colson 2007 • 176 pages • 200 colour illus 230 x 200mm / 9.1 x 7.9 in PB 9782940373581 • £22.95 / $39.95 Library eBook 9782940439928 • £66.00/$106.00 Series: Fundamentals AVA Publishing

TEXTBOOK

The Fundamentals of Sonic Art & Sound Design Tony Gibbs 2007 • 176 pages • 200 colour illus 230 x 200mm / 9.1 x 7.9 in PB 9782940373499 • £22.95 / $35.00 Library eBook 9782940439966 • £66.00/$106.00 Series: Fundamentals AVA Publishing

TEXTBOOK

key titles

The Fundamentals of Digital Art

www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk

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INTERACTIVE AND DIGITAL DESIGN Basics Interactive Design 02: User Experience Design

TEXTBOOK

Gavin Allanwood and Peter Beare User Experience Design puts human experience at the forefront of the design process. Throughout the book, the authors show how design skills can be improved by undertaking practical exercises and reviewing the work, style and motivations of leading practitioners. • Beautiful examples from leading practitioners show the importance of user experience in contemporary design • Practical exercises and projects challenge design students to create positive user experiences Gavin Allanwood is senior lecturer in Media Technology and Infographics at the University of Central Lancashire, UK. Peter Beare is the course leader for Media Production and Technology at the University of Central Lancashire, UK.

The Principles and Processes of Interactive Design

UK September 2013 • US November 2013 184 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 in PB 9782940496136 • £23.99 / $37.95 Library eBook 9782940447695 • £72.00 / $116.00 Series: Basics • Fairchild Books

TEXTBOOK

Jamie Steane The Principles and Processes of Interactive Design is both a primer and companion guide, covering the design essentials from a digital perspective as well as a guide on how to present ideas to clients and colleagues. Topics covered include user-based design research and development, digital colour and image, typography and hypertextuality, working with digital formats, screen-based grids and layouts, and storyboards and system mapping. • Shows how to research, plan and design digital media projects • Industry perspectives with key design professionals provide fascinating insights into this exciting and creative field • Projects and workshop elements enable media design students to put their learning into practice Jamie Steane is Head of Visual Communication and Interactive Media Design at Northumbria University, UK.

Digital Design

UK August 2013 • US October 2013 192 pages • 200 colour illus 270 x 210mm / 10.6 x 8.3 in PB 9782940496112 • £37.99 / $59.95 Library eBook 9782940447664 • £114.00 / $183.00 Series: Required Reading Range Fairchild Books

TEXTBOOK

A Critical Introduction Dean Bruton and Antony Radford Digital Design: A Critical Introduction provides a much-needed new perspective on designing with digital media. Linking ideas from media theory, generative design and creativity with examples from nature, art, architecture, industrial design, websites, animation and games, it addresses some fundamental questions about creative design with digital media. CONTENTS Rules and Digital Design • Bending Rules • Making Digital Artefacts • Developing Digital Creativity • Analysis: Product Design and Art • Analysis: Architecture, Film and Games • Serious Play • Studio Journals • Critical Ideas • Bibliography • Index

Dean Bruton is an artist leading the Digital Arts Program at the School of Arts and Social Sciences, Southern Cross University, Australia. Antony Radford is an urban designer and Emeritus Professor of Architecture at the University of Adelaide, Australia.

UK October 2012 • US December 2012 192 pages • 31 colour and 189 bw illus 244 x 189mm / 9.6 x 7.4 in PB 9781847888280 • £24.99 / $39.95 HB 9781847888297 • £60.00 / $99.95 Individual eBook 9781847889171 • £75.00 / $120.00 Berg Publishers

www.bloomsbury.com • US, Canada, South America • 888-330-8477 • customerservice@mpsvirginia.com

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SUSTAINABLE DESIGN TEXTBOOK

The Sustainable Design Reader Edited by Cameron Tonkinwise and Abby Lopes The Sustainable Design Reader provides a unique and much-needed overview and examination of this discipline, enabling readers to investigate, understand and critique the role of sustainable design and its importance within contemporary design industry and culture. From the historical background of sustainable design and how it came to be an essential design consideration, to how the practice of it will ultimately shape our future, this book provides an original and indispensable mapping out of the discipline. • Wide-ranging insight into the past, present and future of sustainable design • A clearly structured and diverse collection of articles by leading design scholars and thinkers • Every section includes a featured case study and guide to further reading Cameron Tonkinwise is Director of Design Studies at Carnegie Mellon School of Design, USA. Abby Lopes is a Senior Lecturer in Design at The University of Western Sydney, Australia.

PART 1: THE HISTORY OF DESIGN IDEAS ABOUT ECOLOGICAL SUSTAINABILITY Section 1: What is a Sustainable Ecology? The Philosophy, Science and Politics Informing Sustainable Design Section 2: How did Things get so Unsustainable? The History of Ecological Damage by Design Section 3: How have Designers Responded? The History of Responsible Design

contents

General Introduction

UK September 2013 • US November 2013 448 pages • 246 x 189mm / 9.7 x 7.4 in PB 9780857850676 • £24.99 / $39.95 HB 9780857850652 • £75.00 / $129.95 Bloomsbury Academic

PART 2: CURRENT AND EMERGENT TECHNIQUES FOR DESIGNING MORE SUSTAINABLE FUTURES Section 4: How to Measure the Sustainability of Designs? Frameworks for Quantifying Impacts Section 5: How can we Design Less Harm? The Techniques of Designing for the Environment Section 6: How can Design Change Consumerism? Designing More Sustainable Ways of Living Section 7: Sustainable Designs’ Futures Bibliography. Glossary Index

The Handbook of Design for Sustainability Edited by Jacques Giard, Stuart Walker and Helen L. Walker The Handbook of Design for Sustainability presents a comprehensive, state-of-the-art overview of this crucial subject: its development, its methods, its practices and its potential futures. Bringing together leading international scholars and new researchers to provide a substantive insight into the latest thinking and research within the field, the Handbook presents the first systematic overview of the subject that, in addition to methods and examples, includes historical perspectives, philosophical approaches, business analyses, educational insights and emerging thinking. Jacques Giard is Professor of Industrial Design in The Design School at Arizona State University, USA, prior to which he was Director of the School of Industrial Design at Carleton University in Ottawa, Canada. He has also served as national president of the Association of Canadian Industrial Designers. Stuart Walker is Head of Design, Co-Director of the ImaginationLancaster creative research lab and Professor of Sustainable Design at Lancaster University, UK. He is also Visiting Professor of Sustainable Design at Kingston University, UK, and Adjunct Professor at the Faculty of Environmental Design, University of Calgary, Canada. Helen L. Walker is an independent language consultant with an MA in Education for Sustainability.

UK July 2013 • US August 2013 576 pages • 57 bw illus 244 x 169mm / 9.6 x 6.7 in HB 9780857858528 • £95.00 / $160.00 Bloomsbury Academic

www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk

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SUSTAINABLE DESIGN TEXTBOOK

Sustainable Thinking Ethical Approaches to Design and Design Management Aaris Sherin Sustainable Thinking explores how values and sustainability can reshape the way design and design management are practised and applied. The book shows how designers can combine innovative creative thinking with analytical problem-solving skills to produce outputs that are business ready and ethically driven. • Comprehensive case studies examine ethical and sustainable design and design management and include marketing guru Duke Stump, sustainable Internet retailers Mio and Bambeco and ethical designers Elio Studio • Activities and international examples explore ways to implement ethics-driven design and effective business practices

UK May 2013 • US June 2013

CONTENTS The basics of sustainability and design • Strategies • Design creating change • Design making change • Imagining sustainable systems • Applying sustainable practices

Aaris Sherin is an educator, writer and designer. She is Associate Professor of Graphic Design at St John’s University, Queens, New York, USA.

192 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 in PB 9782940496044 • £37.99 / $59.95 Library eBook • 9782940447565 • £114.00 / $183.00 Series: Required Reading Range Fairchild Books

Technology facilitating collaboration . How to design for a cause (even at home) . Be a designer… for good

Design Making Change

018 Materials for the hat Materials needed to produce the hat are simple and include discarded polypropylene and a small piece of denim or other cloth for the hat liner, scissors, a pen, ruler, thread and a sewing machine.

CHAPTER

How to design for a cause (even at home)

Small steps

What does it mean to design for a good cause and how can one be an agitator, an organizer and an agent of change? Good design is made by professionals who care. Whether working alone or in collaboration with like-minded organizations, designers have the tools to be catalysts and make a positive impact at home, in their communities and around the world. Design for a cause starts with doing what we do best and being flexible to a range of communication modes and outcomes. First-year design students are often asked what it is that they will produce when they finish college. Their list can become dizzyingly long. Some designers may spend a whole career mastering the intricacies of user-interface design, while others create environmental graphics and signage for a museum one week and layout an annual report the next. Similarly, the ways designers can help to organize and generate opportunities for participation among audiences and consumers is as diverse as the output that we make. 018

018 Polypropylene hat The Element 21 hat is made with woven polypropylene (PP) plastic that is used as packaging for various foodstuffs, including rice and other staples. The polypropylene is light, impermeable to water, foldable and easily washed.

Thinking in terms of scale can be paralyzing and even activists can get discouraged by how much there is to do. Fortunately, small steps are just as important as large initiatives. Mentoring a student from an underprivileged background or taking on an intern and helping them to do values-based work can have far-reaching effects. If every designer acted as a catalyst in some small way, the net gain would be tremendous. When we begin to think of motivating people toward action, we should start by making connections with like-minded individuals. Live by doing. It inspires others to do the same and there is lasting value in making design for good. No job is too small to start creating work that makes a positive impact.

Whether designers build better experiences for viewers or develop sites to help citizens organize and campaign for change, they have an opportunity to align themselves with causes that they believe in. The results are rewarding, stimulating and can add some excitement to the design experience.

136 138 141 142 144 146

018 024 Element 21

148 150 152

Geneva-based non-profit, Element 21 makes patterns for do-it-yourself products available free of charge. People make their own hats and bags for fun. The organization also works with craft groups in the developing world where eurocentric designs provide a revenue stream for its producers (see www.element21.ch).

156 159

Five ideas to explore when making socially or environmentally responsible design: 1

Ask yourself, ‘What are my strengths?’ Once identified, look for opportunities based on those attributes.

Ask yourself whether you can do values-based work where you are employed. If so, then you might already be doing good. If not, consider whether fellow employees have ideas or beliefs in common – if so there might be opportunities to collaborate and work on ethical design projects.

Are there areas of your life – hobbies, faith, family or community that are particularly meaningful? If so, look for ways to interface with an organization or group that is already part of your life or one that is aligned with something that interests you. Put your skills to use whether they are design, communication or organization.

Keep doing what you do best as an individual. It might seem like a cliché, but much would be accomplished if we all ‘used the force’ for good. This might mean designing a typeface for the visually impaired, or working in local schools so that children understand the importance of design in the world. It’s about your skills, your interests and your change.

Avoid getting bogged down in the bigger questions, or single-handedly trying to save the world. First consider contributing locally, at work or in your community. Then if you have the energy, go ahead and tackle a global initiative.

Sustainability, Ethics and New Practice

2010 • 288 pages • 189 x 150mm / 7.4 x 6 in PB 9781847885678 • £19.99 / $34.95 HB 9781847885685 • £55.00 / $99.95 Individual eBook 9781847887061 • £19.99 / $30.99 World English (excluding USA) Berg Publishers

Tony Fry “Forceful, convincing, persuasive, and ultimately refreshing, leaving the reader with renewed investment in the role of designers for a sustainable future.” Interiors: Design, Architecture, Culture 2008 • 288 pages • 50 bw illus 189x150mm / 7.4 x 6 in PB 9781847882172 • £16.99 / $29.95 HB 9781847882189 • £50.00 / $99.95 Berg Publishers

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Tony Fry

“Tremendous, ground-breaking.” Rick Poynor, the Design Observer

The designers, activists, marketers and companies featured in this chapter exemplify how design thinking, marketing skills, and advances in materials applications and technology, can provide the impetus for change, while also highlighting the difficulties faced by ethically motivated designers and companies. Readers are encouraged to consider how they would tackle the problems presented in the following case studies. While doing so, it is also important to ask whether some solutions have been overlooked, as well as to evaluate whether the working models detailed here could be applied in new locations and to different market sectors.

