TY - BOOK AU - Raizman,David Seth TI - Reading graphic design history: image, text and context SN - 9781474299411 AV - NC998 .R35 2020 U1 - 741.609 23 PY - 2020/// CY - London, New York PB - Bloomsbury Visual Arts KW - Graphic arts KW - Social aspects KW - Political aspects KW - History KW - Commercial arts KW - Graphic design Typography N1 - Includes bibliographical references and index; Josef Müller-Brockmann: “schutzt das Kind!” and the mythology of Swiss design -- Koloman Moser's Thirteenth Secession exhibition poster (1902): anatomy of a work of Viennese graphic design -- Cassandre and Dubonnet: art posters and publicité in interwar Paris -- Frank Zachary at "Holiday": travel, leisure, and art direction in post-World War II America -- Food, race, and the "New Advertising": the Levy's Jewish Rye Bread campaign 1963-1969 -- Graphic design and politics: Thomas Nast and the “Tammany Tiger loose” -- The politics of learning: Dr. John Fell and the Fell types at Oxford University in the later seventeenth century; 1 Josef Müller-Brockmann: "schutzt das Kind!" and the Mythology of Swiss Design -- 2 Koloman Moser's Thirteenth Secession Exhibition Poster (1902): Anatomy of a Work of Viennese Graphic Design -- 3 Cassandre and Dubonnet: Art Posters and Publicité in Interwar Paris -- 4 Frank Zachary at Holiday: Travel, Leisure, and Art Direction in Post-World War II America -- 5 Food, Race, and the "New Advertising": The Levy's Jewish Rye Bread Campaign 1963-1969 6 Graphic Design and Politics: Thomas Nast and the "TAMMANY TIGER LOOSE" -- 7 The Politics of Learning: Dr. John Fell and the Fell Types at Oxford University in the Later Seventeenth Century -- Bibliography -- Index N2 - "Reading Graphic Design History uses a series of key texts from the history of print culture to address issues of class, race and gender. It encourages the reader to look at print advertising, illustration, posters, magazine art direction and typography aesthetically but also critically. David Raizman's innovative approach intentionally challenges the canon of graphic design history and various traditional understandings of graphic design that have privileged certain schools or movements. He re-examines 'icons' of graphic design in light of their local contexts, avoiding generalisation to explore underlying attitudes about various social issues. He encourages new ways of reading graphic design that take into account a broader context for graphic design activity, rather than generalisations that discourage the understanding of difference and the means by which graphic design communicates cultural values"-- UR - https://login.ezproxy.pucpr.edu/login?url=https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2652705 UR - https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2652705 ER -