Relevant bibliographies by topics / Graphic design history

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Graphic design history'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Graphic design history"

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Triggs, T. "Designing Graphic Design History." Journal of Design History 22, no. 4 (November 23, 2009): 325–40. http://dx.doi.org/10.1093/jdh/epp041.

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Jobling, P. "Graphic Design, A New History." Journal of Design History 21, no. 3 (September 1, 2008): 296–98. http://dx.doi.org/10.1093/jdh/epn019.

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Jobling, P. "Graphic Design History * Clean New World: Culture, Politics, and Graphic Design." Journal of Design History 16, no. 3 (January 1, 2003): 260–62. http://dx.doi.org/10.1093/jdh/16.3.260.

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Dhillon, Kim. "Graphic Design: History in the Making." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 19, no. 1 (March 2012): 169–71. http://dx.doi.org/10.1086/665695.

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Donnelly, B. "Locating Graphic Design History in Canada." Journal of Design History 19, no. 4 (January 1, 2006): 283–94. http://dx.doi.org/10.1093/jdh/epl023.

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Hyun Shin Jo. "Graphic Design History as an Introspection Process - Focused on the three points of writing graphic design history -." Journal of Korea Design Forum ll, no. 22 (February 2009): 7–16. http://dx.doi.org/10.21326/ksdt.2009..22.001.

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Bloomer, Peggy. "Active Learning and Teaching Graphic Design History." International Journal of Arts Theory and History 11, no. 3 (2016): 11–18. http://dx.doi.org/10.18848/2326-9952/cgp/v11i03/11-18.

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Triggs, Teal. "Graphic Design History: Past, Present, and Future." Design Issues 27, no. 1 (January 2011): 3–6. http://dx.doi.org/10.1162/desi_a_00051.

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KIZILŞAFAK, ELANUR. "HISTORY OF CALIGRAPHY AS A GRAPHIC DESIGN PRODUCT." E-Journal of New World Sciences Academy 9, no. 2 (April 17, 2014): 55–65. http://dx.doi.org/10.12739/nwsa.2014.9.2.d0148.

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Barry M. Katz. "Graphic Design: A New History (review)." Technology and Culture 50, no. 1 (2008): 258–60. http://dx.doi.org/10.1353/tech.0.0201.

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Dissertations / Theses on the topic "Graphic design history"

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Timney, Todd F. "Design History Matters: Visualizing Graphic Design History Through New Media." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/38.

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New media's emerging influence on society and the design profession is profound. Currently unrealized, the intersection of graphic design history and digital media is an area worthy of further examination. For graphic designers trained in the design of fixed content for traditional media, new media's challenge—to develop open-ended systems that adapt to dynamic content, customization, and multiple authorship—can be unsettling. But the potential benefits of this exploration are many. The ability to synthesize video, sound, static imagery, and textual information to present interactive content that adapts to the contemporary history of graphic design student's multi-modal and mobile lifestyle will provide a significant advantage.
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Cunningham, Tierney. "An abridged visual history of graphic design /." Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/29.

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Thesis (B.F.A.)--California Polytechnic State University, 2009.
Project advisor: Kathryn McCormick. Title from PDF title page; viewed on Jan. 21, 2010. Includes bibliographical references. Also available on microfiche.
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Rajanna, Kanchen. "Promotional program for the Center for Graphic Design History /." Online version of thesis, 1991. http://hdl.handle.net/1850/11286.

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Lust, Caitlyn. "Women’s Work: Re-evaluating the Canon of Graphic Design History." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556273078639679.

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Blackwell, Garreth C. "Good As We Know It: Goodness in Design Discourse Since 1870." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4746.

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This dissertation examines the ways in which design and design practitioners have defined value in the design discourse through the vocabulary and concept of goodness since 1870. These definitions of value have been central to design discourse both past and present and deal with the impact and purpose of design work as well as its role in the creation of the approaching future. Since before the coalescence of graphic design as a separate field of design, these questions have been tied to the form, function or social impact of the objects created by designers. Despite the prevalence of this line of inquiry in the discourse, current usage tends toward uncritical and uninformed usage because of a separation of the terminology from the historical context in which this conversation developed. The purpose of this investigation, then, is not to segment terms into “right” or “proper” definitions, but to apply a critical historical lens to the vocabulary of goodness as it has been used in the larger design discourse since 1870 in order to better understand the state of current discussions of value and to inform paths of future inquiry. In order to do so, this investigation developed a framework by which to understand the ways in which goodness has been contextualized over the last 150 years. This historical context does not limit us to a historicist approach to design, and it not presented as an essentialist or teleological marker of things to come. Instead, knowledge of the historical context and various uses of a term makes us better educated practitioners of design who are more capable of combating the individualistic fallacy of the enlightened genius. Through a fuller knowledge of the critical historical context in which our field’s vocabulary developed, we can better understand notions of creativity that position designers as expert guides through networks of information and meaning.
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Mraovic, Dejan. "Graphic Ambassadors of a Country (Redesign of Serbian Banknotes and Coins)." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1338857909.