134

Design Futuring

“To say that this book is ‘timely’ is an understatement. Fry offers us one of the most prescient theses for the design of a different possible future - a time and a politics ‘to-come’ - that we have. We all ignore the messages of this book at our own peril.” Duncan Fairfax, Goldsmiths, University of London, UK

Examining how contemporary practitioners’ produce ethically-driven and human-centred outputs can reveal methods and ideas that can be applied to one’s own professional practice and in situations where one has to take a leadership role.

01 Rug

Design as Politics “Design as Politics destroys our fantasies of ‘sustainable design’ and urges us to face our collective future. Read this before deciding whether you have the courage and conviction necessary to be a designer of the future.” Lisa Norton, School of the Art Institute of Chicago, USA

When being the best isn’t enough Case study Project Masiluleke Activity Mobile technology campaign Case study 1 in 29 New frontiers in recycling Case study Redefining raw materials Activity Upcycled design Reframing corporate thinking Case study A new twist on branding Interview Sali Sasaki Activity Socially responsible design

This rug was designed by Chris Haughton and woven in Nepal using fair trade principles.

109

108

Envisioning Sustainable Systems

018

>> See also page 8

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GRAPHIC DESIGN Basics Design 01: Format

TEXTBOOK 2nd edition

Gavin Ambrose and Paul Harris Praise for the first edition: “As a genuinely informative and inspiring guide to a fundamental aspect of graphic design, books like this are few and far between ... essential reading for design students. This is an excellent source book for established designers too: it’s brimming with stimulating ideas.” Creative Review Format is an indispensable guide to exploring how a design’s printed or digital information is received. • New material in this edition includes a new chapter, focusing on on-screen, online and moving image • New case studies and student exercises at the end of each chapter help readers apply knowledge to their own graphic design work Gavin Ambrose is a practising graphic designer. He has written and designed several books on graphic design and branding. Paul Harris is a freelance writer, journalist and editor. Form follows function

36 37

Book formats

UK May 2012 • US June 2012

50 51

Client: Doric

Client: CTD Capita Digital

Client: Nigel Coates/

Design: Roundel

Design: Hat-trick

Laurence King Publishing

Process: Product brochure

Process: Printed one side

Design: why not associates

with throw-outs, gatefolds

only, bound by a bolt,

Process: 408-page book,

and inserted letterhead

with a laminated cover

edition bound, multiple

208 pages • 200 colour illus

page-markers, foil-blocked

230 x 160mm / 9.1 x 6.3 in

cover and bellyband

PB 9782940411795 • £23.50 / $34.50

Storytelling

Book formats

| Imposition and multiple stocks

| Form follows function | Industry view: Mercy

Library eBook 9782940447329 • £69.00 / $111.00

Doric Entitled ‘turn to’, this poster/brochure uses written instructions to instruct readers how to unfold the product. Completion of each instruction reveals another page, gatefold or throw-up.

CTD Capita Digital This design for a guide to the new Indichrome printing system is based on the Pantone colour swatch book and produces more accurate colours than previous digital printing services, highlighted in the design by printing the ‘names’ of various colour hues and intensities in their respective colours.

Basics Design 07: Grids

Series: Basics AVA Publishing

Nigel Coates/Laurence King Publishing why not associates made a useful enhancement to the format of architect Nigel Coates’ book Ecstacity by including several coloured page marker bands. The markers highlight the complex dynamics and multiple narratives that characterize today’s urban metropolis, which are the focus of this book.

TEXTBOOK 2nd edition

Gavin Ambrose and Paul Harris Praise for the first edition: “I have found no better text for teaching graphic design than the Basics Design series – they’re the books I’ve been waiting my entire teaching career for. Chapter-based learning packaged in easily digestible sizes for one term with excellent, current examples of the theory presented in practice.” Darren Stebeleski, Martha Street Studio, Canada Through detailed investigation of the principles behind grid design, this book informs and advances your understanding of this key design component, allowing you to devise grids with ease and precision for any situation. • An in-depth exploration of layout and how it informs other aspects of creative design • Exemplified by a wide range of contemporary work and diagrammatic visualizations • Features substantial new and revised content and visuals, including additional case studies and end-ofchapter exercises UK October 2012 • US November 2012 208 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 in PB 9782940411924 • £23.99 / $37.95 Library eBook 9782940447466 • £72.00 / $116.00 Series: Basics AVA Publishing

www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk

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GRAPHIC DESIGN TEXTBOOK

Basics Graphic Design 02: Design Research Investigation for Successful Creative Solutions Neil Leonard and Gavin Ambrose “Design Research is an easy to follow, clearly written, student-friendly guide on how to conduct research for practical projects ... the importance, practice, methods, and key terminology of research are introduced in a measured way.” Nigel Ball, Course Leader, School of Arts & Humanities, University Campus Suffolk, UK Design Research shows visual communication students how to choose the best method of research in order to save time and get the right results. All stages of the research process are considered in a dynamic and entertaining style, covering audience, context, trends, sources, documentation, dissemination and more. • Illustrated throughout with research-led design examples, spanning poster design, packaging, typography and signage • Readers can further explore different research methods and techniques through briefs and activities

UK July 2012 • US August 2012 200 pages • 200 colour illus

Neil Leonard is a designer and educator. Gavin Ambrose is a practising graphic designer.

230 x 160mm / 9.1 x 6.3 in PB 9782940411740 • £23.50 / $34.50 Library eBook 9782940447381 • £69.00 / £111.00 Series: Basics AVA Publishing

TEXTBOOK

Basics Graphic Design 03: Idea Generation Neil Leonard and Gavin Ambrose “Clear, concise and comprehensive, with focused exercises and examples throughout, Idea Generation serves as a great introduction to the world of creative and lateral thinking.” Graham Jones, Loose Collective Idea Generation explores the many ways in which designers can generate ideas and develop them into successful design solutions. • Presented with many inspiring and informative images, studio interviews and exercises • Coverage ranges from audience, context and materials to the many levels of idea generation, from the macro to the micro, and from brainstorming to more focused, selective and strategic systems Construction and materials

Presenting and communicating ideas

Client and competition Object, construction and materials Studio interview

Presenting and communicating ideas Applying idea generation 6.22

Rationale Knowing why particular choices have been made will help you to explain their value. Having a clear rationale for each of your decisions will demonstrate the soundness of the choice and the strength of the knowledge that informed them. A good presentation should start with an overview of the process that has led to the idea presented, and it is important to have a clear and thorough rationale for each of the stages shown to the client. Following these steps will help you to communicate the rationale behind your ideas effectively and persuasively: 1

Reiterate the brief and the key objectives of the project.

Detail the key areas of development and tell the client what processes you have applied.

Be clear and concise – you do not have to show the client everything, but have all pertinent information close to hand.

Make notes, as it is easy to forget key points – bullet points are often best.

Rehearse the presentation to ensure clarity, even if it is just spoken aloud to yourself – this can help you get the rhythm right and iron out any kinks.

Remember, there is a reason you followed the path travelled,sotaketheclientonthesamejourneyandmakeit obvious there was only one clear destination.

6.22

3.18—3.19

Natural History Museum Discovery Guides Hat-trick Design

Fresh12 Karoshi

UK December 2012 • US January 2013

Adding a point of difference is often achieved in the choice of materials, stocks and colours of a design. Shown are CD covers for a music publisher, Fresh12. The design is a homage to the simple screen-printed fruit packaging containers. Each CD uses a different colour pattern, creating a collectable series. The simple central shape simultaneously relates to the icon of a 12 inch vinyl record and the ‘freshness’ of the appropriated fruit packaging.

This series of guides was produced to meet a very specific brief, as Jim Sutherland of Hat-trick Design explains: ‘The Natural History Museum wanted to produce school materials that made learning about nature engaging, open, accessible and fun, to reflect the core values of the museum itself. The solution was to create covers for the guides that the children could play and interact with, to bring the animals and galleries to life. These were perforated so they could be torn off once the activities were completed and kept by the children at school or at home, getting the brand to live outside of the museum itself.’

200 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 in

3.18

PB 9782940411818 • £23.99 / $37.95 3

Library eBook 9782940447428 • £72.00 / $116.00

Series: Basics

We wanted the children to have something to tear off and keep. In the past you filled in the papers and gave them back, there was no interaction, nothing to remember or keep hold of.

AVA Publishing

Jim Sutherland, Hat-trick Design

174

3.19

175

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GRAPHIC DESIGN The Visual Dictionary Design Box Set

TEXTBOOK

Gavin Ambrose, Paul Harris and Mark Wigan The Visual Dictionary Design Box Set provides readers with an enhanced understanding of over 1,000 professional design terms, illustrated with historical and contemporary examples throughout. • Over 1,000 common design terms defined and contextualized, providing readers with an invaluable reference tool • A concise introduction to four design disciplines: pre-press and production; typography, graphic design; and illustration • Each title is beautifully presented with compelling and exciting illustrations Gavin Ambrose is a practising graphic designer. Paul Harris is a freelance writer, journalist and editor. Mark Wigan is an artist, illustrator and academic.

UK June 2012 • US July 2012 1,168 pages • 950 colour illus 127 x 114mm / 5 x 4.5 in PB 9782940411979 • £29.95 / $39.95 Individual library eBooks • £90.00 / $145.00 Series: Visual Dictionaries AVA Publishing

Design Genius

TEXTBOOK

UK August 2013 • US September 2013 320 pages • 350 colour illus

The Ways and Workings of Creative Thinkers

270 x 210mm / 10.6 x 8.3 in

Gavin Ambrose

Library eBook 9782940447459 • £99.00 / $159.00

Through a series of interviews with leading designers, Design Genius explores the tools and inspiration behind some of the world’s finest design ideas.

Fairchild Books

• Explores, through a series of interviews, the tools that visual communicators use to facilitate imaginative thinking • A visual tour de force, with an eclectic set of works from some of the highest quality creative individuals and agencies to appeal to both professional and student audiences across a broad range of visual arts subjects • Features an exceptionally varied pool of contributors, from art directors to illustrators, artists to photographers and writers, including KesselsKramer, Studio Myerscough, 3 Deep Design and AKQA

PB 9782940411962 • £32.99 / $51.95 Series: Creative Core

Tone of Voice

It is often said that way we say things has as big an impact as what we actually say. This tone of voice, is the graphic equivelant of on accent, or stress. Finding a tone of voice for a project can unlock how that brand or service will communicate. This is both a text approach: How is the text written?, How is punctuation used? Is it always short and snappy, or more detailed? and also a graphic appraoch: Is it always set in uppercase? Colour and typeface choices will also greatly influence how this tone of voice is articualted, and how it is interpretted. In the example shown here, design agency To The Point were tasked by international printers, News Printers, to convey key messages, messages of pride to their workforce. The resulting installation graphics are both engaging and humorous, reflecting the vales of the printers, and the clients they represent. It’s tone of voice is no-nonsense,

freindly, straight-forward, and conveys a sense of pride, as Simon Hutton of to The Point explains: ‘We did inhouse research for the news printers project, going out and speaking to the teams on the presses and doing some brand workshops to build understanding of branding and core values. We did find this useful and key feedback into our work was the enormous pride in what they do. Our objective therefore became transferring their pride in the publications they print (The Sun, The Times, The news of the world) into pride in their business ‘news printers.’ The text elements are consistently applied, both linguistically (they have similar numbers of charachters) and graphically (they are set in three rows of type, in two colours). The juxtaposition with the imagery forms a linguistic knot, adding interest and intrigue.

Gavin Ambrose is a practising graphic designer. 16_17

The Graphic Art of the Underground A Countercultural History Suzy Prince and Ian Lowey The Graphic Art of the Underground: A Countercultural History showcases the visual art and design that has emanated from a series of iconoclastic, underground youth movements within Western pop culture since the 1950s, and which have challenged the perceived social and cultural complacency of the establishment. The book presents a visual stunning collection of provocative graphics, and draws upon the work of an array of artistic figures such as Ed ‘Big Daddy’ Roth, Kenny ‘Von Dutch’ Howard, Robert Williams, Robert Crumb, Frank Kozik, Jamie Reid, Gee Vaucher, James Cauty, Barney Bubbles and Banksy, among numerous others. Suzy Prince is a freelance journalist, lecturer and copywriter. She was the editor for Nude Magazine for ten years. Ian Lowey is a freelance writer and journalist. He worked as co-publisher and designer of Nude Magazine.

