Graphic design: a new history

This third edition of Eskilson's history of graphic design (the first and second editions, CH, Jan'08, 45-2413, CH, Aug'12, 49-6674) includes an opening chapter on the early history of writing and printing and a closing chapter on social media. The illustrations are as recent as 2018. This is probably the most lavishly illustrated and detailed history of graphic design available, and it is noteworthy for being written by an art historian. The book's strengths are its excellent production values and its comprehensiveness. Its weaknesses have to do with balancing various currents in graphic design. For instance, the early modernism of the constructivists receives a disproportionate amount of weight compared to the vastly more influential period following WW II, years in which international style transformed design into a central cultural phenomenon in the West. Those interested in the history of graphic design should also consider Philip Meggs and Alston Purvis's History of Graphic Design (CH, Oct'83, now in its 6th edition) and Patrick Cramsie's The Story of Graphic Design (CH, Oct'10, 48-0660), both of which are less expensive. That said, there is no question that Eskilson's book should find a place on the shelf. Summing Up: Recommended. Upper-division undergraduates through faculty. --Steven Skaggs, University of Louisville

*Starred Review* So ubiquitous is graphic design--commercial messages combining image and text--it generates much of the texture that defines culture and daily life. To awaken greater appreciation for both the creativity and the impact of this often-discounted art form, art historian Eskilson has created a uniquely comprehensive, discerning, and vital history. The story of graphic design and its sister, typography, is intricately tied to the progress of technology. Eskilson begins, therefore, with the advent of the printing press, although graphic designers did not become established professionals until the 1920s, when mass reproduction was in full swing. Plucking sterling examples of commercial materials produced all across Europe and the U.S. as he moves forward in time, Eskilson punctuates his lively commentary with profiles of seminal designers while tracking the back-and-forth surges of influence between graphic design and such fine-art movements as art nouveau, art deco, and cubism. The more contemporary the work, the more fresh and exciting the coverage as Eskilson parses the power of the International Style as the rise of the corporation ignited the golden age of logos, then demystifies the digital era's motion graphics, interactive design, and return of the amateur with the DIY (do-it-yourself) movement. Eye-opening on many levels.--Seaman, Donna Copyright 2007 Booklist

It should be no surprise that Eskilson's study of the evolution of graphic design from Gutenberg to grunge and beyond is an oft-assigned tome for budding designers. However, one needn't be a student to appreciate Eskilson's ability to hold a narrative thread as art movements, technology, and other influences continue to broaden the scope of his topic as the book progresses. Working his way through a dense and diverse melange of media, such as pulp magazines, photography, architecture, typefaces, logos, Nazi propaganda, movie posters, and signage, Eskilson (coauthor, Frames of Reference: Art History and the World) is an enthusiastic and informative guide. The tome is liberally peppered throughout with iconic images such as Currier and Ives prints, James Flagg's I Want YOU for U.S. Army, and Shepard Fairey's Hope, featuring Barack Obama, as well as digressions on key contributors such as Henri de Toulouse-Lautrec, Gustav Klimt, and movements like De Stijl. Given the sheer number of topics and concepts encompassed by graphic design, Eskilson isn't able to dwell on any specific subject for too long, which may frustrate some readers. Originally published in 2007, this newly-updated edition adds over eighty new images and revised text, making this an even more essential reference for designers as well as art historians. Photos and illus. (Feb.) © Copyright PWxyz, LLC. All rights reserved.

Eskilson (art history, Eastern Illinois Univ.; coauthor, Frames of Reference: Art History and the World) focuses here on the evolution of graphic design since the 19th century as well as on what recent developments in the field of information technology mean for today's designers. In a refreshing divergence from the usual pattern of art surveys, he attends more to social trends associated with graphic design rather than limits the content to artistic styles, time frames, and biographical sketches. The result is an effective description of the political effects of design (e.g., strategies used by illustrators of war posters) and countercultural influences (e.g., drugs and graffiti) supported beautifully by 400-plus large color reproductions. Given the book's readability and attention to larger historical topics, it is recommended as the best graphic design history for public libraries. It is also recommended for academic libraries; however, Philip B. Meggs and Alston W. Purvis's Meggs' History of Graphic Design (Wiley, 2005. 4th), which offers a more complete overview of artistic styles (especially typography), would perhaps be better suited for design history curricula.-Eric Linderman, Euclid P.L., OH (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.