Bloomsbury Visual Arts – serie

There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this 'atmospheric turn' owes much to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme's most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised by Böhme himself, and is the first coherent collection deploying a consistent terminology. It is a work which will provide rich references and a theoretical framework for ongoing discussions about atmospheres and their relations to architectural and urban spaces. Combining philosophy with architecture, design, landscape design, scenography, music, art criticism, and visual arts, the essays together provide a key to the concepts that motivate the work of some of the best contemporary architects, artists, and theorists: from Peter Zumthor, Herzog & de Meuron and Juhani Pallasmaa to Olafur Eliasson and James Turrell. With a foreword by Professor Mark Dorrian (Forbes Chair in Architecture, Edinburgh College of Art) and an afterword by Professor David Leatherbarrow, (Chair of the Graduate Group in Architecture, University of Pennsylvania), the volume also includes a general introduction to the topic, including coverage of it history, development, areas of application and conceptual apparatus.

Rei Kawakubo of Comme des Garçons is undoubtedly one of the world’s major fashion designers. In 2017 she was the second living designer ever to be given a retrospective at the renowned Costume Institute of the Metropolitan Museum of Art in New York. Her work has exerted an extraordinary influence over succeeding generations of designers and is a major point of reference for all those wishing to explore the place of fashion in contemporary culture.The 14 essays in this collection, written by eminent fashion theorists from around the world, explore the relationship of Kawakubo’s work to art, philosophy and architecture, and reveal how Kawakubo's creative output allows us to understand the very notion of fashion itself.

Using artworks by Berthe Morisot, Édouard Manet, Claude Monet, Pierre-Auguste Renoir, and others, The Art of Parisian Chic explores how women and artists in Impressionist Paris (1855-1885) crafted their public images to exploit and resist stereotypes.French societal expectations and beauty ideals shaped how women were seen and how they chose to present themselves in public – whether on the street, in a photograph, or in a portrait on the walls of the annual Paris Salon. On Paris’s broad new boulevards and in its public parks and theaters, women dressed to impress anonymous strangers as well as their friends. They even circulated aspirational photographs of themselves. Looking at a rich array of visual sources – from portraits to modern-life paintings, and from photographs to fashion plates – Justine De Young reveals how women were seen, how they aspired to be seen, and how they navigated public life in Second Empire and Belle Époque Paris.This book considers how fashionable feminine “types” made famous in books, caricatures, and paintings created a visual lexicon and stylistic guide for women. Men and women alike relied on these types – cocotte (mistress), jeune veuve (young widow), amazone (independent equestrienne), demoiselle de magasin (shopgirl), and Parisienne (chic Parisian woman) – to judge the class, character, morality, and worth of strangers. With a rich set of illustrations from the Impressionist canon and beyond, The Art of Parisian Chic shows how modern women used fashion and these stereotypes to construct and reinvent their identities.

Teaching Fashion Studies is the definitive resource for instructors of fashion studies at the undergraduate level and beyond. The first of its kind, it offers extensive, practical support for both seasoned instructors and those at the start of an academic career, in addition to interdisciplinary educators looking to integrate fashion into their classes.Informed by the latest research in the field and written by an international team of experts, Teaching Fashion Studies equips educators with a diverse collection of exercises, assignments, and pedagogical reflections on teaching fashion across disciplines. Each chapter offers an assignment, with guidance on how to effectively implement it in the classroom, as well as reflections on pedagogical strategies and student learning outcomes.Facilitating the integration of practice and theory in the classroom, topics include: the business of fashion; the media and popular culture; ethics and sustainability; globalization; history; identity; trend forecasting; and fashion design.