UK November 2013 • US November 2013 256 pages • 200 colour illus 297 x 210 mm / 11.7 x 8.3 in HB 9780857858184 • £29.99 / $49.95 Bloomsbury Academic

www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk

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GRAPHIC DESIGN TEXTBOOK

The Layout Book

Basics Design 02: Layout

Gavin Ambrose 2007 • 194 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 in PB 9782940373536 • £35.00 / $49.95 Series: Required Reading Range Library eBook 9782940439690 • £105.00 / $169.00 Series: Required Reading Range AVA Publishing

TEXTBOOK

The Fundamentals of Graphic Design Gavin Ambrose and Paul Harris 2008 • 200 pages • 200 colour illus 230 x 200mm / 9.1 x 8.7 in PB 9782940373826 • £26.50 / $38.50 Library eBook 9782940439034 • £78.00 / $125.00 Series: Fundamentals AVA Publishing

TEXTBOOK

2nd edition

The Fundamentals of Creative Design Gavin Ambrose and Paul Harris 2011 • 192 pages • 200 colour illus 230 x 200mm / 9.1 x 8.7 in PB 9782940411610 • £26.50 / $38.50 Library eBook 9782940447251 • £78.00 / $125.00 Series: Fundamentals AVA Publishing

TEXTBOOK

Basics Graphic Design 01: Approach and Language Gavin Ambrose and Nigel Aono-Billson 2010 UK • 2011 US 200 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 in PB 9782940411351 • £21.95 / $32.95 Library eBook 9782940439737 • £66.00 / $106.00 Series: Basics AVA Publishing

2nd edition

Gavin Ambrose and Paul Harris 2011 • 216 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 in PB 9782940411498 • £23.50 / $34.50 Library eBook 9782940447169 • £69.00 / $111.00 Series: Basics AVA Publishing

TEXTBOOK

The Visual Dictionary of Pre-press and Production Gavin Ambrose and Paul Harris 2010 • 304 pages • 250 colour illus 160 x 120mm / 6.3 x 4.7 in PB 9782940411290 • £14.95 / $24.95 Library eBook 9782940439812 • £42.00 / $67.00 Series: Visual Dictionaries AVA Publishing

2nd edition

Visual Research

TEXTBOOK

An Introduction to Research Methodologies in Graphic Design

The Production Manual

Ian Noble and Russell Bestley

Gavin Ambrose and Paul Harris

2011 • 224 pages • 250 colour illus 300 x 220mm / 11.8 x 8.7 in PB 9782940411603 • £37.50 / $52.50 Library eBook 9782940447268 • £111.00 / $178.00 Series: Required Reading Range AVA Publishing

TEXTBOOK

key titles

TEXTBOOK

2nd edition

Visible Signs An Introduction to Semiotics in the Visual Arts David Crow 2010 UK • 2011 US 192 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 in PB 9782940411429 •£37.50 / $52.50 Library eBook 9782940439805 • £111.00 / $178.00 Series: Required Reading Range AVA Publishing

A Graphic Design Handbook 2008 • 192 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 in PB 9782940373635 • £37.50 / $52.50 Library eBook 9782940439591 • £111.00 / $178.00 Series: Required Reading Range AVA Publishing

TEXTBOOK

Good An Introduction to Ethics in Graphic Design Lucienne Roberts 2006 UK • 2007 US 200 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 in PB 9782940373147 • £24.95 / $39.95 Library eBook 9782940439980 • £72.00 / $116.00 Series: Required Reading Range AVA Publishing

TEXTBOOK

Visual Communication

Packaging the Brand

From Theory to Practice

The Relationship Between Packaging Design and Brand Identity

Jonathan Baldwin and Lucienne Roberts 2006 • 192 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 in PB 9782940373093 • £37.50 / $49.95 Library eBook 9782940447053 • £111.00 / $178.00 Series: Required Reading Range AVA Publishing

Gavin Ambrose 2011 • 208 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 in PB 9782940411412 • £37.50 / $52.50 Library eBook 9782940439799 • £111.00 / $178.00 Series: Required Reading Range AVA Publishing

www.bloomsbury.com • US, Canada, South America • 888-330-8477 • customerservice@mpsvirginia.com

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ILLUSTRATION TEXTBOOK

The Fundamentals of Illustration 2nd edition Lawrence Zeegen Praise for the first edition: “Lawrence Zeegen has produced a very important guide that whilst aimed primarily at students is proving very popular with staff – a very impressive work. Great choice of imagery, some wonderful examples of current practice.” Andrew Kulman, Birmngham City University, UK “This is an excellent and informative book. It is an invaluable sourcebook and has aided me immensely... I love the easy reference style of this book. It is well laid out and graphically appealing.” Deborah Lunnon, Interactive Design Institute, UK “An excellent introduction into the illustration profession. It shows the importance of the creative process and explains the relevance of illustration in the design world... We use the entire book in the course and that is a rare find in a textbook.” Kerri Eckes, Art Institute of Raleigh-Durham, USA The Fundamentals of Illustration 2nd Edition introduces students to the subject of illustration, taking them through the key skills and practical processes required for the study of this exciting degree course. Each chapter concludes with a case study, which outlines a brief and then describes each stage of the process, from the illustrator’s initial response to the completion of the project. The case studies feature the work of John Clementson, Tim Vyner, Olivier Kugler, Damian Gascoigne, Ben Kelly and Howard Read. The book also contains a series of interviews with practising illustrators such as Autumn Whitehurst, Stina Persson and Anthony Burrill.

UK September 2012 • US October 2012 208 pages • 200 colour illus 230 x 200mm / 9.1 x 7.9 in PB 9782940411481 • £26.50 / $38.50 Library eBook 9782940447206 • £78.00 / $125.00 Series: Fundamentals AVA Publishing

Foreword

• Updated with a wealth of fresh visuals, tips, and contemporary case studies • New and revised content and examples that reflect the changes and developments in the discipline over the past few years • Current visual approaches are examined and evaluated, along with new chapters on visual thinking, idea generation and the illustrator as an artist • A chapter on the professional practice of a freelance designer helps students to understand the realities of this creative career path

Introduction

Lawrence Zeegen is an illustrator, educator and writer. He is currently Head of School for the School of Communication Design at Kingston University, UK.

The Illustrator as Artist: Illustration as a Discipline The Medium is the Message: The Power of the Pencil From Outcomes to Outlets: The Overview

contents

New to this edition:

Communicating Ideas: Why Ideas? Making it Happen: Marketing the Product and the Art of Self-promotion Production: Essential Kit Bibliography Index

www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk

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ILLUSTRATION TEXTBOOK

Becoming a Successful Illustrator Jo Davies and Derek Brazell Becoming a Successful Illustrator is a beautiful, comprehensive resource that will help students and early career professionals to operate successfully in the professional practice of illustration. • Lavishly illustrated and beautifully designed to showcase some of the world’s best illustration • Includes a helpful section on how to manage finances and copyright issues • Case studies and interviews from practising illustrators at varying stages of their careers, major clients, employers, educators and agents provide insider information and opinion • Activities help provide direction in the areas of self-awareness, promotion, sourcing clients, and assessing fees Jo Davies is Associate Professor in Illustration at Plymouth University, UK. Derek Brazell is Project Manager at the Association of Illustrators, London, UK.

Organizing yOur fOliO and website

CHAPTER fouR getting your work seen

Visual literacy

agent representatiOn

case study ulla puggaard

case study tad carpenter

case study Hartwig braun and isaac lilOs

UK May 2013 • US June 2013 11

192 pages • 200 colour illus • 270 x 210mm / 10.6 x 8.3 in

each commission we produce adds knowledge and experience into our bank, and whenever we handle a commission, we are able to refer back on that rich source of

PB 9782940411931 • £26.99 / $42.95

information. where a successful artist may only have a few dozen jobs to draw from, we are coming from a background of thousands. the good ones and the bad ones. we’re like navigators in that we know all the different places jobs come from and which ways they can go. it’s like

Library eBook 9782940447589 • £81.00 / $130.00

a weird and wonderful road trip. Jeremy Wortsman – Director The Jacky Winter Group, Australia

Fairchild Books

Series: Creative Careers

11 Louisa St Pierre, Pheonix Rising, The Royal Exchange, London. A 20-foot banner alluding to the history of The Royal Exchange, which burned down in The Great Fire of London, 2005. 12 James Gulliver Hancock, Always Building, People Design. Semi-abstract illustrations for philosophical book by Herman Miller, 2008. Images courtesy of The Jacky Winter Group

114

115

TEXTBOOK

The Visual Dictionary of Illustration

Basics Illustration 02: Sequential Images

Basics Illustration 04: Global Contexts

Mark Wigan

2009 • 288 pages • 250 colour illus 160 x 120mm / 6.3 x 4.7 in PB 9782940373901 • £14.95 / $24.95 Library eBook 9782940439225 • £42.00 / $67.00 Series: Visual Dictionaries • AVA Publishing

TEXTBOOK

Basics Illustration 01: Thinking Visually Mark Wigan 2006 • 184 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 in PB 9782940373154 • £23.50 / $34.50 Library eBook 9782940439843 • £69.00 / $111.00 Series: Basics • AVA Publishing

2007 UK • 2008 US 176 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 in PB 9782940373604 • £17.95 / $29.95 Library eBook 9782940439850 • £51.00 / $82.00 Series: Basics • AVA Publishing

TEXTBOOK

Basics Illustration 03: Text and Image Mark Wigan 2007 UK • 2008 US 176 pages • 250 colour illus 230 x 160mm / 9.1 x 6.3 in PB 9782940373505 • £17.95 / $29.95 Library eBook 9782940439607 • £51.00 / $82.00 Series: Basics • AVA Publishing

2009 • 184 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 in PB 9782940373949 • £17.95 / $29.95 Library eBook 9782940439362 • £51.00 / $82.00 Series: Basics • AVA Publishing

key titles

TEXTBOOK

Illustration A Theoretical and Contextual Perspective Alan Male 2007 • 216 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 in PB 9782940373512 • £24.95 / $39.95 Library eBook 9782940439997 • £72.00 / $116.00 Series: Required Reading Range • AVA Publishing

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TYPOGRAPHY TEXTBOOK

Basics Typography 03: Understanding Type Michael Harkins Packed with in-depth case studies and inspiring examples of type in different contexts, Understanding Type arms graphic design students with the knowledge they need to make informed decisions about type. • Examines what you need to know to understand type, from its development and anatomy, to identifying and choosing different types • Engaging tasks encourage practical engagement with the ideas discussed in each chapter • Chapters are supported with in-depth case studies and a running glossary that defines key terms and concepts Michael Harkins is Course Leader for MA Graphic Design at the University of Portsmouth, UK. contents Introduction • What is Type? • Type Genealogy • Type in Context • Old, New and Familiar Faces • Identifying Type • Type and Technology • Further Resources • Index

2.1 Keep it in the family

UK March 2013 • US April 2013 184 pages • 200 colour illus • 230 x 160mm / 9.1 x 6.3 in

Type, typeface, font Type and typography have always been bound to technology, from metal type through phototypesetting to today’s digital type. Along with developing technologies, the ways in which typefaces have been supplied or grouped have meant that there is often confusion about how we use the terms ‘type’, ‘typeface’ and ‘font’ in relation to the letterforms of typography. Originally, the word typeface literally meant the face, or printing surface, of metal or wooden type. The term also implied the design or style.

A font – originally a ‘fount’, also known as a ‘fund’ of type – referred to a useable collection of types of the same/related design (typeface). This could be found in a tray of type, for example. The term could also be used to describe related types, such as roman, italic and so on.

PB 9782940411825 • £23.99 / $37.95 Library eBook 9782940447442 • £72.00 / $116.00 Series: Basics

Today, the term typeface is still used to refer to the design and font is the collected, useable set. With the development of various technologies the term ‘families’ emerged, offering larger related sets of typefaces – semi-bold, expanded, compressed and so on. The term font, therefore, can represent a single weight/style of typeface (the design), but may also refer to a font family – a set of related weights/styles/variants such as roman, italic, bold, small-caps and semi-bold (a group of related typeface designs).

