Showcases outstanding label, packaging, and advertising art created between 1900 and 1976 primarily in Canton, Shanghai, Hong Kong, Macau, and Singapore. Export and domestic products include tea, medicine, food, cosmetics, cigarettes, dyes, matches, phonograph records, firecrackers, and religious items. Over 400 visually captivating images make this an important resource for artists, designers, historians, and merchants.

Using a combination of explanatory text, step-by-step photographs and classic and contemporary examples, this unique survey brings together over 80 processes involved in creating lettering and applying it to surfaces. Included are hand-drawn lettering techniques (from sign writing to tattooing); dimensional lettering (hand engraving to laser cutting); typesetting (from letterpress to lettering in food); printing (Letraset to printing on bank notes); lettering on textiles (embroidery to flag-making); and illuminated type (neon signage to holography). Lettering is an essential and exhaustive reference guide for any designer wishing either to create lettering themselves or to commission work from external sources.

The Routledge Companion to Marketing History is the first collection of readings that surveys the broader field of marketing history, including the key activities and practices in the marketing process. With contributors from leading international scholars working in marketing history, this companion provides nine country-specific histories of marketing practice as well as a broad analysis of the field, including: the histories of advertising, retailing, channels of distribution, product design and branding, pricing strategies, and consumption behavior. While other collections have provided an overview of the history of marketing thought, this is the first of its kind to do so from the perspective of companies, industries, and even whole economies. The Routledge Companion to Marketing History ranges across many countries and industries, engaging in substantive detail with marketing practices as they were performed in a variety of historical periods extending back to ancient times. It is not to be missed by any historian or student of business.

Enticing, eye catching, and artistic, the graphic art of product labels from years past also offers clues to understanding the contemporary culture and ways of life of everyday consumers. Here is a showcase of remarkable packaging and advertising art created from 1890 through 1976, primarily in Canton, Shanghai, Hong Kong, Macau, and other cities of large Chinese populations. Included are more than 400 different labels for products as diverse as tea, medicines, foods, cosmetics, cigarettes, harmonicas, fabrics, matches, phonograph records, firecrackers, and incense. Designers and historians alike will appreciate how these labels employed a fascinating mixture of traditional Chinese imagery and ornamentation blended with modern Western graphic influences and later the ideology of the People's Republic of China.

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context.