Table of Contents
Graphic design does not have its own, discrete curriculum at Stanford, but its principles are explored in many art history and art studio courses, and in the various learning experiences offered through the d.school. Product/industrial design is the core discipline of the Stanford Design Program. Both graphic and product design combine art, technology, communcations, and marketing; product design also often involves engineering and computer science. Because of the multifaceted nature of design, it's worth exploring multiple libraries and using a variety of on- and off-line resources.
The more art-centric of these resources are covered in this guide. These include introductory textbooks, historical and theoretical works, yearbooks (a type of literature fairly specific to design), and items of special note from our Locked Stacks. The further research section includes descriptions of databases that index design-related literature.
Graphic design and typography
Yearbooks and design annuals provide a snapshot of the design world. Because of their relative frequency, they can stay up-to-date; over time, as a collection, they can provide a long view of design innovations, trends, and movements. The titles listed here address the topic of graphic design rather broadly and include photography and illustration.
Graphis is a commercial publisher that, through its annual competitions, presents what it describes as "the best in design, advertising, photography and illustration." The Poster Annual features posters whose functions range from advertising to social commentary. The Art & Architecture Library holds volumes dating from 1998 to the present. It also holds volumes dating from 1973-1997 under the publication's previous title, Graphis Posters.
Wendingen archive, 1918-1931.
Amsterdam : MHCHIJ De Hooge Brug
8 linear feet (12 clamshell boxes of original journals, 2 flat boxes of manuscript material, 1 original artwork of cover, framed
Special Collections Manuscript Collection M1671
The title of this early twentieth-century journal, Wendingen, is based on a phrase from Friedrich Nietzsche, "Umwälzung aller Werte" [upheaval of all values]. Hendrik Theodorus Wijdeveld, the journal’s founder, translated the term "Umwälzung" into Dutch as "omwentelen" [revolve], then as "wentelen" [turn about], and, finally, as "wending" [turn]. "Wendingen" is the plural of "wending." Hence, Wendingen implied a sense of turnings, as in turning away from the past and toward the future. To this end, Wijdeveld, who designed and edited most of the one hundred sixteen issues himself, oversaw the journal’s adoption of graphically innovative covers that opened to reveal beautifully gridded and typeset pages. Inspired by the notion of socially engaged contemporary Dutch architecture, the journal’s focus quickly expanded to include such topics as printmaking, non-Western artifacts, puppetry and stage design, and ancient building construction—a topical (and geographical) range very unique for its time.
Wendingen includes seven issues devoted solely to Frank Lloyd Wright (one of whose covers was designed by El Lissitzky), as well as issues on Josef Hoffmann, Erich Mendelsohn, Eileen Gray, Jan Toorop (two issues), Gustav Klimt, and Lyonel Feininger. The archive includes all issues published, dated 1916-1931. It also includes a collection of related material: the finished original drawing by Jesserun de Mesquita for one of the covers (vol. IX, no. 1, 1928), two original drawings for page layouts, and other ephemeral items.