AVA Publishing

Fig 2.3

Fig 2.1: Specimen sheet The early promotion of a type-founder’s types was presented in sheet form, showing the quality and extent of their types.

Fig 2.2

Fig 2.2–2.3: Fontface A modern interpretation of typeface promotion! Atipo’s Fontface series explores the forms of classic types in a playful manner.

Fig 2.1 2.1 Keep it in the family • 2.2 Distant relations

TEXTBOOK

Gavin Ambrose and Paul Harris

Michael Harkins 2011 • 184 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 in PB 9782940411559 • £23.50 / $34.50 Library eBook 9782940447275 • £69.00 / $111.00 Series: Basics AVA Publishing

TEXTBOOK

Gavin Ambrose and Paul Harris

2010 • 288 pages • 250 colour illus 160 x 120mm / 6.3 x 4.7 in PB 9782940411184 • £16.95 / $24.95 Library eBook 9782940439522 • £48.00 / $77.00 Series: Visual Dictionaries AVA Publishing

Basics Typography 02: Using Type

Basics Design 03: Typography 2005 • 176 pages •200 colour illus Other / 9.1 x 6.3 in PB 9782940373352 • £23.50 / $34.50 Library eBook 9782940439027 • £69.00 / $111.00 Series: Basics AVA Publishing

TEXTBOOK

The Fundamentals of Typography 2nd edition

key titles

The Visual Dictionary of Typography

TEXTBOOK

Gavin Ambrose and Paul Harris 2011 • 200 pages • 200 colour illus 230 x 200mm / 9.1 x 7.9 in PB 9782940411764 • £26.50 / $38.50 Library eBook 9782940447244 • £78.00 / $125.00 Series: Fundamentals AVA Publishing

www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk

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COLOUR Color Studies

www/TEXTBOOK 3rd edition

Edith Anderson Feisner and Ronald Reed The third edition of Color Studies introduces students to colour theory, the physiology and psychology of colour perception, and the physics of colour. This text discusses in detail the four dimensions of colour – hue, value, intensity and temperature – with tips for putting knowledge into practice in a variety of disciplines, from painting and other fine arts to interior design, architecture, fashion design, textile design, and graphic design. • • • •

Additional teaching resources: Instructor’s Guide and PowerPoint presentation available Full colour photographs and illustrations include colour wheels illustrative of different theories Features interview briefs from design professionals on the topic of colour and practice in their disciplines Includes chapter objectives, key terms, end of chapter summaries and beginning and advanced exercises

UK October 2013 • US August 2013 256 pages • 355 colour illus 152x228 mm / 8.5 x 11 in PB 9781609015312 • £54.99 / $85.00

New to this Edition:

Fairchild Books

• Up-to-date discussion of sustainable colour applications and green materials as the underlying component of colorants, dyes, and inks in textiles, print-making and paints • A new chapter on colour and digital technology discusses illuminating with colour (LED), colour tools and management (Pantone), as well as colour consulting and marketing Edith Anderson Feisner is a Visiting Specialist in the School of Fine Arts at Montclair State University, USA. Ronald Reed is an Assistant Professor and Program Coordinator for Interior Design in the School of Family and Consumer Sciences at Texas State University, San Marcos, USA. He is also the author of Color + Design: Transforming Interior Space (Fairchild Books, 2010).

Color and Design Edited by Marilyn DeLong and Barbara Martinson Color and Design addresses how we understand and experience colour, and through specific examples explores how colour is used in a spectrum of design-based disciplines including apparel design, graphic design, interior design, and product design. Through highly engaging contributions from a wide range of international scholars and practitioners, the book explores colour as an individual and cultural phenomenon, as a pragmatic device for communication, and as a valuable marketing tool. Marilyn DeLong is Professor of Apparel Studies, College of Design, University of Minnesota, USA. Barbara Martinson is Professor of Graphic Design, College of Design, University of Minnesota, USA.

UK November 2012 • US January 2013 256 pages • 36 bw and 47 colour illus 244 x 172mm / 9.6 x 6.8 in PB 9781847889515 • £19.99 / $34.95 HB 9781847889522 • £55.00 / $99.95 Individual eBook 9781847889539 • £19.99 / $30.99 Berg Publishers

TEXTBOOK

Basics Design 05: Colour

Designing with Color

The New Munsell® Student Color Set

Gavin Ambrose and Paul Harris

Concepts and Applications

James Thomas Long

2007 • 184 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 in PB 9782940373314 • £23.50 / $34.50 Library eBook 9782940439119 • £69.00 / $111.00 Series: Basics AVA Publishing

Chris Dorosz and J.R. Watson 2010 UK • 2011 US 320 pages • Colour illus 216 x 279mm / 11 x 8.5 in PB 9781563678592 • £60.00 / $93.50 Fairchild Books

3rd edition

2011 • 178 pages • colour illus 254 x 178mm / 8 x10 in HB 9781609011567 • £45.00 / $75.00 Fairchild Books

key titles

TEXTBOOK

www.bloomsbury.com • US, Canada, South America • 888-330-8477 • customerservice@mpsvirginia.com

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ADVERTISING TEXTBOOK

The Fundamentals of Digital Advertising Chris Linford and Jo Hodges The Fundamentals of Digital Advertising is an informative introduction to advertising today, examining how the industry is changing to take advantage of new technologies. Packed with examples of the very best in online and interactive advertising, this is an indispensable guide for any student of advertising. • Coverage ranges from banner ads, advergames and viral campaigns to page takeovers and in-game advertising • Striking examples from high-profile campaigns, advertising industry professionals and student work illustrate the text throughout • Clear and engaging explanations help readers to develop their own new and innovative campaigns • Written by two leading academics who give an insight both into the artistic and technological aspects of the industry Chris Linford has worked in many sectors of the media industry including advertising, games, multimedia, publishing and the Internet. He joined the University of the Arts at the London College of Communication as a Principal Lecturer and Head of Digital Media in 1997. Jo Hodges is Course Director for the BA (Hons) Advertising in the London College of Communication, UK.

Art Directors Annual: 91 Art Directors Club “The great authority and worldwide prestige of the Art Directors Club Annual Awards remain unequaled... Each year’s Annual forever commemorates the most creative work of the year. Long may the show, and the Annual, live.” George Lois, art director, designer and author

UK August 2013 • US September 2013 184 pages • 200 colur illus 230 x 200mm / 9.1 x 7.9 in PB 9782940496075 • £26.99 / $42.95 Library eBook 9782940447596 • £81.00 / $130.00 Series: Fundamentals Fairchild Books

The best-selling international review of the year’s most innovative works in visual communication

This annual features, in full colour, the winners of the toughest competition in the field – the Art Directors Club Annual Awards. The book presents, with exceptional clarity and detail, the work of gold and silver medallists and distinctive merit winners in national and international advertising, graphic design, interactive design, interactive media, photography, and illustration. Continuously published since 1920, the Art Directors Annual is the world’s most widely distributed creative awards reference book and source of inspiration, honouring the year’s best work in design and advertising around the globe.

UK December 2012 • US December 2012 274 pages • 1,750 colour illus 285 x 208mm / 11.2 x 8.2 in HB 9782940496211 • £40.00 / $65.00 AVA Publishing

Designism 44

Photography 92

This past holiday season, the Colombian military developed a strategic campaign to entice guerrilla fighters to lay down their arms. The military constructed several Christmas trees along a tactical guerrilla route through the jungle, in the hope that the non-violent gesture and display of holiday spirit would entice the fighters to demobilize and return home.

AD C

o P e r AT i o N c h r i s T M A s LOWE /S SP 3 ADVERTISING | Ambient /Environmental S t u n t s /G u e r r i l l a

When guerrillas approached the trees, movement sensors made them light up and display a banner announced the following message: “If Christmas can come to the jungle, you can come home. Everything is possible at Christmas.” The campaign was broadcast and showcased on international media channels, major news websites, blogs and various social media outlets. Over 300 guerrillas have demobilized as a direct result of this campaign effort, a 30 percent increase from the previous year.

CHAIRMAN: Jose Miguel Sokoloff EXECUTIVE CREATIVE DIRECTOR: Alejandro Benavides CREATIVE DIRECTOR: Santiago Mesa SENIOR ART DIRECTOR: Carlos Andres Rodriguez COPYWRITER: Sergio Leon DESIGNER: Alejandro Ussa DIRECTOR: Jaime Gonzalez, Jose Maria Angel PRODUCER: Jose Vicente Altamar CLIENT: Ministry of Defense COUNTRY: Colombia

AD C

T h e r e A l l A DY G A G A HARPER’S BAzAAR M a g a z i n e E d i t o r i a l | Fa s h i o n

EDITOR IN CHIEF: Glenda Bailey CREATIVE DIRECTOR: Stephen Gan DESIGN DIRECTOR: Elizabeth Hummer DIRECTOR OF PHOTOGRAPHY: zoe Bruns PHOTOGRAPHER: Inez & Vinoodh CLIENT: Harper’s Bazaar COUNTRY: United States

AD C

P o W e r P l AT o N EDG, CONDé NAST Magazine Editorial | Miscellaneous

CREATIVE DIRECTOR: Scott Dadich

PHOTOGRAPHER: Platon

DESIGNER: Allie Fisher, Victor Krummenacher

CLIENT: Abstract Partners

ILLUSTRATOR: Yarek Wazul

COUNTRY: United States

www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk

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ADVERTISING, MARKETING AND BRANDING The Fundamentals of Creative Advertising

TEXTBOOK

Brian Sheehan

Ken Burtenshaw, Caroline Barfoot and Nik Mahon

2010 • 184 pages • 50 colour illus 230 x 160mm / 9.1 x 6.3 in PB 9782940411337 • £21.95 / $32.95 Library eBook 9782940439751 • £66.00 / $106.00 Series: Basics AVA Publishing

2011 • 184 pages • 200 colour illus 230 x 200mm / 9.1 x 7.9 in PB 9782940411566 •£26.50 / $38.50 Library eBook 9782940447183 • £78.00 / $125.00 Series: Fundamentals AVA Publishing

Basics Advertising 01: Copywriting

Basics Marketing 02: Online Marketing

TEXTBOOK

The Fundamentals of Branding

key titles

TEXTBOOK

2nd edition

TEXTBOOK

Melissa Davis

Robert Bowdery

2009 • 184 pages • 200 colour illus 230 x 200mm / 9.1 x 7.9 in PB 9782940373987 • £26.50 / $34.95 Library eBook 9782940439324 • £78.00 / $125.00 Series: Fundamentals AVA Publishing

2008 • 176 pages • 175 colour illus 230 x 160mm / 9.1 x 6.3 in PB 9782940373680 • £17.95 / $29.95 Library eBook 9782940439539 • £51.00 / $82.00 Series: Basics AVA Publishing

Basics Advertising 02: Art Direction

TEXTBOOK

Melissa Davis 2006 • 240 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 in PB 9782940373000 • £37.50 / $52.50 Library eBook 9782940447022 • £111.00 / $178.00 Series: Required Reading Range AVA Publishing

2010 • 184 pages • 200 colour illus 230 x 160mm / 9.1 x 6.3 in PB 9782940411214 • £19.95 / $32.95 Library eBook 9782940439447 • £57.00 / $92.00 Series: Basics AVA Publishing

TEXTBOOK

Edited by Brian Moeran and Ana Alacovska

2009 • 192 pages • 100 colour illus 230 x 200mm / 9.1 x 7.9 in PB 9782940373727 • £26.50 / $34.95 Library eBook 9782940439348 • £78.00 / $125.00 Series: Fundamentals AVA Publishing

Hayden Noel 2009 • 176 pages • 100 colour illus Other / 9.1 x 6.3 in PB 9782940373840 • £17.95 / $29.95 Library eBook 9782940439249 • £51.00 / $82.00 Series: Basics AVA Publishing

Creative Industries Critical Readings

Russell Edward

Basics Marketing 01: Consumer Behaviour

TEXTBOOK

An Introduction to Branding

Nik Mahon

The Fundamentals of Marketing

More Than a Name

2011 • 1,600 pages 244 x 172mm / 9.6 x 6.7 in HB Set 9781847887788 • £550.00 / $995.00 Berg Publishers