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Hutton, Ailsa Kate. "Re-viewing history : antiquaries, the graphic arts and Scotland's lost geographies, c.1660-1820." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/7361/.

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This thesis examines topographical art depicting Scotland’s natural scenery and built environments, architecture, antiquities and signs of modern improvement, made during the period 1660 to 1820. It sets out to demonstrate that topography and topographical art was not exclusively antiquarian in nature, but ranged across various fields of learning and practice. It included the work of artists, geographers, cartographers, travel writers, poets, landscape gardeners, military surveyors, naturalists and historians who were concerned with representing the country’s varied, and often contentious, histories within an increasingly modernising present. The visual images that are considered here were forms of knowledge that found expression in drawings, paintings and engravings, elevations, views and plans. They were made on military surveys and picturesque tours, and were often intended to be included alongside written texts, both published and unpublished, frequently connecting with travels, tours, memoirs, essays and correspondence. It will also be argued that topography was a social practice, involving networks of artists, collectors, publishers and writers, who exchanged information in drawings and letters in a nationwide, and often increasingly commercial enterprise. This thesis will explore some of the strands of such a vast network of picture-making that existed in Scotland, and Britain, between 1660 and 1820, as visual images were circulated, copied, recycled and adapted, and topographical and antiquarian visual culture emerges as a complex, synoptic form of inquiry.
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KAISER, ANDREW. "CONSTRUCTING MODERNITY: JAPANESE GRAPHIC DESIGN FROM 1900 TO 1930." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147717044.

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Raposo, Ana Bastos. "30 years of agitprop : the representation of 'extreme' politics in punk and post-punk music graphics in the United Kingdom from 1978 to 2008." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/6064/.

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This research analyses the dissemination of political and ideological content through the music graphics of selected bands associated with punk and post-punk. It concentrates on the anarcho-punk movement and the neo-fascist scene in the United Kingdom between 1978 and 2008. The aim is to show how music graphics were integral to the philosophy of politically engaged bands, and acted as systems of propaganda. The research further deconstructs these systems and reveals underlying narratives, intentions, tropes and visual codes. The research presents three main novel contributions to scholarship and knowledge. The first is the creation and cataloguing of the most extensive archive to date of the material under analysis providing an instrumental resource for further research on the subject. The second is the development of a methodology for analysing the dissemination of ideological and political content through graphic design objects in a subcultural context. This methodology allows for an exploration of the heretofore neglected area of the inter-relationship between dissemination of the message and specific graphic systems. The analysis is conducted through the use of multiple research methods, drawing upon qualitative research methodologies and the development of complementary methodologies devised for the field of graphic design. The focus is on the analysis of political camps and comparisons between them, noting points of commonality and divergence between dialogues of opposition within the common subcultural context. The third contribution is the identification, analysis and interpretation of ‘extreme’ political music graphics produced by artists from the United Kingdom from 1978 to 2008. Covering an under-researched field and time span of subcultural movements that were critical for the punk subculture and the corresponding political groups, the analysis of the music graphics presents an insight into their political theory and strategies. This comparative work involved methodologies drawn from cultural studies, subcultural studies and historical studies, and can therefore be seen as a contribution to these fields as well as to that of graphic design studies.
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Bastos, Helena Rugai. "O design de Fred Jordan." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-10072012-151542/.

