Every year since 1994, scholars, critics and graphics professionals share their works on major themes that animate the graphic creation in France. the journal Graphics in France, annual review for all professional graphic design and communication. This 21st edition of Graphisme en France France reviews the topic of artistic direction in press and magazines. Several contributions testify to the rich history of this area , the practices that prevail nowadays and prospects for tomorrow.

This work covers graphic design trends and features the work of dozens of contemporary designers. It identifies and discusses the eclectic design styles of the 1980s, and thematically documents contemporary design, thus placing the achievements of these major designers in a meaningful context.

In many different parts of the world modern furniture elements have served as material expressions of power in the post-war era. They were often meant to express an international and in some respects apolitical modern language, but when placed in a sensitive setting or a meaningful architectural context, they were highly capable of negotiating or manipulating ideological messages. The agency of modern furniture was often less overt than that of political slogans or statements, but as the chapters in this book reveal, it had the potential of becoming a persuasive and malleable ally in very diverse politically charged arenas, including embassies, governmental ministries, showrooms, exhibitions, design schools, libraries, museums and even prisons. This collection of chapters examines the consolidating as well as the disrupting force of modern furniture in the global context between 1945 and the mid-1970s. The volume shows that key to understanding this phenomenon is the study of the national as well as transnational systems through which it was launched, promoted and received. While some chapters squarely focus on individual furniture elements as vehicles communicating political and social meaning, others consider the role of furniture within potent sites that demand careful negotiation, whether between governments, cultures, or buyer and seller. In doing so, the book explicitly engages different scholarly fields: design history, history of interior architecture, architectural history, cultural history, diplomatic and political history, postcolonial studies, tourism studies, material culture studies, furniture history, and heritage and preservation studies. Taken together, the narratives and case studies compiled in this volume offer a better understanding of the political agency of post-war modern furniture in its original historical context. At the same time, they will enrich current debates on reuse, relocation or reproduction of some of these elements.

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.

A revolutionary study of nineteenth-century Parisian cartography and its role in shaping a modern conception of space Maps are rarely given the same attention as other print media or art forms in urban history. Author Min Kyung Lee shows their rich potential in this lavishly illustrated study, which brings together maps and other archival materials along with drawings and paintings. She works across disciplines to examine mapping practices in the development of nineteenth-century Paris and the transformative role that urban mapping had on the city's modernization. Lee investigates Paris's formation as a modern city, ultimately framing the practice of cartography as a catalyst for the emergence of new spatial and compositional theories. Beginning with an examination of the emblematic urban plan that Napoléon III gave to the prefect of the Seine, Georges-Eugène Haussmann, in 1853, Lee explores the significance of the map itself; the means of its production through surveying; the methods of its use and reception by architects, engineers, and administrators; and its place in the visual culture of Paris's modernization. At the heart of this exploration is a focus on orthography in architecture and the new quality of exactitude in modern mapping practices. The precise grid structure of orthographic maps and plans evinced a sense of objectivity, yet it was not without political context and social consequences, as Lee demonstrates throughout.

The first comprehensive account of how and why architects learned to communicate through color Architectural drawings of the Italian Renaissance were largely devoid of color, but from the seventeenth century through the nineteenth, polychromy in architectural representation grew and flourished. Basile Baudez argues that colors appeared on paper when architects adapted the pictorial tools of imitation, cartographers' natural signs, military engineers' conventions, and, finally, painters' affective goals in an attempt to communicate with a broad public. Inessential Colors traces the use of color in European architectural drawings and prints, revealing how this phenomenon reflected the professional anxieties of an emerging professional practice that was simultaneously art and science. Traversing national borders, the book addresses color as a key player in the long history of rivalry and exchange between European traditions in architectural representation and practice. Featuring a wealth of previously unpublished drawings, Inessential Colors challenges the long-standing misreading of architectural drawings as illustrations rather than representations, pointing instead to their inherent qualities as independent objects whose beauty paved the way for the visual system architects use today.