TEXTBOOK

Advertising Critical Readings Edited by Brian Moeran 2010 • 1,600 pages 244 x 172mm / 9.6 x 6.7 in HB Set 9781847885500 • £595.00 / $950.00 Berg Publishers

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DESIGN MANAGEMENT TEXTBOOK

Strategies for Development and Design “More than a valuable addition to the design thinking literature, it takes design thinking up a level and provides a novel conceptual framework for managers who want to (or need to) rethink how they relate their corporate and product brands to the innovation process ... It’s not just a read, it’s a practical guide.” Haydn Shaughnessy, Innovation Management 2010 • 208 pages • 100 colour illus 300 x 220mm / 11.8 x 8.7 in PB 9782940411283 • £35.00 / $49.95 Library eBook 9782940439768 • £105.00 / $169.00 Series: Required Reading Range AVA Publishing

“One of the real appeals of this and other texts in the series is the appeal of the books’ layout ... Product examples are refreshingly different from many of the usual examples cited in designrelated journals.” Miles Park, University of South Wales, Australia 2009 • 192 pages • 200 colour illus 300 x 220mm / 11.8 x 8.7 in PB 9782940373796 • £27.50 / $49.95 Library eBook 9782940439300 • £81.00 / $130.00 Series: Required Reading Range AVA Publishing

TEXTBOOK

Design Management Managing Design Strategy, Process and Implementation

Hilary Collins

“There are very few books on design management and none like this ... It is also such an enjoyable read that I would even recommend it to non-designers.” Bill Hollins, Engineering Designer

“Excellent textbook. Innovative in style and layout for this style of text and subject area. Very student and user friendly which is important ... I would wholly recommend this text.” Rachel Studd, University of Manchester, UK 2010 • 208 pages 300 x 220mm / 11.8 x 8.7 in PB 9782940411085 • £35.00 / $49.95 Library eBook 9782940439676 • £105.00 / $169.00 Series: Required Reading Range AVA Publishing

Kathryn Best “A dynamic publication that delivers exactly what it says on the tin. The second of two books by Kathryn Best is a critical addition to any aspiring design manager’s library. It would also serve as a valuable reference tool for any business leader who wishes to successfully harness the power of design.” Gethin Roberts, Engineering Designer 2010 • 208 pages • 200 colour illus 230 x 200mm / 9.1 x 7.9 in PB 9782940411078 • £26.50 / $36.95 Library eBook 9782940439331 • £78.00 / $125.00 Series: Fundamentals AVA Publishing

TEXTBOOK

Kathryn Best

“Absolutely brilliant. It really breaks down complex ideas into manageable blocks for teaching and learning.” Charles da Costa, Savannah College of Art and Design, USA

“Highly relevant and stimulating for MA Design Strategy students.” Ray Holland, Brunel University, UK

The Theory and Practice of Research for the Creative Industries

The Fundamentals of Design Management

TEXTBOOK

David Hands

Erik Roscam Abbing

Creative Research

Vision and Values in Design Management

key titles

Brand-driven Innovation

“Excellent book with useful and applicable approaches to clarifying the stages and processes in the current practice ... Rare text for this type of material - original and needed for the industry!” Paul Mazzucca, Mount Hood Community College, USA 2006 UK • 2007 US 216 pages • 300 colour illus 300 x 220mm / 11.8 x 8.7 in PB 9782940373123 • £37.50 / $52.50 Library eBook 9782940439782 • £81.00 / $130.00 Series: Required Reading Range AVA Publishing

TEXTBOOK

The Handbook of Design Management Edited by Rachel Cooper, Sabine Junginger and Thomas Lockwood • A comprehensive overview of design management: its methodologies, central debates, history and future • International coverage, with contributions from key scholars in Europe, Asia, the US and Canada 2011 • 544 pages • 70 bw illus 244 x 172mm / 9.6 x 6.7 in HB 9781847884886 • £80.00 / $140.00 Berg Publishers

www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk

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WORLD HISTORY OF DESIGN The World History of Design Three-volume set Victor Margolin

The first scholarly history to cover design thinking and practice around the world, superbly illustrated wtih 1,500 images

The definitive global history of design Authored by preeminent design scholar Victor Margolin, The World History of Design is an indispensable new multi-volume work, providing a comprehensive and detailed historical account of design from prehistory to the end of the twentieth century. An unrivalled breadth of coverage Comprising three volumes containing almost one million words and 1,500 images, The World History of Design features all world regions across all periods. From the earliest cave art and human tools to the recent development of a global design culture, it includes substantial new material on design in Latin America, Asia, the Middle East and Africa. Design in context The World History of Design examines the social issues of design, as well as those of form and aesthetics, in far more detail than previous published histories, relating design’s development to the forces of trade, politics and economics. Multi-disciplinary relevance and appeal With its broad geographic and chronological purview, and its depth of discussion, The World History of Design is an essential resource for students and scholars in design history, as well as in the fields of history, sociology, art history, and anthropology. It will also appeal to design practitioners worldwide and to a general audience with an interest in design. Victor Margolin is Professor Emeritus of Design History at the University of Illinois, Chicago, USA.

Volume 2 Design from World War I to World War II 18. The Avant-Gardes, 1906 - 1925 19. Design in the Soviet Union, 1917-1928 20. Weimar Germany, 1918-1933 21. France between the Wars, 1918 - 1939 22. Tradition and Modernism: The English Compromise, 1918-1939: 23. Canada, Australia, New Zealand 24. The Low Countries, Austria, Switzerland, and Spain, 1918-1939 25. Tradition and Modernism in Scandinavia,1918-1939 26. The United States, 1918-1941 27. Central and Eastern Europe, 1918-1939 28. Design under the Dictators: Italy, Germany, Portugal, Soviet Union, 19221940 29. Japan’s Hybrid Modernity, 1900 - 1937 30. India, China, and Southeast Asia, 19001937 23,284 31. Latin America, 1900-1939 32. Near and Middle East, 1900-1939 33. Africa, 1900-1939 34. World War II

2,400pp • 1,300 bw and 200 colour illus 244 x 189mm / 9.6 x 7.4 in HB SET 9781847888303 • £590.00 / $990.00 Bloomsbury Academic

Volume 3 Design from World War II to the Present 35. Postwar Prosperity and the Role of Design in America, 1945-1975 36. Economic Recovery in Western Europe, 1945-1975: England, France,Belgium, Netherlands, 37. Economic Recovery in Western Europe, 1945-1975: Greece, Portugal, Spain 38. Economic Recovery in Western Europe, 1945-1975: Italian Design and Swiss Modernism 39. Commonwealth and former Commonwealth Countries, 1945 - 1975 40. Design and the State: Eastern and Central Europe, 1945-1989 41. The Reawakening of Asia: 1945-1975 42. The Latin American Experience, 19451975 43. The Near East and the Middle East, 19451975 44. Africa: Decolonization and Afterwards, 1945 - 1975 45. Design Organizations, Research, and International Movements, 1965 -1980 46. Global Design Culture: Origins and Development, 1975- 2000

contents

Volume 1 Design from Prehistoric Times to World War I 1. Tool making and Rock Art in the Prehistoric Age 2. The Earliest Civilizations and Their Inventions, 7000 BCE - 900 BCE 3. The Classical Age, 900 BCE - 800 CE 4. The Emergence of Societies, Dynasties, and Empires, 800 CE - 1200 CE 5. Europe from the Renaissance to the Industrial Revolution, 1200 CE - 1750 CE 6. The World outside Europe, 1200 - 1750 7. The Industrial Revolution in Europe and America, 1750 CE -1830 CE 8. The Age of Exhibitions: Great Britain, 1830 CE - 1900 CE 9. The Craft Ideal and the Art Movement in Britain, 1861 - 1915 10. Canada, Australia, New Zealand, 1300 CE - 1900 CE 11. The Age of Exhibitions: Europe Outside Great Britain,1830 CE - 1900 C.E. 12. Colonies and Pre-industrial Nations in Asia and Africa, 1750 CE - 1900 CE 13. Protoindustrialization in Diverse Regions, 1750 CE 1900 CE 14. The United States: Mechanization Takes Command, 1840-1900 15. Art Nouveau and the Decorative Impulse, 1890 1914 16. The Beginnings of Modern Design in Europe and America, 1900-1917 17. World War I, 1914-1918

UK July 2014 / US September 2014

Bibliography Index

www.bloomsbury.com • US, Canada, South America • 888-330-8477 • customerservice@mpsvirginia.com

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PRODUCT DESIGN/ HISTORY AND CULTURE OF DESIGN Prototype

Includes a wide range of case studies, from NASA designs to modern software design

Design and Craft in the 21st Century Edited by Louise Valentine Prototype is an edited collection of essays by a diverse, cross-disciplinary body of international scholars and practitioners, which for the first time brings together critical and speculative thinking on the role the prototype can, and should, play within design, craft and beyond.

The range of authors and pioneers is carefully selected and purposefully diverse so as to reflect, extend and lead current debates on the subject. Louise Valentine is Senior Researcher in Design and Craft at the University of Dundee, UK.

UK December 2013 • US February 2014 192 pages • 40 bw illus 153 x 234mm / 6 x 9.2 in PB 9780857857729 • £19.99 / $29.95 HB 9780857856821 • £65.00 / $120.00 Individual eBook 9781472517258 • £19.99 / $30.99 Bloomsbury Academic

Delete A Design History of Computer Vapourware Paul Atkinson While most historical accounts of the development of computer design focus on specific computers or manufacturers, examining the success stories of hardware and operating systems, Delete: A Design History of Computer Vapourware creates a completely new narrative by investigating the machines that didn’t make it. Fascinating, full-colour images of computer designs, many of them previously unpublished, are accompanied by the hitherto untold stories of their planning and development, the pitfalls and successes in their creation, the market and competition at the time and the reasons why they never finally appeared for sale.

UK June 2013 • US August 2013

Paul Atkinson is Professor of Design and Design History at Sheffield Hallam University, UK.

256 pages • 150 colour illus 235 x 210mm / 9.3 x 8.3 in PB 9780857853479 • £24.99 / $39.95 HB 9780857853462 • £75.00 / $125.00

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IBM launch the IBM 5110 Portable Computer

MITS sells the Altair 8800 as a kit; the Homebrew Computer Club meets in

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Xerox develop the Alto computer with a graphical user interface

The computer arcade game ‘Pong’ popularises video games

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Xerox develop Alto, the first computer with a GUI

The first email sent Ray Tomlinson of Bolt, Beranek and Newman

Microprocessor

The Kenbak-1, an early personal computer, sold. Intel release the first

Data General Nova launched

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UNIX developed at AT&T

Doug Engelbart demonstrates ‘Augment’, the first interactive computer system

Mainframe computers using Integrated Circuits appear

Gordon Moore predicts computer power would double every year

IBM introduce System/360, a family of compatible computers

Ivan Sutherland develops the ‘Sketchpad’ CAD software for the TX-2 computer

Doug Engelbart develops the computer mouse

DEC PDP-1

First Integrated Circuit developed by Jack Kilby at Texas Instruments

Ferranti Pegasus built

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1975

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1971

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The transistorised computer, the TX-0 built at MIT

IBM’s first Electronic Computer, the IBM 701 built

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1970

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Prototype transistor based computer built at Manchester University

The first commercial computers sold: Ferranti Mark 1, LEO and UNIVAC I

Turing’s Pilot ACE completed at National Physical Laboratory l l l

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Manchester Mark 1 built at Manchester University

Manchester ‘Baby’ (first stored program computer) trialled l

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EDSAC built at Cambridge University

IBM SSEC completed

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1961

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The first transistor developed at Bell Labs

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1956

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IBM ASCC (Harvard Mark-1) completed

Atanasoff-Berry Computer (ABC) built

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1950

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1946

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Konrad Zuse Z3 computer built l

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timeline (1821 to 1849)

(1834 to 1871)

Difference Engine

The familiar and often retold version of events is that Babbage and his friend, the mathematician and astronomer John Herschel, were checking manually prepared mathematical tables in 1821, when the frequently occurring discrepancies caused Babbage to proclaim “I wish to God these calculations had been executed by steam”. Realising the possibilities of the statement, he devoted the rest of his life to creating a machine that could automatically and accurately solve complex mathematical calculations.

