Some of the most noteworthy graphic novels and comic books of recent years have been entirely autobiographical. In Graphic Subjects, Michael A. Chaney brings together a lively mix of scholars to examine the use of autobiography within graphic novels, including such critically acclaimed examples as Art Spiegelman’s Maus, David Beauchard’s Epileptic, Marjane Satrapi’s Persepolis, Alan Moore’s Watchmen, and Gene Yang’s American Born Chinese. These essays, accompanied by visual examples, illuminate the new horizons that illustrated autobiographical narrative creates. The volume insightfully highlights the ways that graphic novelists and literary cartoonists have incorporated history, experience, and life stories into their work. The result is a challenging and innovative collection that reveals the combined power of autobiography and the graphic novel.

Graphic Design, Referenced is a visual and informational guide to the most commonly referenced terms, historical moments, landmark projects, and influential practitioners in the field of graphic design. With more than 2,000 design projects illustrating more than 400 entries, it provides an intense overview of the varied elements that make up the graphic design profession through a unique set of chapters: "principles" defines the very basic foundation of what constitutes graphic design to establish the language, terms, and concepts that govern what we do and how we do it, covering layout, typography, and printing terms; "knowledge" explores the most influential sources through which we learn about graphic design from the educational institutions we attend to the magazines and books we read; "representatives" gathers the designers who over the years have proven the most prominent or have steered the course of graphic design in one way or another; and "practice" highlights some of the most iconic work produced that not only serve as examples of best practices, but also illustrate its potential lasting legacy. Graphic Design, Referenced serves as a comprehensive source of information and inspiration by documenting and chronicling the scope of contemporary graphic design, stemming from the middle of the twentieth century to today.

Take a peek inside the heads of some of the world’s greatest living graphic designers. How do they think, how do they connect to others, what special skills do they have? In honest and revealing interviews, nineteen designers, including Stefan Sagmeister, Michael Beirut, David Carson, and Milton Glaser, share their approaches, processes, opinions, and thoughts about their work with noted brand designer Debbie Millman. The internet radio talk host of Design Matters, Millman persuades the greatest graphic designers of our time to speak frankly and openly about their work. How to Think Like a Great GraphicDesigners offers a rare opportunity to observe and understand the giants of the industry. Designers interviewed include: —Milton Glaser —Stefan Sagmeister —David Carson —Paula Scher —Abbott Miler —Lucille Tenazas —Paul Sahre —Emily Oberman and Bonnie Siegler —Chip Kidd —James Victore —Carin Goldberg —Michael Bierut —Seymour Chwast —Jessica Helfand and William Drenttel —Steff Geissbuhler —John Maeda Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

Why attractive things work better and other crucial insights into human-centered design Emotions are inseparable from how we humans think, choose, and act. In Emotional Design, cognitive scientist Don Norman shows how the principles of human psychology apply to the invention and design of new technologies and products. In The Design of Everyday Things, Norman made the definitive case for human-centered design, showing that good design demanded that the user's must take precedence over a designer's aesthetic if anything, from light switches to airplanes, was going to work as the user needed. In this book, he takes his thinking several steps farther, showing that successful design must incorporate not just what users need, but must address our minds by attending to our visceral reactions, to our behavioral choices, and to the stories we want the things in our lives to tell others about ourselves. Good human-centered design isn't just about making effective tools that are straightforward to use; it's about making affective tools that mesh well with our emotions and help us express our identities and support our social lives. From roller coasters to robots, sports cars to smart phones, attractive things work better. Whether designer or consumer, user or inventor, this book is the definitive guide to making Norman's insights work for you.

Offers insight and information to help design students apply their skills to the commercial industry. Graphic design is a fast growing industry with thousands of new designers and students joining its ranks every year. The explosion of the graphic design field has resulted in the release of hundreds of new books, with subjects ranging from logo design to web design, design history to design criticism; today there are very few subjects related to the industry that have not been written about in one form or another. While the wealth of information and resources available to the graphic designer is extensive, it makes it hard to gain an overall perspective of graphic design and its practical applications in the field, as the content and subject matter of most books is very specialized. Design educators, especially at the collegiate level, have an increasingly difficult task of teaching a well-rounded course in graphic design, as they have to pull curriculum ideas from many sources, and require the students to purchase numerous texts. The Complete Graphic Designer is that well-rounded course in graphic design. It is not an instructional “how to� book, nor will it feature a series of suggested curriculum or problems for designers or students to solve. Rather, this book will be a concise overview of the many facets of graphic design, such as communication theory and why it is important; various types of problems that designers confront on a daily basis; and the considerations that must be made when trying to solve those visual problems. In addition, it features prominent designers and design firms that are renown for work in a certain type of design, and frequent “sidebars� or articles that include useful information on graphic design. This book provides a complete an comprehensive look at what graphic design is and what it means to be a graphic designer from an applied perspective, with chapters including Design for Communication, The Design Process, Page Layout, Visual Problems, Corporate Identity, and Branding.

This book mobilises the concept of kitsch to investigate the tensions around the representation of genocide in international graphic novels that focus on the Holocaust and the genocides in Armenia, Rwanda, and Bosnia. In response to the predominantly negative readings of kitsch as meaningless or inappropriate, this book offers a fresh approach that considers how some of the kitsch strategies employed in these works facilitate an affective interaction with the genocide narrative. These productive strategies include the use of the visual metaphors of the animal and the doll figure and the explicit and excessive depictions of mass violence. The book also analyses where kitsch still produces problems as it critically examines depictions of perpetrators and the visual and verbal representations of sexual violence. Furthermore, it explores how graphic novels employ anti-kitsch strategies to avoid the dangers of excess in dealing with genocide. The Representation of Genocide in Graphic Novels will appeal to those working in comics-graphic novel studies, popular culture studies, and Holocaust and genocide studies.

In Compositional Subjects Laura Hyun Yi Kang explores the ways that Asian/American women have been figured by mutually imbricated modes of identity formation, representation, and knowledge production. Kang’s project is simultaneously interdisciplinary scholarship at its best and a critique of the very disciplinary formations she draws upon. The book opens by tracking the jagged emergence of “Asian American women” as a distinct social identity over the past three decades. Kang then directs critical attention to how the attempts to compose them as discrete subjects of consciousness, visibility, and action demonstrate a broader, ongoing tension between socially particularized subjects and disciplinary knowledges. In addition to the shifting meanings and alignments of “Asian,” “American,” and “women,” the book examines the discourses, political and economic conditions, and institutional formations that have produced Asian/American women as generic authors, as visibly desirable and desiring bodies, as excludable aliens and admissible citizens of the United States, and as the proper labor for transnational capitalism. In analyzing how these enfigurations are constructed and apprehended through a range of modes including autobiography, cinematography, historiography, photography, and ethnography, Kang directs comparative attention to the very terms of their emergence as Asian/American women in specific disciplines. Finally, Kang concludes with a detailed examination of selected literary and visual works by Korean women artists located in the United States and Canada, works that creatively and critically contend with the problematics of identification and representation that are explored throughout the book. By underscoring the forceful and contentious struggles that animate all of these compositional gestures, Kang proffers Asian/American women as a vexing and productive figure for cultural, political and epistemological critique.