Relevant bibliographies by topics / Graphic arts – Scandinavia

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Graphic arts – Scandinavia'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Graphic arts – Scandinavia"

1

Johannessen, Christian Mosbæk. "The challenge of simple graphics for multimodal studies: articulation and time scales in fuel retail logos." Visual Communication 17, no. 2 (2017): 163–85. http://dx.doi.org/10.1177/1470357217746811.

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This article suggests that a Multimodal Social Semiotics (MSS) approach to graphics is severely challenged by structurally very simple texts. Methodologically, multimodal studies favour the level at which elements from discrete modes are integrated grammatically into texts. Because the tradition has this focus, the analytical description of the expression plane of many modes is underdeveloped. In the case of graphics, there is no descriptive or explanatory readiness for graphic form. The author aims to remedy this problem by combining (i) a small inventory of formal dichotomies for graphic sha
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2

Guldberg, Jørn. "‘Scandinavian Design’ as Discourse: The Exhibition Design in Scandinavia, 1954–57." Design Issues 27, no. 2 (2011): 41–58. http://dx.doi.org/10.1162/desi_a_00076-guldberg.

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Nyburg, Anna. "Scandinavian Design and the United States 1890–1980." Design Issues 37, no. 4 (2021): 109–11. http://dx.doi.org/10.1162/desi_r_00663.

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Göransdotter, Maria, and Johan Redström. "Design Methods and Critical Historiography: An Example from Swedish User-Centered Design." Design Issues 34, no. 2 (2018): 20–30. http://dx.doi.org/10.1162/desi_a_00483.

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Design history tends to focus on designers and design outcomes, primarily objects. In contrast, historical accounts and analyses of designing are rare. This paper argues for the need of design histories that also address the origins of our design methods with respect to contexts, values and ideas in order to understand what these actually bring to the contemporary design situation. To illustrate what such a historical approach to design methods might bring, we present a study on the origins of Scandinavian user-centered design. In particular, we discuss the Home Research Institute's (HFI) deve
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5

"A Scandinavian Design Council Manifesto on Nature, Ecology, and Human Needs for the Future." Design Issues 8, no. 1 (1991): 78. http://dx.doi.org/10.2307/1511457.

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6

Jaakkola, Maarit. "Forms of culture (Culture Coverage)." DOCA - Database of Variables for Content Analysis, March 26, 2021. http://dx.doi.org/10.34778/2x.

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This variable describes what kind of concept of culture underlies the cultural coverage at a certain point of time or across time. The variable dissects the concept of culture into cultural forms that are being journalistically covered. It presupposes that each article predominantly focuses on one cultural genre or discipline, such as literature, music, or film, which is the case in most articles in the cultural beat that are written according to cultural journalists’ areas of specialization. By identifying the cultural forms covered, the variable delivers an answer to the question of what kin
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7

Lund, Curt. "For Modern Children." M/C Journal 24, no. 4 (2021). http://dx.doi.org/10.5204/mcj.2807.

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“...children’s play seems to become more and more a product of the educational and cultural orientation of parents...” — Stephen Kline, The Making of Children’s Culture We live in a world saturated by design and through design artefacts, one can glean unique insights into a culture's values and norms. In fact, some academics, such as British media and film theorist Ben Highmore, see the two areas so inextricably intertwined as to suggest a wholesale “re-branding of the cultural sciences as design studies” (14). Too often, however, everyday objects are marginalised or overlooked as objects of s
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Dissertations / Theses on the topic "Graphic arts – Scandinavia"

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Glomm, Anna Sandaker. "Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3171.

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This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Fol
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Books on the topic "Graphic arts – Scandinavia"

1

Hendrik, Hellige, Klanten Robert, and Nyman Mans, eds. North by north: Scandinavian graphic design. Die Gestalten Verlag, 2002.

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2

Windelev, Morten, and Anders-Peter Andreasen. Cool Scandinavians: Danish jazz cover artwork from 1950-1970. Re-Public on commission with Nordisk Forlag, 2007.

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Books, PIE. Shop Image Graphics in Scandinavia. PIE International, 2011.

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New Typography in Scandinavia: Modernist Design and Print Culture. Bloomsbury Publishing Plc, 2020.

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New Typography in Scandinavia: Modernist Design and Print Culture. Bloomsbury Publishing Plc, 2024.

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6

Press, Gingko, and Sandu Publications Staff. New Scandinavian Graphic Design. Gingko Press, Incorporated, 2018.

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7

(Editor), Robert Klanten, and Hendrik Hellige (Editor), eds. North by North: Scandinavian Graphic Design. Gestalten Verlag, 2002.

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8

Shaoqiang, Wang. Head North. Gingko Press, Incorporated, 2013.

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9

Offpiste in the Land of Kustaa Saksi. Die Gestalten Verlag, 2008.

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10

The Dark North. Dark Horse Books, 2017.

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Book chapters on the topic "Graphic arts – Scandinavia"

1

Mallinson, Jonathan. "9. 1924–25: Recognition of the Artist Potter." In William Moorcroft, Potter. Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.09.

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This chapter explores the development of Moorcroft’s work against the background of two major international exhibitions: the British Empire Exhibition at Wembley in 1924, and the Exposition des arts décoratifs et industriels in Paris the following year. His high-profile involvement in the Wembley exhibition, epitomised in his magnificent stand designed by Edward Maufe, was one of the landmarks of his career. His display enhanced his reputation as a ceramic artist, culminating in an article published in the Daily Graphic entitled ‘A Potter of Genius’. Surviving reports written to Moorcroft thre
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