Analytical Engine

date of design work 1821-1849

As the leading expert on the subject, Doron Swade, once wrote, the celebrated mathematician Charles Babbage is equally famous for two things: for inventing vast computers, and for failing to build them.

diffe r e n c e e n gin e

designer charles BaBBage

description a mechanical calculating machine driven by hand crank, in total consisting of 8,000 precision-machined steel and bronze components in a cast iron frame, weighing between 4 and 5 tonnes and measuring 3 1/3 metres (11ft) long by 2 ¼ metres (7ft) high and 1 1/4 metres (4ft) deep. on the right hand side is the control mechanism and crank, the central part with eight vertical columns is the calculating section, and the printing section is on the left.

project The Difference engine

Construction of the Difference Engine No. 2 built by the Science Museum in London, completed in 2002.

M ain fr a M e s a n d Minic o M p ute r s

client The BriTish governmenT, UK

Bloomsbury Academic

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IBM SCAMP

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www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk

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PRODUCT DESIGN/ HISTORY AND CULTURE OF DESIGN Retro A Guide to the Mid-20th Century Design Revival Adrian Franklin Why are we now in the middle of a love affair with objects and designs from the mid-twentieth century? What unique qualities do they share that make them so special? Using one of the most spectacular displays of retro objects ever assembled, and covering all the bases – furniture, fashion, ceramics, technology, metal, graphics, plastic and glass – twentieth-century expert Adrian Franklin provides the answers. Spanning the period from the 1950s to the 1980s and beyond, and with international coverage, the book identifies the designers, manufacturers, brands, innovations, technologies and materials that transformed the world and still cast their magic spell.

UK March 2013 • US May 2013

Authoritative, entertaining and beautiful, Retro is itself an object to be treasured.

256 pages • 735 colour illus

Adrian Franklin is currently Professor of Sociology at the University of Tasmania, Australia.

244 x 270mm / 9.6 x 10.6 in PB 9780857858504 • £24.95 / $49.95 World English (excluding Australia/New Zealand) Bloomsbury Academic

retro

The Brionvega rr126 radiogram, 1965 CampBell BiCkersTaff = Curator, SCienCe and induStry, powerhouSe muSeum

The Brionvega RR126 was nicknamed the ‘Musical Pet’; a moniker drawn from its zoomorphic features – the symmetrical arrangement of the dials and controls, pedestal legs on casters demonstrating certain ‘mobility’ and speakers that hang like ears on the sides of the body. Designed by the Castiglioni brothers, Achille and Pier Giacomo, the radiogram reflects their maxim that design must restructure an object’s function, form and production process. This belief led them to reinvent many of the products they were commissioned

to design. Over the latter half of the twentieth century, they produced a body of work that influenced product designers internationally, and their work is represented in public and private collections in Europe, North America, Asia and Australia. Brionvega was one of many Italian manufacturers of domestic consumer goods that encouraged flamboyance in product design, without deviating too far from function. The company engaged outstanding Italian industrial designers of the time, including Marco Zanuso, Rich-

ard Sapper, Mario Bellini and Ettore Sottsass. Many examples of Brionvega products designed in the 1960s rejected existing forms in favour of startlingly new interpretations, using new production methods and materials, and positioning the company as avant-garde. As a result, many Brionvega designs continue in production today, including a contemporary variant of the RR126 – the RR226 – which includes a CD player. This kind of longitudinal product lifespan validates the Italian manufacturer’s commitment to modernism.

‘rr126’ stereo radiogram, designed by Achille and Pier Giacomo Castiglioni, manufactured by Brionvega, Milan, italy, 1966. While other manufacturers of high fidelity equipment were at this time exploring the separation of components, the Castiglioni brothers went against this trend, seeking to mould this domestic technological product into a piece of furniture that would sit comfortably alongside forms coherent with (1960s) modern interiors and furnishing Powerhouse Museum collection

42 ‘up 1’ chair, C and B italia, italy, 1969 Powerhouse Museum collection

as with the ‘Contour Chair’, Grant Featherston took what was clearly a great design and made it better – and more popular – in this case by inserting a sound system into the wing backs. Inflatable plastic divans and sofas made an appearance at this time and enabled a crossover/hybrid between furniture and sculpture. De Pas, Lomazzi and Scolari’s ‘Divano Gonfiabile’

and De Pas, D’urbino and Lomazzi’s ‘Joe Chair’ are good examples but many more followed. along the same sculptural lines, the world very much enjoyed the ‘Marilyn’ sofa design by Studio65 in 1970, Magistretti’s ‘veranda 3’ sofa in 1973 and Frank Gehry’s playful and surprising ‘wiggle Chair’ that was made from cardboard.

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Retro Style Class, Gender and Design in the Home Sarah Elsie Baker Retro Style: Class, Gender and Design in the Home is the first book to explore the modern position of retro by asking important questions around the emergence of the trend, it’s impact on production and consumption and how it manifests itself in the contemporary interior. Examining themes ranging from design, taste and the aestheticisation of everyday life to the bohemianisation of popular culture, the book provides a fascinating insight into how retro has shaped modern interior design. Sarah Elsie Baker is Lecturer in Culture and Context at the School of Design, Victoria University of Wellington, New Zealand.

contents

Illustrations • Acknowledgements • Introduction • The Definitions and Distinctions of Retro Style • Retro Style and the Cultural Politics of Everyday Life • A History of the Retro Aesthetic • Retailing Retro • Retro Interiors and Lifestyle Media • Retro Homes, Taste and Cultural Distinction • Retro Femininities and Domestic Labour • Conclusion • Appendix • References • Index

UK July 2013 • US August 2013 256 pages • 25 bw illus 234 x 156mm / 9.2 x 6.1 in PB 9780857851086 • £19.99 / $29.95 HB 9780857851079 • £55.00 / $99.95 Individual eBook 9780857851093 • £19.99 / $30.99 Bloomsbury Academic

www.bloomsbury.com • US, Canada, South America • 888-330-8477 • customerservice@mpsvirginia.com

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PRODUCT DESIGN/ HISTORY AND CULTURE OF DESIGN TEXTBOOK

Scandinavian Design Alternative Histories Edited by Kjetil Fallan “The book brings together new information, new approaches and a new set of narratives that make us look again at the idea of Scandinavian design. These alternative histories challenge existing orthodoxies and, as such, are guaranteed to become key design historical texts of the 21st century.” Penny Sparke, Kingston University, London, UK Scandinavian Design: Alternative Histories presents a radically new assessment, a corrective to the persistent mythologies and reductive accounts of Scandinavian design. The book brings together case studies from the early twentieth century to today. Drawn from fields as diverse as transport, engineering, packaging, photography, law, interiors, and corporate identity, these studies tell new or unfamiliar stories about the production, mediation and consumption of design. An alternative history is created, one much more alive to national and regional differences and to types of product. Kjetil Fallan is Associate Professor of Design History in the Department of Philosophy, Classics, History of Art and Ideas at the University of Oslo, Norway.

UK February 2012 • US April 2012 288 pages • 51 bw illus • 234 x 156mm / 9.2 x 6.1 in PB 9781847889119 • £19.99 / $34.95 HB 9781847889126 • £60.00 / $99.95 Berg Publishers

Made in Italy Rethinking a Century of Italian Design Edited by Grace Lees-Maffei and Kjetil Fallan Goods made or designed in Italy enjoy a disproportionately high profile, even though, in terms of global manufacturing, Italy’s output is relatively modest. Made In Italy is the first critical study of Italian design to explore this phenomenon, analysing the significance of design from Italy and how its influence upon international design and consumerism has become so renowned and inflated by various media and design criticism. Using examples from a wide range of Italian design – from designers such as Gio Ponti and Andrea Branzia, to the urban landscape of the country itself – the book explores the historical, cultural and social influences that dictated design in Italy, and how these iconic designs have shaped and contributed to the modern canon of Italian inspired products. Grace Lees-Maffei is Reader in Design History in the School of Creative Arts at the University of Hertfordshire, UK. Kjetil Fallan is Associate Professor of Design History in the Department of Philosophy, Classics, History of Art and Ideas at the University of Oslo, Norway.

UK November 2013 • US January 2014 288 pages • 246 x 189mm / 9.7 x 7.4 in PB 9780857853899 • £24.99 / $39.95 HB 9780857853882 • £75.00 / $125.00 Individual eBook 9780857853905 • £24.99 / $37.99 Bloomsbury Academic

TEXTBOOK

The Fundamentals of Product Design

Basics Product Design 01: Idea Searching

Basics Product Design 03: Visual Conversations

Richard Morris

David Bramston

2009 • 184 pages 200 colour illus • 230 x 200mm / 9.1 X 7.9 in PB 9782940373178 • £22.95 / $34.95 Library eBook 9782940439218 • £66.00 / $106.00 Series: Fundamentals • AVA Publishing

2008 • 176 pages 200 colour illus • 230 x 160mm / 9.1 X 6.3 in PB 9782940373765 • £23.50 / $29.95 Library eBook 9782940439638 • £69.00 / $111.00 Series: Basics • AVA Publishing

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2009 • 184 pages 200 colour illus • 230 x 160mm / 9.1 X 6.3 in PB 9782940411092 • £19.95/$29.95 Library eBook 9782940439430 • £60.00 / $96.00 Series: Basics • AVA Publishing

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Basics Product Design 02: Material Thoughts Designing Things David Bramston 2009 • 184 pages • 200 colour illus • 230 x 160mm / 9.1 X 6.3 in PB 9782940373871 £17.95 / $29.95 Library eBook 9782940439287 • £51.00 / $82.00 Series: Basics • AVA Publishing

A Critical Introduction to the Culture of Objects Prasad Boradkar 2010 • 336 pages • 100 bw illus • 244 x 172mm / 9.6 X 6.8 in PB 9781845204273 • £19.99 / $34.95 • HB 9781845204266 • £55.00 / $99.95 Berg Publishers

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HISTORY AND CULTURE OF DESIGN A Cultural History of Gardens

The definitive overview on gardens through history

6 Volume Set Edited by Michael Leslie and John Dixon Hunt

A Cultural History of Gardens presents an authoritative survey from ancient times to the present. This set of six volumes covers over 2500 years of gardens as physical, social and artistic spaces. Each volume discusses the same themes in its chapters: Design; Types of Gardens; Planting; Use and Reception; Meaning; Verbal Representations; Visual Representations; Gardens and the Larger Landscape. This structure means readers can either have a broad overview of a period by reading a volume or follow a theme through history by reading the relevant chapter in each volume. Superbly illustrated, the full six volume set combines to present the most authoritative and comprehensive survey available on gardens through history. Michael Leslie is Professor of English at Rhodes College, USA. John Dixon Hunt is Professor Emeritus at the University of Pennsylvania, USA.

contents

Volume One: A Cultural History of Gardens in Antiquity Edited by Kathryn Gleason, Cornell University, USA Volume Two: A Cultural History of Gardens in the Middle Ages Edited by Michael Leslie, Rhodes College, USA Volume Three: A Cultural History of Gardens in the Renaissance Edited by Elizabeth Hyde, Kean University, USA

UK February 2013 • US April 2013 1,600 pages • 300 bw illus 244 x 172mm / 9.6 x 6.8 in HB Set 9781847882653 • £350.00 / $550.00 Series: The Cultural Histories Series Bloomsbury Academic

Volume Four: A Cultural History of Gardens in the Age of Enlightenment Edited by Stephen Bending, University of Southampton, UK Volume Five: A Cultural History of Gardens in the Age of Empire Edited by Sonja Dümpelmann, College of Agriculture and Natural Resources, USA Volume Six: A Cultural History of Gardens in the Modern Age Edited by John Dixon Hunt, University of Pennsylvania, USA

TEXTBOOK

Design History

Edited by Grace Lees-Maffei and Rebecca Houze

Understanding Theory and Method

“An essential resource for understanding the history of design, the development of the discipline, and contemporary issues in design history and practice.” New Design