Gone are the days when fashion relied on a runway launch with coinciding press promotions to show a couturier’s new range. Today, design houses are thinking beyond traditional methods of display to stimulate interest in their collections, such as to the internet, fashion film and, more recently, fashion installations. This book offers a critical evaluation of the changing ways in which fashion has been exhibited, focusing specifically on the recent turn toward installation, whether in the form of static presentations, interactive performances or the more conventional curated designer exhibition. Connecting viewers – and consumers – on an immersive level, the fashion world has begun to appropriate installation methods traditionally associated with displays of experimental art, transcending the runway system and its constraints. This book turns to the designers who have pioneered fashion installations, such as Aitor Throup, Muccia Prada, Walter Van Beirendonck and Hussein Chalayan among others, and also looks back to the early influential fashion displays by designers such as Worth and Poiret to provide historical context. Divided into three parts, and covering a variety of installations from Vivienne Westwood’s fashioned ‘concept’ stores to Gareth Pugh’s immersive films, this ground-breaking book positions the designer as the curator and exhibition-maker and offers the first focused study of the pertinent concept of fashion installation.

CRITS: A Student Manual is a practical guide to help art and design students obtain maximum benefits from the most common method of teaching these subjects in college: the studio critique. CRITS positions studio critiques as positive, productive, and inspirational means to foster development – not occasions to be feared. It explains the requisite skills, knowledge, and attitudes for meaningful and motivational participation in critiques. CRITS teaches students the hows and whys of critiques so that they can gain enriching benefits from their instructors and peers during and after critiques.Renowned author Terry Barrett informs, guides, and reassures students on the potential value of studio critiques. Filled with real-life examples of what works well, and what doesn’t, Barrett provides readers with the tools to see crits as opportunities to participate, observe, reflect, and develop – improving art and design engagement at all levels.

This is the first anthology of fashion criticism, a growing field that has been too long overlooked. Fashion Criticism aims to redress the balance, claiming a place for writing on fashion alongside other more well-established areas of criticism.Exploring the history of fashion criticism in the English language, this essential work takes readers from the writing published in avant-garde modernist magazines at the beginning of the twentieth century to the fashion criticism of Robin Givhan—the first fashion critic to win a Pulitzer Prize—and of Judith Thurman, a National Book Award winner. It covers the shift in newspapers from the so-called “women’s pages” to the contemporary style sections, while unearthing the work of cultural critics and writers on fashion including Susan Sontag and Eve Babitz (Vogue), Bebe Moore Campbell (Ebony), Angela Carter (New Statesman) and Hilton Als (New Yorker).Examining the gender dynamics of the field and its historical association with the feminine, Fashion Criticism demonstrates how fashion has gained ground as a subject of critical analysis, capitalizing on the centrality of dress and clothing in an increasingly visual and digital world. The book argues that fashion criticism occupied a central role in negotiating shifting gender roles as well as shifting understandings of race.Bringing together two centuries of previously uncollected articles and writings, from Oscar Wilde’s editorials in The Woman’s World to the ground-breaking fashion journalism of the 1980s and today’s proliferation of fashion bloggers, it will be an essential resource for students of fashion studies, media and journalism.

For many outside of the scientific community, big data and the forms it takes, such as statistical lists, spreadsheets and graphs, often seem abstract and unintelligible. This book investigates how digital fabrication and traditional making approaches are being used to present data in newly engaging and interesting ways.The first part of the book introduces the basic premise of the data object and the concept of making digital data into a physical form. Contributors cover topics such as biometrics, new technology, the economics of data and open and community uses of data. The second part presents a selection of exemplar forms and contexts for the application of data-objects, such as smart surfaces, smart cities, augmented reality techniques and next generation technical interfaces that blend physical and digital elements.Making Data delivers the importance and likely future prevalence of physical representations of data. It explores the creative methods, processes, theories and cultural histories of making physical representations of information and proposes that the making of data into physical objects is the next important development in the data visualisation phenomenon.

Fashion illustration is skilful and inventive, and the best fashion illustrators can fulfil a brief creatively using their own unique approach. Visually-led and extremely accessible, this book is the go-to resource for anyone wanting to develop their own style. Easy-to-follow exercises are designed to build confidence and encourage experimentation as readers develop essential skills and learn simple and effective tips and tricks. With concise, accessible chapters on topics such as proportion, movement, line, shape and volume as well as sections on tricky areas such as hands and feet, Creative Fashion Illustration is essential reading for anyone looking to enhance their basic drawing skills. Whether coming to fashion illustration for the very first time, a student looking to develop their techniques and expand their portfolio, or even a more experienced illustrator looking for fresh ideas, this book is the ideal guide to imaginative fashion illustration that will stand out from the crowd.

