Graphic Design History

<p><strong>In this Section:</strong></p> <p> </p> <ol> <li>Brief Table of Contents</li> <li>Full Table of Contents</li> </ol> <p></p> <p></p> <h2>1. BRIEF TABLE OF CONTENTS</h2> <ul> <li>Chapter 1 From Prehistory to Early Writing 35,000—500 BCE</li> <li>Chapter 2 Classical Literacy 700 BCE—400 CE</li> <li>Chapter 3 Medieval Letterforms and Book Formats 400—1450</li> <li>Chapter 4 Renaissance Design: Standardization and Modularization in Print 1450—1660</li> <li>Chapter 5 Modern Typography and the Creation of the Public Sphere 1660—1800</li> <li>Chapter 6 The Graphic Effects of Industrial Production 1800—1850</li> <li>Chapter 7 Mass Mediation 1850—1900s</li> <li>Chapter 8 Formations of the Modern Movement 1880s—1910s</li> <li>Chapter 9 Innovation and Persuasion 1910—1930</li> <li>Chapter 10 The Culture of Consumption 1920s—1930s</li> <li>Chapter 11 Public Interest Campaigns and Information Design 1930s—1950s</li> <li>Chapter 12 Corporate Identities and International Style 1950s—1970s</li> <li>Chapter 13 Pop and Protest 1960s—1970s</li> <li>Chapter 14 Postmodernism in Design 1970s—1980s and Beyond</li> <li>Chapter 15 Digital Design 1970s—2000s</li> <li>Chapter 16 Graphic Design and Globalization</li> </ul> <p></p> <p></p> <h2>2. FULL TABLE OF CONTENTS</h2> <ul> <li><strong>Chapter 1: From Prehistory to Early Writing 35,000—500 BCE</strong> <ul> <li>Mark-making</li> <li>Prehistory</li> <li>Proto-writing</li> <li>Early writing</li> <li>The spread of writing as idea and script</li> <li>The alphabet</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> <li><strong>Chapter 2: Classical Literacy 700 BCE—400 CE</strong> <ul> <li>Variations of literacy and the alphabet</li> <li>The function of graphic codes</li> <li>Models of writing: gestural and constructed</li> <li>Writing at the end of the Classical age</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> <li><strong>Chapter 3: Medieval Letterforms and Book Formats 400—1450</strong> <ul> <li>Medieval culture and graphic communication</li> <li>Graphic media and contexts</li> <li>The codex book</li> <li>Letterforms, manuscript hands, and pattern books</li> <li>Graphic forms of knowledge</li> <li>Publishing communities and graphic arts</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> <li><strong>Chapter 4: Renaissance Design: Standardization and Modularization in Print 1450—1660</strong> <ul> <li>Early print design</li> <li>Graphic communication in Renaissance culture</li> <li>Print technology and type design</li> <li>Graphic forms of knowledge</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> <li><strong>Chapter 5: Modern Typography and the Creation of the Public Sphere 1660—1800</strong> <ul> <li>Printed matter and the public sphere</li> <li>Newsbooks, broadsheets, and newspapers</li> <li>Politics and the press</li> <li>Graphic arts and design</li> <li>Modern type design</li> <li>On the edge of industrialization</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> <li><strong>Chapter 6: The Graphic Effects of Industrial Production 1800—1850</strong> <ul> <li>Industrialization and visual culture</li> <li>Illustrated papers</li> <li>Book design for mass production</li> <li>Printing images</li> <li>Advertising design and typography</li> <li>Fine art and graphic art</li> <li>Critical issues</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> <li><strong>Chapter 7: Mass Mediation 1850—1900s</strong> <ul> <li>Printed mass media</li> <li>Changes in print technology</li> <li>Changing patterns in the use of graphic media</li> <li>Media networks</li> <li>Graphic design and advertising</li> <li>Posters and public space</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> <li><strong>Chapter 8: Formations of the Modern Movement 1880s—1910s</strong> <ul> <li>Responses to industrialism</li> <li>Arts and Crafts publications</li> <li>Arts and Crafts dissemination</li> <li>Art Nouveau</li> <li>Jugendstil</li> <li>Viennese design</li> <li>Decadence and Aestheticism</li> <li>The private press movement and modern design</li> <li>Integration of design and industry</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> <li><strong>Chapter 9: Innovation and Persuasion 1910—1930</strong> <ul> <li>Visual culture and avant-garde design</li> <li>The graphic impact of Futurism and Dada</li> <li>From experiment to principles</li> <li>Propaganda and mass communication studies</li> <li>Graphic persuasion and its effects</li> <li>Institutionalizing graphic design</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> <li><strong>Chapter 10: The Culture of Consumption 1920s—1930s</strong> <ul> <li>Designing the modern lifestyle</li> <li>Modern style in graphic design</li> <li>Consumer culture</li> <li>The profession</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> <li><strong>Chapter 11: Public Interest Campaigns and Information Design 1930s—1950s</strong> <ul> <li>Public interest and education</li> <li>Photojournalism and documentary</li> <li>Wartime propaganda</li> <li>Wartime information</li> <li>Commercial and technical uses of information design</li> <li>Information analysis and design process</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> <li><strong>Chapter 12: Corporate Identities and International Style 1950s—1970s</strong> <ul> <li>Image and identity systems</li> <li>International style</li> <li>Style, systems, and graphic design concepts</li> <li>Technology</li> <li>The profession</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> <li><strong>Chapter 13: Pop and Protest 1960s—1970s</strong> <ul> <li>Pop culture and style</li> <li>Self-conscious graphic design</li> <li>Slick surfaces and high production values</li> <li>Counterculture and the alternative press</li> <li>Revolutionary culture and protest</li> <li>Changes in the profession</li> <li>Critical vocabulary</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> <li><strong>Chapter 14: Postmodernism in Design 1970s—1980s and Beyond</strong> <ul> <li>Postmodern styles</li> <li>Postmodern consumption and conservatism</li> <li>Critical theory and postmodern sensibility</li> <li>Postmodernism and activism</li> <li>Changes in the profession</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> <li><strong>Chapter 15: Digital Design 1970s—2000s</strong> <ul> <li>Digital technology: from punch cards and plotters to desktop computing</li> <li>Media transitions: type design and publications</li> <li>Fluidity and functionality</li> <li>The myth of immateriality and challenges of digital design</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> <li><strong>Chapter 16: Graphic Design and Globalization</strong> <ul> <li>Globalization and design</li> <li>Global encounters in design</li> <li>Global networks and technology</li> <li>Conclusion</li> <li>Timeline</li> <li>Tools of the trade</li> </ul></li> </ul> <p></p>