Kjetil Fallan

“The Design History Reader will be of enormous benefit to the field. It includes both an excellent collection of essays on the history of design and essential material related to methods and themes. The scope of this book is remarkable.” David Brody, Parsons, the New School for Design, NY, USA

“A massively useful resource.” Paul Atkinson, Sheffield Hallam University, UK

“In this resource, not only are the chosen writings excellent examples, but the structure of the book itself is a model of clarity ... A very useful, eclectic and elegant resource for understanding and exploring the history and development of design. Its range ... is impressive, and it would prove an excellent model and introductory resource.” The Higher Education Academy, UK

“The standard historiographic reading for students of design history.” Design Issues

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The Design History Reader

“Thoughtful and provocative ... a timely contribution to the field.” Design and Culture 2010 • 224 pages • 20 bw illus 189 x 150mm / 7.4 x 6 in PB 9781847885371 • £16.99 / $29.95 HB 9781847885388 • £50.00 / $89.95 Individual eBook 9781847887030 • £16.99 / $26.99 World English (excluding USA) Berg Publishers

2010 • 544 pages • 70 bw illus 244 x 189mm / 9.6 x 7.4 in PB 9781847883896 • £24.99 / $39.95 HB 9781847883889 • £70.00 / $129.95 Berg Publishers

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HISTORY AND CULTURE OF DESIGN Oral History in the Visual Arts Edited by Linda Sandino and Matthew Partington Interviews are becoming an increasingly dominant research method in art, craft, design, fashion and textile history. This groundbreaking text demonstrates how artists, writers and historians deploy interviews as creative practice, as ‘history’, and as a means to insights into the micro-practices of arts production and identity that contribute to questions of ‘voice’, authenticity, and authorship. Through a wide range of case studies from international scholars and practitioners across a variety of fields, the volume maps how oral history interviews contribute to a relational practice that is creative, rigorous and ethically grounded. Linda Sandino is the CCW/V&A Senior Research Fellow at the Victoria & Albert Museum, London, UK. Matthew Partington is the V&A Museum Senior Research Fellow (Applied Arts) at the University of West England and a Research Fellow at the Victoria & Albert Museum, London, UK.

UK February 2013 • US April 2013 224 pages • 32 bw and 24 colour illus 244 x 189mm / 9.7 x 7.4 in PB 9780857851987 • £19.99 / $29.95 HB 9780857851970 • £55.00 / $99.95 Individual eBook 9780857852007 • £19.99 / $30.99 Library eBook 9780857851994 • £60.00 / $96.00 Bloomsbury Academic

Plate 7. Making in Interaction. The work of Intelligent Trouble, 2011. (Photographer: David Gates).

Plate 2. Michael McMillan, A Living Room Surrounded by Salt, (Instituto Buena Bista/The Center for Contemporary Curacao Art, 2008). (Image courtesy of Michael McMillan).

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Design Anthropology Theory and Practice Edited by Wendy Gunn, Ton Otto and Rachel Charlotte Smith Design Anthropology is written by anthropologists who actively participate in the development of design anthropology. Comprising both cutting-edge explorations and theoretical reflections, it provides a muchneeded introduction to the concepts, methods, practices and challenges of this emerging area of study. The authors address the critical potential of design anthropology in a wide range of design activities across the globe and query the impact of design on the discipline of anthropology. • Four major sections address the central aspects of design anthropology: The development of key concepts, the materiality of design, the temporality of design and the relationality of design • Eminent scholars George Marcus and Keith Murphy contribute an epilogue that places design anthropology within the wider fields of anthropology and design Wendy Gunn is Associate Professor of Design Anthropology at Mads Clausen Institute, University of Southern Denmark, Denmark. Ton Otto is Professor of Anthropology at James Cook University, Australia and Aarhus University, Denmark. Rachel Charlotte Smith is an anthropologist working in the fields of media, technology and design at Aarhus University, Denmark.

UK August 2013 • US October 2013 256 pages • 31 colour illus 234 x 156mm / 9.2 x 6.1 in PB 9780857853691 • £19.99 / $29.95 HB 9780857853684 • £55.00 / $99.95 Individual eBook 9780857853714 • £19.99 / $30.99 Library eBook 9781472518231 • £60.00 / $96.00 Bloomsbury Academic

www.bloomsbury.com • UK, Europe, ROW • +44 (0)1256 302699 • direct@macmillan.co.uk

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craft TEXTBOOK

The Invention of Craft Glenn Adamson “Once again, Glenn Adamson has proven adept at pinpointing the hot-button issues in modern craft. The Invention of Craft takes historical ideas about craft that have been canonized in craft scholarship and turns them on their head. His controversial assertions and excellent examples will have scholars and makers buzzing for years.” Sandra Alfoldy, Nova Scotia College of Art & Design, NS, Canada Glenn Adamson’s last book, Thinking Through Craft (below), offered an influential account of craft’s position within modern and contemporary art. Now, in his engaging sequel, The Invention of Craft, Adamson searches out the origins of modern craft, skilfully demonstrating how it was invented as industry’s counterpart. Taking examples from a wide range of disciplines, from wood-carving and iron-casting to fashion and design, Adamson investigates the origins of craft and its historical significance on contemporary design practice. Glenn Adamson is Head of Graduate Studies and Deputy Head of Research at the Victoria & Albert Museum, UK.

UK February 2013 • US April 2013 256 pages • 70 bw and 16 colour illus 244 x 172mm / 9.6 x 6.8 in PB 9780857850669 • £16.99 / $29.95 HB 9780857850645 • £55.00 / $94.95 Bloomsbury Academic

Collaboration Through Craft Edited by Amanda Ravetz, Alice Kettle and Helen Felcey “An extraordinary resource!” Anne Wilson, School of the Art Institute of Chicago, USA “A ground-breaking book.” Matthew Partington, Research Fellow at the Victoria & Albert Museum, London, UK With cutting-edge essays by established makers and artists such as Allison Smith (US) and Brass Art (UK), curator Lesley Millar, textile designer Trish Belford and distinguished thinker Glenn Adamson, Collaborating Through Craft offers a challenging new argument for the collaborative power of craft, analysing the philosophies, politics and practicalities of collaborative craft work. The book is accessibly organised into four sections covering the cooperation and compromises required by the collaborative process; the potential of technological advances for the field of craft; the implications of cross-disciplinary and cross-cultural collaborations for authority and ownership; and the impact of crafted collaborations on the institutions where we work, learn and teach. Amanda Ravetz is Senior Research Fellow at MIRIAD, Manchester Metropolitan University, UK. Alice Kettle is Senior Research Fellow at MIRIAD, Manchester Metropolitan University, UK. Helen Felcey is Programme Leader for MA Design at Manchester School of Art, Manchester Metropolitan University, UK.

UK July 2013 • US September 2013 224 pages • 39 bw and 8 colour illus 234 x 156mm / 9.2 x 6.1 in PB 9780857853929 • £19.99 / $34.95 HB 9780857853912 • £55.00 / $99.95 Individual eBook 9780857854346 • £19.99 / $30.99 Bloomsbury Academic

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Thinking through Craft

Glenn Adamson

“Thought-provoking, revealing, opinionated, intelligent, accessible and comprehensive ... a huge achievement.” Crafts Magazine

“A path-breaking book.” Elissa Auther, University of Colorado, USA

2009 • 672 pages • 75 bw illus 244 x 189mm / 9.6 x 7.4 in PB 9781847883032 • £24.99 / $39.95 HB 9781847883049 • £70.00 / $129.95 Berg Publishers

2007 • 224 pages • 44 bw and 16 colour illus 234 x 156mm / 9.2 x 6.1 in PB 9781845206475 • £15.99 / $29.95s HB 9781845206468 • £53.00 / $104.95 Berg Publishers

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The Craft Reader

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JOURNALS An International Refereed Journal for All Aspects of Design

16 THE DESIGN JOURNAL VOLUME 16 ISSUE 1 MARCH 2013

The Official Journal of the European Academy of Design (EAD)

Editorial

Theory, Practice and the Profession Rachel Cooper

Articles

Mediation of Conflicts through Design: How American Execution Chambers Represent Conflicting Social Perspectives Amod Damle Assessing Lifetime Homes Standards and Part M Building Regulations for Housing Design in the UK Clíona Rooney, Karim Hadjri and Cathy Craig Couples’ Wear in Korea: Expression of Relationship Status and Identity through Fashion Judy Park

Edited by Rachel Cooper

A Systematic Review of the Relations between Industrial Design Education and Industry in Turkey through SWOT Analysis Onder Erkarslan

THE DESIGN JOURNAL VOLUME 16/ ISSUE 1/ MARCH 2013

The Design Journal

“The Design Journal is the essential academic journal in its field. The journal contains timely and relevant research from across the globe and is the prime source of information for practitioners and academics in design, business, branding, marketing communication and strategy.” Margaret Bruce, Manchester Business School, UK

THE DESIGN JOURNAL VOLUME 16/ ISSUE 1/ MARCH 2013

An international refereed journal for all aspects of design

Architectural Design Students’ Explorations through Conceptual Diagrams Fehmi Dogan Shaping Sustainable Fashion: Changing the Way We Make and Use Clothes edited by Alison Gwilt and Timo Rissanen Pammi Sinha

Book Review

Online at www.ingentaconnect.com

Edited by Rachel Cooper

ISBN 978 1 4725 1810 1 ISSN 1460-6925

“The Design Journal has established itself as one of the leading journals in its discipline, with an international reputation for the quality and content of its papers.” Michael Tovey, Coventry University, UK www.bloomsbury.com ISBN 978-1-4725-1810-1

90100

9 781472 518101

Established in 1998, The Design Journal is an international peer-reviewed journal covering all aspects of applied design. It publishes thought-provoking work that has a direct impact on design knowledge and challenges assumptions and methods, while being open-minded about the evolving role of design.

4 issues per year: March, June, September, December ISSN: 1460-6925 • e-ISSN: 1756-3062

The journal provides an international forum for all design professionals, researchers, educators and managers. Its content, which has a direct impact on design knowledge and practice, encourages discussion across traditional boundaries between practice and theory, and between disciplines defined by working media, materials and areas of application.

Only available on subscription www.bloomsbury.com/designjournal

Rachel Cooper is Professor of Design Management at the University of Lancaster, UK. She is Chair of Lancaster Institute for the Contemporary Arts and also ImaginationLancaster.

Design and Culture

The official publication of the Design Studies Forum (DSF)

Academe and Design Writing Introduction: Design Writing Today Elizabeth Guffey

Edited by Elizabeth Guffey, Carma Gorman, Matt Soar and Sarah Teasley

Research Writing in Design Meredith Davis De-tooling Design History: To What Purpose and for Whom Do We Write? Kjetil Fallan

Changes in Design Criticism Peter Hall

Becoming a Discipline: Problems in the Emergence of Design Criticism as a Field of Inquiry Deborah Littlejohn

Writing Design Criticism into History Teal Triggs

“A fine choice for academic libraries serving students and researchers in design or cultural studies.” Library Journal On Design Writing Anne-Marie Willis

Articles Design in the Age of Prosumption: The Craft of Design after the Object Stephen Knott Bricolage, Hybridity, Circularity: Crafting Production Strategies in Critical and Conceptual Design Catharine Rossi

Volume 5 Issue 1 March 2013

The Journal of the Design Studies Forum

ONLINE AT WWW.INGENTACONNECT.COM

Volume 5 Issue 1 March 2013

I Cling to Virtue: An Exhibition Review and Statement of Practice Stephen Hayward, Keith Jones, Noam Toran, and Onkar Kular The Object Strikes Back: An Interview with Graham Harman Lucy Kimbell

Design is a vibrant field. The so-called ‘edges’ are increasingly becoming its driving forces. Crossovers between traditional design disciplines and other professions are becoming enriched. Cover image: Makerbot’s 3D printer The Replicator™ with a printed chess set. ISSN 1754-7075 ISBN TBC

Design and Culture occupies a vital role in tackling these changes head-on by situating design within the full range of cultural contexts. It also examines design in relation to other academic disciplines, including marketing, management, cultural studies, anthropology, material culture, geography, visual culture and political economy. www.bloomsbury.com

Elizabeth Guffey is Professor of Art History at Purchase College, State University of New York, USA. Carma Gorman is Associate Professor of Art History at Southern Illinois University, USA. Matt Soar is Associate Professor of Communication Studies at Concordia University, Canada. Sarah Teasley is programme tutor in History of Design and liaison tutor in Critical & Historical Studies at the Royal College of Art, London, UK.