The history of the fashion industry has been well written as it relates to people who conform to certain physical norms and cultural stereotypes, whereas the inequality in access to the world of fashion has been largely ignored. Despite this lack of coverage, much work has taken place over the centuries to enable people who live with disability to participate in fashionable culture. This book tells that story via perspectives of notable historical figures, events and movements, and continues the discourse with a look at some of the contemporary developments in clothing and fashion.The Intersection of Fashion and Disability takes the long view, from early attempts to conceal ‘unsightly’ bodies of royalty and nobility via creative innovation through growing contemporary awareness of inclusive fashion and how future work can be driven by technology and cultural acceptance.

The commissioning process can be a confusing maze for the commercial illustrator just starting out – so let Getting Illustration Clients be your beacon for success. Written by the duo that brought you Becoming a Successful Illustrator, here Jo Davies and Derek Brazell demystify the commissioning process for commercial illustration, from the point of the view of those hiring and briefing freelance illustrators: the art editors, the designers, the agents and more. With insider tips that will make your work garner attention and satisfy the needs of the brief, each section is beautifully illustrated with full-colour examples of projects typical to main areas of practice from around the globe. Organised with key action points and summaries, as well as case studies from commissioning professionals for Harper Collins, VMLR&Y Wooga Games, and many more. Supporting exercises support Jo and Derek’s guidance, to be used off the shelf by students, graduates and early-career professionals working independently. For the practicing illustrator, who want to see the commissioning process from ‘the other side’, you will always have to hand expert advice on what clients want, how commissioning works and how to get your work noticed. For lecturers in illustration, this is your go-to recommend for recent graduates looking for advice on the working world of commercial illustration.

Rooted in feminist political thought, She City illuminates how gender shapes our urban spaces and city design. Through three sections: 'Resisting Sexist Cities', 'Designing Feminist Cities', and 'Prioritizing Safer Cities', Kalms examines barriers to women's public participation and focuses on the practical strategies, policies and actions to overcome them.Addressing significant themes such as violence against women and gender-sensitive design, She City not only provides direction for practitioners but also inspires confidence to pursue new paths towards women-centered urban environments. This book is an essential resource for architects, urban designers, planners and the plethora of built environment specialists committed to building cities that truly meet the diverse needs of women and girls.

This book takes a timely look at how Scotland’s national politics have been expressed in its buildings, exploring the role the architecture of Scotland – in particular its world-famous ‘castle architecture’ – has played the ongoing narrative of Scots national identity.Scotch Baronial examines many of the country’s most important historic buildings – from the palaces left behind by the ‘lost’ monarchy, to revivalist castles and proud town halls – examining their architectural styles and tracing their wildly fluctuating political and national connotations. An introduction to a key episode in British architectural history, and a valuable resource for anyone studying the role of architecture in narratives of nationalism and empire globally, Scotch Baronial ends by bringing the story into the 21st century, exploring how contemporary ‘neo-modernist’ architecture in today’s Scotland, as exemplified in the Holyrood parliament, relates to concepts of national identity in architecture over the previous centuries.

This is the first book length study of Salon caricature, a widespread genre of press illustration that flourished in Paris in the second half of the 19th century. Salon caricature began with a few tentative lithographs in the 1840s and, within a few decades, no Parisian exhibition could open without appearing in warped, incisive, and hilarious miniature in the pages of the illustrated press.Supported by ample primary sources, from Baudelaire and Champfleury, to Grand-Carteret and Duret, as well as archival material made available here for the first time, Laugh Lines explores not only 19th-century caricature but a larger history of reproductive image technologies, including photography, and their relation to painting during the period of modernist emergence. In bringing to light this rich register of art criticism-in-pictures, Laugh Lines offers new material and methods for the study of 19th-century painting, modernism, and art historiography, notably repositioning Édouard Manet in relation to public laughter and comic press art. More generally, Langbein draws back the curtain on a robust culture of comedy around fine art and its reception in 19th-century France, one in which artists of every stripe, including the most sentimental or conservative, were ripe to be made hilarious.