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O desenvolvimento da obra do designer gráfico Fred Jordan e de sua experiência profissional é o objeto deste trabalho. Considerando que nas duas primeiras décadas de sua atividade não existe no Brasil um projeto acadêmico sistematizado e metodologia estabelecida para o conhecimento e para a prática na área do design gráfico, a análise aponta as diversas etapas de sua produção, que se estende de 1940 a 1990. Nesse processo, a pesquisa busca articular as diferentes fases dessa produção e os momentos históricos em que se realizam. Mostra a singularidade do trabalho de Jordan apontando­ a partir do uso da tecnologia, das técnicas, da temática, da adequação à evolução industrial e da diversificação do público consumidor - como seus projetos permitem perceber as transformações do campo de trabalho e do mercado. Dando ênfase ao cenário paulistano no qual atuou, ressalta-se seu papel no campo das artes gráficas, levando em conta o perfil dos grupos de profissionais de design no Brasil. Nesse quadro verificam-se elementos de sua formação, o círculo de amigos, o diálogo estabelecido com intelectuais, artistas e profissionais das artes visuais e do design,bem como suas áreas de interesse e de estudo. Para alcançar esse objetivo a pesquisa buscou reconstituir o itinerário do artista e de sua obra, por meio de ampla consulta bibliográfica e do levantamento e da organização do acervo da família. Parte desse material, constituído de textos que discutem seus trabalhos, permitiu apontar sua participação e influência no cenário cultural brasileiro e internacional. O estudo abriu espaço para a compreensão de vários aspectos da obra de Jordan: sua visão sobre o significado da arte e do artista; a articulação que estabeleceu entre o trabalho contemporâneo e a temática abordada por autores e artistas da primeira metade do século XIX na Alemanha;seus experimentos baseados, sobretudo na teoria das cores de Goethe e do pensamento naturalista do escritor alemão. Apresenta, ainda, um catálogo da obra de Fred Jordan e da documentação relacionada com sua produção
This thesis examines the development of graphic designer Fred Jordan\'s work and professional experience. No standard academic program or established approach for learning and practicing graphic design existed in Brazil during the first two decades of his career,and this analysis points out the distinct stages of Jordan\'s work between1940 and 1990. In the process, this research endeavors to describe the different phases of the designer\'s creative output against the historical background. lt demonstrates the significance of Jordan\'s work and how his projects allow us to understand the transformation of the graphic design discipline and industry, from his use of technology, techniques and themes, meeting the needs of the industrial revolution and the diversified consuming public. Focusing upon the Sao Paulo environment where he worked, the paper examines his influence on the field of visual arts,taking into account the profile of the professional design groups in Brazil at that time. Within this broader picture, it is possible to confirm the factors that influenced him, his circle of friends, his dialogue with intellectuals, artists and professionals in the visual arts and design community, as well as his areas of interest and study. To achieve this goal, the approach taken here was a recreation of the artist\'s life journey through extensive bibliographic research and a survey and organization of the Jordan family\'s collection of his work. Some of the sources, primarily the texts that discuss his work, bring to light Jordan\'s participation and influence on the Brazilian and international cultural scene. The study helps the reader understand several aspects of Jordan\'s work: his view of the meaning of art and the artist; the connection he made between contemporary design and themes employed by German authors and artists in the first half of the 19th Century;and his experiments based upon Goethe\'s Theory of Colours and the naturalistic thought of that German writer. Finally, it also presents a catalogue of Fred Jordan\'s designs and ofthe documentation related to his work.
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Books on the topic "Graphic design history"

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Kallen, Stuart A. Graphic design. Detroit: Lucent Books, 2009.

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Graphic design: A new history. London: Laurence King, 2007.

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Meggs, Philip B. A history of graphic design. 2nd ed. New York: Van Nostrand Reinhold, 1992.

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Meggs, Philip B. A history of graphic design. Harmondsworth: Viking, 1985.

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Meggs, Philip B. Meggs' history of graphic design. 4th ed. Hoboken, N.J: J. Wiley & Sons, 2006.

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Graphic design: A concise history. New York: Thames & Hudson, 2001.

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Meggs, Philip B. Meggs' history of graphic design. 5th ed. Hoboken, NJ: John Wiley & Sons, 2012.

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Graphic design: A new history. 2nd ed. New Haven, Conn: Yale University Press, 2011.

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Meggs, Philip B. A history of graphic design. 3rd ed. New York: John Wiley & Sons, 1998.

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Graphic design: A concise history. New York: Thames and Hudson, 1994.

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Book chapters on the topic "Graphic design history"

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Wong, Wendy Siuyi. "A History of Hong Kong Comics in Film Adaptations: The Appearance of Self-Identities." In The Disappearance of Hong Kong in Comics, Advertising and Graphic Design, 67–97. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92096-2_4.

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"Graphic Design." In Design History, 146–73. Routledge, 2006. http://dx.doi.org/10.4324/9780203133194-14.

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Krasner, Jon. "a brief history of motion graphics." In Motion Graphic Design, chapter1–23. Elsevier, 2008. http://dx.doi.org/10.1016/b978-0-240-80989-2.50007-x.

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Krasner, Jon. "A Brief History of Motion Graphics." In Motion Graphic Design, 1–17. Routledge, 2013. http://dx.doi.org/10.4324/9780240824703-1.

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"6. Women in Graphic Design History." In The Origins of Graphic Design in America, 1870–1920. Yale University Press, 1997. http://dx.doi.org/10.37862/aaeportal.00152.009.