Volume 5 Issue 1 March 2013

3 issues per year: March, July, November ISSN: 1754-7075 • e-ISSN: 1754-7083 Only available on subscription www.bloomsbury.com/designandculture

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JOURNALS The Journal of Modern Craft Edited by Glenn Adamson, Tanya Harrod and Edward S. Cooke Jr “This is a worthy addition to collections of scholarly art journals” Library Journal “New technologies, concerns for sustainability, globalization and shifting manufacturing centers are all changing the world, yet craft values remain central to what many of us care about. The Journal of Modern Craft offers a welcome forum to discuss these many facets of working in the crafts across art, design and society.” Grace Cochrane, Former senior curator, Powerhouse Museum, Sydney, Australia The Journal of Modern Craft is the first peer-reviewed academic journal to provide an interdisciplinary and international forum focusing on craft in all its historical and contemporary manifestations. Special emphasis is placed on studio practice and on the transformations of indigenous forms of craft activity throughout the world. The journal also explores the relevance of craft within new media, folk art, architecture, design, contemporary art, and other fields. Glenn Adamson is Head of Graduate Studies and Deputy Head of Research at the Victoria & Albert Museum, UK. Tanya Harrod is an independent scholar. Edward S.Cooke, Jr is Professor of American Decorative Arts at Yale University, USA.

3 issues per year: March, July, November ISSN: 1749-6772 • e-ISSN: 1749-6780 Available on subscription and as a single issue www.bloomsbury.com/journalofmoderncraft Single Issue: £19.99 / $35.95

NEW IN 2014

Luxury History, Culture, Consumption Edited by Jonathan Faiers and Shannon Bell Price Luxury: History, Culture, Consumption will be the first truly interdisciplinary, academic journal devoted to luxury. It considers luxury in broad socio-cultural contexts, exploring and interrogating both our historical and contemporary understanding of the term. Within the context of the contemporary global economic recession, our consumption of luxury is being questioned and transformed, with notions of ‘affordable luxury’, ‘sustainable luxury’ and even ‘luxury for less’ suggesting a new discourse. At the same time, the demand for luxury goods and services on a global scale is at an unprecedented level. Luxury examines all aspects of the subject: its historical formation and understanding, its contemporary global political and economic function, alongside an exploration of how the concept of luxury remains an impetus for design, popular culture, literature and fine art. Jonathan Faiers is a Reader in Fashion and Textiles at Winchester School of Art at the University of Southampton, UK. Shannon Bell Price is Assistant Chair of Fashion at the Pratt Institute, New York, USA.

Launching in November: 1 issue in 2014 ISSN: 2051-1817 • e-ISSN: 2051-1825 Only available on subscription www.bloomsbury.com/luxury

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index Aono-Billson, Nigel.................................................................... 17 Adamson, Glenn.................................................................. 31, 33 Advertising................................................................................... 23 Alacovska, Ana........................................................................... 23 Allanwood, Gavin....................................................................... 10 Ambrose, Gavin................................. 10, 14, 15, 16, 17, 20, 21 Anderson Feisner, Edith........................................................... 21 Art Directors Annual: 91............................................................ 22 Art Directors Club...................................................................... 22 Aspelund, Karl.......................................................................... 4, 6 Atkinson, Harriet...........................................................................9 Atkinson, Paul............................................................................. 26 Aynsley, Jeremy............................................................................9 Baker, Sarah Elsie..................................................................... 27 Baldwin, Jonathan..................................................................... 17 Banham Lectures, The..................................................................9 Barfoot, Caroline........................................................................ 23 Basics Advertising 01: Copywriting........................................ 23 Basics Advertising 02: Art Direction....................................... 23 Basics Design 01: Format......................................................... 14 Basics Design 02: Layout.......................................................... 17 Basics Design 03: Typography................................................. 20 Basics Design 05: Colour........................................................... 21 Basics Design 07: Grids............................................................. 14 Basics Graphic Design 01: Approach and Language.......... 17 Basics Graphic Design 02: Design Research........................ 15 Basics Graphic Design 03: Idea Generation.......................... 15 Basics Illustration 01: Thinking Visually................................ 19 Basics Illustration 02: Sequential Images............................. 19 Basics Illustration 03: Text and Image................................... 19 Basics Illustration 04: Global Contexts................................... 19 Basics Interactive Design 01: Interface Design.................... 10 Basics Interactive Design 02: User Experience Design...... 10 Basics Marketing 01: Consumer Behaviour.......................... 23 Basics Marketing 02: Online Marketing................................. 23 Basics Product Design 01: Idea Searching........................... 28 Basics Product Design 02: Material Thoughts...................... 28 Basics Product Design 03: Visual Conversations................ 28 Basics Typography 02: Using Type.......................................... 20 Basics Typography 03: Understanding Type......................... 20 Beare, Peter................................................................................. 10 Becoming a Successful Illustrator.......................................... 19 Becoming Human by Design.......................................................8 Beautiful Thing...............................................................................6 Bell Price, Shannon................................................................... 33 Best, Kathryn.............................................................................. 24 Bestley, Russell.......................................................................... 17 Boradkar, Prasad....................................................................... 28 Bowdery, Robert......................................................................... 23 Bramston, David......................................................................... 28 Brand-driven Innovation............................................................ 24 Brazell, Derek............................................................................. 19 Brody, David....................................................................................6 Bruton, Dean............................................................................... 11 Buchanan, Richard.......................................................................9 Burtenshaw, Ken........................................................................ 23 By Design.........................................................................................9 Caplan, Ralph.................................................................................9 Clark, Hazel....................................................................................6 Clay, Robert.....................................................................................6 Collaboration Through Craft..................................................... 31 Collins, Hilary.............................................................................. 24 Color and Design......................................................................... 21 Color Studies................................................................................ 21 Colson, Richard.......................................................................... 10 Cooke Jr, Edward S................................................................... 33 Cooper, Rachel..................................................................... 24, 32 Cracking the Whip..........................................................................9 Craft Reader, The......................................................................... 31 Creative Industries...................................................................... 23

Creative Research....................................................................... 24 Cross, Nigel.....................................................................................9 Crouch, Christopher.....................................................................8 Crow, David.................................................................................. 17 Cultural History of Gardens, A.................................................. 29 Davies, Jo..................................................................................... 19 Davis, Melissa............................................................................. 23 Delete............................................................................................. 26 DeLong, Marilyn......................................................................... 21 Design and Culture..................................................................... 32 Design and Designing...................................................................5 Design Anthropology.................................................................. 30 Design as Politics........................................................................ 13 Designed World, The......................................................................9 Design Futuring........................................................................... 13 Design Genius.............................................................................. 16 Design Journal, The.................................................................... 32 Designing.........................................................................................4 Designing Things......................................................................... 28 Designing with Color.................................................................. 21 Design Management.................................................................. 24 Design Process, The......................................................................6 Design Studies................................................................................6 Design Thinking..............................................................................9 Digital Design............................................................................... 11 Dixon Hunt, John........................................................................ 29 Doing Research in Design............................................................8 Doordan, Dennis............................................................................9 Dorosz, Chris............................................................................... 21 Edward, Russell......................................................................... 23 Evans, Chris....................................................................................5 Faiers, Jonathan......................................................................... 33 Fallan, Kjetil.......................................................................... 28, 29 Felcey, Helen............................................................................... 31 Franklin, Adrian.......................................................................... 27 Fry, Tony....................................................................................8, 13 Fundamentals of Branding, The.............................................. 23 Fundamentals of Creative Advertising, The.......................... 23 Fundamentals of Creative Design, The.................................. 17 Fundamentals of Design Management, The......................... 24 Fundamentals of Digital Advertising, The............................. 22 Fundamentals of Digital Art, The............................................. 10 Fundamentals of Graphic Design, The................................... 17 Fundamentals of Illustration, The........................................... 18 Fundamentals of Interactive Design, The.............................. 10 Fundamentals of Marketing, The............................................. 23 Fundamentals of Product Design, The....................................28 Fundamentals of Sonic Art & Sound Design, The................ 10 Fundamentals of Typography, The.......................................... 20 Garner, Steven...............................................................................5 Giard, Jacques............................................................................ 12 Gibbs, Tony................................................................................... 10 Good............................................................................................... 17 Gorman, Carma.......................................................................... 32 Graphic Art of the Underground, The..................................... 16 Guffey, Elizabeth........................................................................ 32 Gunn, Wendy............................................................................... 30 Handbook of Design for Sustainability, The.......................... 12 Handbook of Design Management, The................................. 24 Hann, Michael................................................................................7 Hands, David............................................................................... 24 Harkins, Michael........................................................................ 20 Harris, Paul.......................................................14, 16, 17, 20, 21 Harrod, Tanya.............................................................................. 33 Hodges, Jo................................................................................... 22 Houze, Rebecca.......................................................................... 29 Illustration.................................................................................... 19 Invention of Craft, The................................................................ 31 Journal of Modern Craft, The.................................................... 33 Junginger, Sabine...................................................................... 24

Kettle, Alice.................................................................................. 31 Layout Book, The......................................................................... 17 Lees-Maffei, Grace......................................................... 8, 28, 29 Leonard, Neil............................................................................... 15 Leslie, Michael............................................................................ 29 Linford, Chris............................................................................... 22 Lockwood, Thomas................................................................... 24 Long, James Thomas............................................................... 21 Lopes, Abby................................................................................. 12 Lowey, Ian.................................................................................... 16 Luxury............................................................................................ 33 Made in Italy................................................................................. 28 Mahon, Nik................................................................................... 23 Male, Alan..................................................................................... 19 Margolin, Victor......................................................................9, 25 Martinson, Barbara................................................................... 21 Moeran, Brian............................................................................. 23 More Than a Name..................................................................... 23 Morris, Richard........................................................................... 28 New Munsell速 Student Color Set, The.................................... 21 Noble, Ian..................................................................................... 17 Noel, Hayden............................................................................... 23 Oral History in the Visual Arts.................................................. 30 Otto, Ton........................................................................................ 30 Packaging the Brand.................................................................. 17 Partington, Matthew................................................................. 30 Pearce, Jane...................................................................................8 Prince, Suzy................................................................................. 16 Principles and Processes of Interactive Design, The.......... 11 Production Manual, The............................................................. 17 Prototype....................................................................................... 26 Radford, Antony.......................................................................... 11 Ravetz, Amanda......................................................................... 31 Reed, Ronald............................................................................... 21 Retro.............................................................................................. 27 Retro Style.................................................................................... 27 Roberts, Lucienne...................................................................... 17 Roscam Abbing, Erik................................................................. 24 Salmond, Michael...................................................................... 10 Sandino, Linda............................................................................ 30 Scandinavian Design.................................................................. 28 Sheehan, Brian........................................................................... 23 Sherin, Aaris................................................................................ 13 Smith, Rachel Charlotte........................................................... 30 Soar, Matt..................................................................................... 32 Steane, Jamie............................................................................. 11 Sustainable Design Reader, The.............................................. 12 Sustainable Thinking.................................................................. 13 Symbol and Pattern.......................................................................7 Teasley, Sarah............................................................................. 32 Thinking through Craft............................................................... 31 Tonkinwise, Cameron............................................................... 12 Valentine, Louise........................................................................ 26 Visible Signs................................................................................. 17 Visual Communication............................................................... 17 Vision and Values in Design Management............................ 24 Visual Dictionary Design Box Set, The.................................... 16 Visual Dictionary of Illustration, The....................................... 19 Visual Dictionary of Typography, The...................................... 20 Visual Dictionary of Pre-press and Production, The........... 17 Visual Research........................................................................... 17 Walker, Helen L........................................................................... 12 Walker, Stuart............................................................................. 12 Watson, J.R.................................................................................. 21 Wigan, Mark.......................................................................... 16, 19 Wood, David................................................................................. 10 World History of Design, The.................................................... 25 Writing Design................................................................................8 Zeegen, Lawrence..................................................................... 18

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THE DESIGN JOURNAL VOLUME 16 ISSUE 1 MARCH 2013

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