How are aesthetics and ethics related to the practical realities of the global fashion industry? Both have played an important role in academic fashion studies to this point, but they are most often discussed in the context of abstract phenomena such as modernity and capitalism, or identity issues such as sexuality, class and gender. The essays in this volume strive instead to show how the realities of the global fashion industry have important and pertinent aesthetic and ethical consequences.This collection provides critical and philosophical analysis of the interplay of aesthetics and ethics within the global fashion industry. Characterized by an increasingly fast spinning production, the industry is highly exploitative in terms of environment and labor force: underpaid textile workers, retailers working under brutal competition from the mass-merchandise discounters, young designers, seamstresses and curators often working for free, and a vast body of aspiring models. In addition, fashion-related aesthetic ideals are becoming more influential than ever in directing consumers in their social and personal identification processes and bodily practices with sometimes fatal consequences.Covering a wide range of subjects such as fashion’s highly problematic production and consumption practices, the possibility of producing and consuming fashion ethically, fashion’s intimate connection with nature and technology, Fashion Aesthetics and Ethics highlights the powerful aesthetical presence of fashion in relation to its ethical premises and often problematic outcomes.

Italian-Argentine artist Leonor Fini (1907-1996) can be seen as the original artist-celebrity; her self-mythologization was promulgated by some of the 20th century’s most prominent photographers, from Henri Cartier-Bresson to Dora Maar.Exploring her self-fashioning and dressing-up practices in light of recent theories of performativity, this book highlights how Fini’s extension of artistic creative practices, from painted artworks to her self-creation through costumes, masks and fashion, allowed her to become a living artwork to be created and recreated on daily basis. Applying a multisensory methodology, the book explores Fini’s personal theatricality, photographic self-portraits and self-transformative, genderbending, transgressive dressing-up games in relation to surrealist practices, showcasing the hybrid identities that made up Fini's overall character. In three thematic sections - exploring her theatrical performances at balls, her self-fashioning in photographic and painted portraits, and her becoming-other through dressing-up - the book charts the artist's personal and creative development, the interaction between her paintings and self-creation and her increasing self-empowerment through dressing-up. With over 100 visually-striking colour illustrations, the book analyses and highlights some of Fini's most outstanding performances together with her paintings and self-portraits. Kollnitz argues that the way these identities were represented in the celebrity press compromised Fini’s critical reception as an artist, and how more broadly patriarchal objectification of fashionable women artists has the potential to jeopardise their professional agency. In contrast, this book showcases Fini’s self-fashioning as a tool of artistic and personal empowerment as well as an intrinsic part of her art production. In doing so, the book gives voice to the significance of self-mythologisation for artists to whom identity is fluid and plural.

This book is an exploration of communication design driven by a need for authenticity. It illustrates how communication design has dealt with social, ethical and political issues and looks at how it has adapted to changes in our social and political values – and continues to do so. Each chapter explores a distinct socio-political issue through established and new case studies and explains the context and the semiotics of these stories. Through these examples, readers will appreciate the effect that global interconnections, the threat of international terrorism, worldwide inequality and the growing concern about the climate has had on the discipline.- Ethical considerations, and why authenticity matters- How political and social issues influence direct action and commercial decisions- Dilemmas of balancing opposing views and social values - Celebrating true individual expression and encouraging dialogue rather than conflictVideos, exercises and discussion questions provide engaging ways for readers to explore the topic further, both within their own practice and in other designers' work.

Shortlisted for the Association of Dress Historians Book of the Year Award, 2024In the first book to examine the role played by textile manufacturing in the development of fashion in Italy, A New History of ‘Made in Italy’ investigates Italy’s transition from a country of dressmakers, tailors and small-scale couturiers in the early post-Second World War period to a major producer of ready-to-wear fashion in the 1980s. It takes the reader from Italy’s first internationally attended fashion show in 1951 to Time magazine’s Giorgio Armani April 1982 cover story, which signalled the fashion designer’s international arrival, and Milan’s presence as the capital of ready-to-wear.Chapters focus on the material substance of Italian fashion – textile – looking at questions including the importance of manufacturing quality, design innovation, composition, production techniques, commerce and the role of textile on the country’s overall fashion system. Through these, Lucia Savi brings to light the importance of synthetic fibres, previously little-known players, such as the carnettisti (a type of textile wholesalers) as well as re-investigating well-known couturiers and designers such as Simonetta, Gianfranco Ferré and Gianni Versace.By looking at how things are made, by whom, and where, this book seeks to unpack the ‘Made in Italy’ label through a focus on making. Informed by extensive archival materials retrieved from a wide range of sources, it brings together the often-separated disciplines of fashion, textile and design history.

