By the time the phrase "graphic design" first appeared in print in 1922, design professionals in America had already created a discipline combining visual art with mass communication. In this book, Ellen Mazur Thomson examines for the first time the early development of the graphic design profession. It has been thought that graphic design emerged as a profession only when European modernism arrived in America in the 1930s, yet Thomson shows that the practice of graphic design began much earlier. Shortly after the Civil War, when the mechanization of printing and reproduction technology transformed mass communication, new design practices emerged. Thomson investigates the development of these practices from 1870 to 1920, a time when designers came to recognize common interests and create for themselves a professional identity. What did the earliest designers do, and how did they learn to do it? What did they call themselves? How did they organize them-selves and their work? Drawing on an array of original period documents, the author explores design activities in the printing, type founding, advertising, and publishing industries, setting the early history of graphic design in the context of American social history.
By the time the phrase "graphic design" first appeared in print in 1922, design professionals in America had already created a discipline combining visual art with mass communication. In this book, Ellen Mazur Thomson examines for the first time the early development of the graphic design profession. It has been thought that graphic design emerged as a profession only when European modernism arrived in America in the 1930s, yet Thomson shows that the practice of graphic design began much earlier. Shortly after the Civil War, when the mechanization of printing and reproduction technology transformed mass communication, new design practices emerged. Thomson investigates the development of these practices from 1870 to 1920, a time when designers came to recognize common interests and create for themselves a professional identity. What did the earliest designers do, and how did they learn to do it? What did they call themselves? How did they organize them-selves and their work? Drawing on an array of original period documents, the author explores design activities in the printing, type founding, advertising, and publishing industries, setting the early history of graphic design in the context of American social history.
From the early twentieth century until the Communist takeover in 1949, Shanghai commercial artists created thousands of colorful posters and black and white advertisements that formed an essential part of modern life in the city. This visually appealing and richly illustrated work describes the origin and evolution of modern commercial art in China, focusing on colorful advertisement calendar posters that featured distinctive feminine images. It makes clear how essential commercial art and its institutional backing were to the development of modern art and even modern society in China over the past century. Selling Happiness discusses not only advertising art but also the production and marketing of the calendar poster. These posters, like other advertisements, were rendered in a Western realistic technique and were wildly and widely popular. Ordinary people throughout China often acquired them to decorate their homes. Laing outlines how the Chinese commercial artist, who rarely attended formal Western art classes, gained skills in Western representational art. In the final chapter of the book, she explains how the styles developed by the commercial poster artists during the 1920s and 1930s became the basis for certain types of propaganda art under the Chinese Communists in the 1950s and 1960s.
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