Domicide = the systematic and deliberate killing of home.So much architectural response to war has focused on ‘cultural heritage’, the destruction of infrastructure, and of ancient architecture – here, Ammar Azzouz moves the focus somewhere more personal: the home. In Domicide, he uses the notion of the 'home' – his native city of Homs in Syria – to address the destruction of cities and the displacement of people both externally and internally during times of war, and to explore how cities can be rebuilt without causing further damage to the communities that live there.Drawing on interviews with built environment professionals, the book also offers insights from those from other professions who were forced to become ‘architects’ as they rebuilt their homes by themselves; showing how they cope, resist and carry on in long-term conflicts, beyond the dramatic moments of destruction shown in the news.Focusing on Syria, but offering a blueprint for other urban areas of conflict across the wider world, Domicide offers fresh insights into the role of the architect during time of war, and explores how the future reconstruction of cities should mirror the wants and needs, the traditions and ways of living, of local communities. This book is essential reading for researchers in architecture, urban planning, heritage studies and conflict studies.

Time, media, and visuality are watchwords of modernity across science, culture and the arts. At which point in history, though, did they decisively intersect? Identifying the year 1789 – or the beginning of the French Republic – as the radical moment at which science and the arts came together through radical innovation, this volume questions the reigning teleologies of modern art. Uniting two key areas of 19th-century European art – the French Revolution and 19th-century technological and reproductive experimentation – this novel volume highlights the dual impact these developments had on the art of the period. In doing so, it opens up new and distinctive lines of inquiry around French visual culture, all the while mapping an expanded terrain of art objects, along with makers, consumers and situations of art.Considering a remarkably broad range of media and practices through an interdisciplinary lens, this diverse collection of essays brings together both eminent and emerging scholars in 18th- and 19th-century French visual culture and enriches our understanding of the period. The essays provide thought-provoking insights on the temporal dimension of art, challenging oversimplified views of artistic progress in modernity. They question teleological narratives, emphasizing the complexity of influences shaping the modern artist. As such, the book offers a new account of the story of French art’s modernity by exploring the work of genre painters and miniaturists, sign-painters and animal artists, landscapists, architects, and restorers, as they worked out what it meant to be “post-revolutionary.” As a result, the book promises appeal to academic audiences both within and beyond the discipline of art history.

The world is in crisis, bringing activists and protesters onto the streets and into the public eye. More than ever, activism relies on spectacle and visibility in order to be noticed in the era of globalized capitalism and networked media. At the same time, a growing number of artists employ creative strategies to critique the establishment, act in resistance, and demand change. Visual activism of this kind is not new, but it is rapidly evolving.This anthology presents 16 case-studies of visual activism from across the globe, providing an up-to-date picture of the impact of contemporary visual and art activism, and combining a scholarly interrogation of visual activism with an examination of how it works in practice. The case studies address a wide range of issues including human rights abuses; state violence; gender and sexuality; racism; migration; and climate breakdown. They examine a range of approaches from playful carnivalesque parades to extreme practices such as ‘lip-sewing’, and are drawn from a wide range of international contexts – from Europe and the US, to Iran, India, Pakistan, Tunisia, and China. This diverse scope enables readers to consider examples comparatively – noticing emerging trends and key differences to reveal how geopolitical and cultural factors play an important role in shaping activist practices.This rich and timely collection provides a fresh perspective on the possibilities, limitations and politics of visual activism, as activists, artists, and curators respond to the changing world around them in this most uncertain of times. It will add significantly to our understanding of how art can aid political struggle in a global contemporary context, and will be a key text for both scholars and practitioners alike.

This book presents the first scholarly account of the life and artistic legacy of the influential École de Paris painter, Chaïm Soutine (1893-1943). In addition to presenting new archival and fieldwork findings, Franklin interrogates and decisively dispels many of the persistent, popular but problematic biographical myths that have dogged the artist and limited interpretation of his works.This book is at once a critical biography and a handbook – with chapters organised both chronologically and thematically – and is divided in two parts: Part I presents an extended scholarly account of Soutine’s life, beginning with chapters examining his family and sociocultural milieu, before his educational and physical journeys from the shtetl of Smilavicy to the Parisian art academies and émigré community of the École de Paris are charted. The thematic chapters that follow focus on the role that specific places and people – including Céret, Cagnes-sur-Mer, studios, galleries, friends, lovers, dealers, patrons, collectors and sitters – played in the formation of his life, work and career. Part I concludes with chapters addressing his harrowing experiences as a prominent Jewish artist during WWII and his untimely death in August 1943, including his burial and the first legal battles over control of his estate and legacy. Part II details the reception and impact of Soutine’s work in the four countries that exhibited his paintings most frequently in the twentieth century – France, the USA, Britain and, discussed herein for the first time, Japan – and in so doing unequivocally demonstrates the scope of his enduring international artistic legacy. In sum, this book reframes Chaïm Soutine as an educated, intelligent and sensitive man, a kind friend and influential artist, whose paintings rightly stand amongst the greatest artworks of the twentieth century.

Needlework, Affect and Social Transformation offers an original framework for moving beyond binary discourses that class practices of needlework as either feminist or reactionary. Using transnational, contemporary case studies – such as the Social Justice Sewing Academy, fictionalised Bangladeshi garment workers as well as the famous Pussyhat Project – Katja May suggests a new approach to the interpretation of textile crafts as an affective social practice, and draws on under-represented issues of race.May connects her study to broader material and social conditions of inequality, allowing for a nuanced and sensitive understanding of the role of needlework in feminist political activism. This broader look at how textile crafts function in the realms of politics and activism conceptualizes quilting, dressmaking, embroidery and knitting as routine activities invested with emotions and entangled with material and social conditions as well as political potential.

A clear and approachable introduction to the 600-year history of this critically important – and too often overlooked – art form. Type is all around us – in the books we read, the signs that orient us, and across the screens we’re glued to. The staggering range of typographic forms that passes over our eyes on a daily basis influences us in subtle ways. Why did diverse typographic forms originate, and what factors influenced their evolution over time? In ten chronologically-linked stories from the 1400s onwards, A Brief History of Type examines the revolutionary moments in typographic history, including the major players, technological processes, and formal practices relevant to the development of each new type. These compelling narratives offer an accessible entry into an extensive subject and, along with illustrations and extensive resources, a road map for further study. Whether you’re a designer looking to better apply type in your studio practice, or simply possess a keen interest in art, writing systems, or cultural history, this book will expand your appreciation of the letters you interact with every day. Stories include:- Two French printers at the start of the Italian Renaissance who were the first to use varying font sizes within a page for navigation- An Italian scribe who combined handwriting style text with inscriptional capitals in the 1450s to create the still-used roman type - The UK's industrial revolution of the late 1700s and its impact on the development of display type- How the development of computer code at the end of the twentieth century broke Europe's stranglehold on type foundries and allowed complex scripts like Devanagari and Chinese to be accurately reproduced

Using image and film advertisements, interviews, social media and public and private archives, Luxury Fashion and Media Communication offers an interdisciplinary approach to analyzing the value of the luxury object. Regular reports on consumption in media and frequent advertising on social media have allowed people all over the world to share in the issues and development of luxury; but how is it communicated, and how has it affected the consumer?An international range of scholars explore the material and immaterial value and meaning of luxury, how it is materialized and how it is communicated between the luxury industry and the consumer. Investigating French, Italian and Spanish luxury brands and their communication strategies on the global market, and including two chapters focusing specifically on the Chinese and American markets, they examine the ambiguity of the luxury commodity. This volume shows particularly the conflicting narratives between the idea of exclusivity and human skills and their mass marketing.In exploring theoretical perspectives alongside the practicalities of how luxury is communicated, Luxury Fashion and Media Communication reveals the value of the luxury object and the consumer’s behaviour in relation to that value. It offers an innovative and important intervention in the inter-related fields of luxury fashion, media and communication, and key reading for scholars, students and practitioners wishing to explore the material and immaterial value of luxury.

Discover the tools required to pursue your career in cosmetics marketing. Through an in-depth analysis of this fast-growing and complex industry, Cosmetics Marketing: Strategy and Innovation in the Beauty Industry provides thought-provoking, industry-led exercises and case studies to demonstrate the role of aesthetics, authentic communication, emerging technologies, cultural trends, and the measurement of marketing efforts. There are also practical, beautifully illustrated resources for entering the field, exercises for boosting creativity, preparations for interviews, as well as an overview of the beauty products and theory used by makeup artists and product developers.With a focus on the evolution of the industry and its social responsibilities in terms of inclusivity and sustainability, this is a core text for cosmetics courses in marketing and business at the undergraduate and graduate levels. Cosmetics Marketing is the ultimate guide to this powerful, multi-billion dollar global industry and will influence and support the next generation of leaders in beauty.

Bringing together a fascinatingly diverse yet closely related group of subjects, Where Words and Images Meet asks us to rethink what we know about words and images and how they interact. From 19th-century frontispieces to Soviet photo albums, from the relationships between portraits and biographies to museum labels, the book's richly illustrated chapters open up historically specific connections between word and image to collective examination and fruitful analysis. Written by both established and emerging scholars in a range of interrelated fields, the chapters deliberately foreground previously overlooked topics as well as unfamiliar disciplinary approaches, to offer a stimulating and carefully developed framework for looking at these ubiquitous phenomena afresh.Where Words and Images Meet opens up for analysis and reflection the forms of attention, practices, skills and assumptions that underlie visual interpretation and meaning-making in the writing of history. By bringing the features of the materials we read and look at into focus, we can grasp more effectively the complex interrelationships involved, and enhance our practice and understanding.

By positioning designers and their practices at the center of design studies, Designing Knowledge merges theory and practice to highlight how knowledge creation can contribute to an expanded and more inclusive design practice. Bringing together a rich variety of perspectives, methods and approaches, and by exploring and critiquing current issues in design studies, this book encourages designers to reflect on their work in a new light. Design studies practice is a material and tangible focus on knowledge production and mobilization in the field of design. Throughout 15 chapters featuring a wide range of case studies, design practitioners and theorists address how they produce and mobilize knowledge about design through their practice. Chapters explore how to dismantle the colonial structures of modernist design and depart from the privileged spaces of art historical concepts in design history. They address tensions between traditional Indigenous design and contemporary design practice, discuss how to authentically integrate personhood into practice and explore topics such as designing wellbeing, developing communities of care, informed accountability and principles of the ecocene. They also analyse languages and typographic representations and investigate the nature of the graphic and typographic translation of literary texts, focusing on the writing of Argentinian writer Jorge Luis Borges as a case study.This book elevates the voices of designers and their work and offers insights to professional designers as well as students on how to use these contributions when working on future projects. By highlighting the awareness of designers throughout their practice, this book will inspire others to reflect on their work and share their own knowledge for the benefit of the field of design.

Motion Illustration is a broad introduction to the emerging world of moving illustrations, written specifically for those coming from an illustration background.Bridging together illustration and animation disciplines in a new way, Adam Osgood shows that producing motion illustrations is achievable for anyone. Whether you’re generating content for social media, designing GIFs, or creating fully animated videos, this book contains the tools and information you need to take your illustrated work to the next level and reach your audience in a new way.With tons of contemporary examples, sample exercises, and supporting online resources, this is perfect for illustrators wanting to make the jump to moving image.- How motion illustration fits in the context of animation and motion graphics, and how movement can help bring your images to life- Which tools and software are best to use depending on your desired outcomes- How illustrators animate with color, texture, composition, and effects to support narratives and ideas- Conversations with international professionals working across all media forms and with a wide variety of clients and subjects