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Früh, Roland, Ueli Kaufmann, Peter J. Schneemann, and Sara Zeller. "Reading between the Lines of Swiss Graphic Design History." In Swiss Graphic Design Histories, 7–12. Verlag Scheidegger & Spiess, 2021. http://dx.doi.org/10.53788/swbe0300.

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Bischler, Sandra, Sarah Klein, Jonas Niedermann, Rudolf Barmettler, and Michael Renner. "A Visual Approach to the History of Swiss Graphic Design and Typography." In Swiss Graphic Design Histories, 7–10. Verlag Scheidegger & Spiess, 2021. http://dx.doi.org/10.53788/swbe0100.

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Roberts, Ray, Sophia Gibb, and Dave Shaw. "Section 1: Making good/a brief history." In Good: An Introduction to Ethics in Graphic Design, 17–32. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) USA & Canada by: English Language Support Office, 2006. http://dx.doi.org/10.5040/9781350088795.ch-001.

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Franchina, Alice, Francesco Maggio, and Starlight Vattano. "Female Architecture." In Architecture and Design, 1193–232. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7314-2.ch045.

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The objective of this study is that one, starting from the initial considerations, to give back to the history of architecture, through drawing as a critical means of inquiry, the thought and work of some women-architect who, between 1926 and 1962, have designed and/or built buildings of fine architectural quality. The critical re-drawing, which in this case is mimetic to the construction of the project, wants to make manifest the thought of some figures of the Modern Movement often relegated to an unknown fate; in particular it analyses a part of the activity of Lilly Reich, Helena Niemirowska Syrkus and Charlotte Perriand. The study aims to build a graphic inedited and exhaustive repertory of some unrealized projects, carried out by these women that can be defined “pioneer” of modern architecture, giving back a female thought of the project's construction. The drawing of architecture, as ambit of critical analysis, in this study assumes a substantial role when it investigates the project which is the central place of its true expression.
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"Visual Approach to Translating Data." In Perceptions of Knowledge Visualization, 226–46. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4703-9.ch009.

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This chapter examines some of the tools that enable a visual approach to translating data, beginning with a comparison of the use of a computer versus pencil in visual communication. A short note follows, discussing the evolution of imaging with the use of computing: the history of computers and then some examples of graphic display and early computer-generated art works. This is followed by a discussion of the basic ways of graphical display of data and strategies for visual problem solving in the context of art and design. Thoughts on visual translation of data include an introduction to computer simulation. Examples of computer simulation and evolutionary computing conclude the chapter.
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Conference papers on the topic "Graphic design history"

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DEMARCHI, Ana Paula Perfetto, Cleuza Bittencourt Ribas FORNASIER, and Rosane Fonseca de Freitas MARTINS. "The graphic translation by the designer’s sensitive rationality." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-097.

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Raposo, Daniel. "The graphic speech of the Brand." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0063.

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FORNARI, Davide, and Giovanni PROFETA. "Swiss Style beyond the border Swiss graphic designers in Italy." In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-02_007.

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Restrepo, María. "Graphic Design: A Consolidation Of A Discipline." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0011.

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Farias, Priscila L. "On graphic memory as a strategy for design history." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0023.

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FORNARI, Davide, Robert LZICAR, Sara ZELLER, Leslie Katherine KENNEDY, and Louise PARADIS. "Le Style n’existe pas: How migration shaped the “graphic design nation”." In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-02_012.

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CAVALCANTE, Sebastião A., Malthus O. QUEIROZ, Clara S. LIMA, and Silvio BARRETO CAMPELLO. "The presence of the autotype technique in the weekly Cri-Cri’s graphic design project: traces of the graphic memory in the Brazilian state of Pernambuco." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-077.

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Margolin, Victor. "Brazilian Graphic Design in the ‘20s and ‘30s: Modernism and Modernity." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-099.

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TEMIN, Wilma Ruth. "Mappin tells the history of graphic design in São Paulo from 1913 to 1939." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-092.

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CAMARGO, Iara Pierro de, and Leandro M. R. VELLOSO. "Search for meaning: a study on the Cranbrook Academy of Art’s Graphic Design Department." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-012.

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Reports on the topic "Graphic design history"

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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
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Wells, Aaron, Tracy Christopherson, Gerald Frost, Matthew Macander, Susan Ives, Robert McNown, and Erin Johnson. Ecological land survey and soils inventory for Katmai National Park and Preserve, 2016–2017. National Park Service, September 2021. http://dx.doi.org/10.36967/nrr-2287466.

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This study was conducted to inventory, classify, and map soils and vegetation within the ecosystems of Katmai National Park and Preserve (KATM) using an ecological land survey (ELS) approach. The ecosystem classes identified in the ELS effort were mapped across the park, using an archive of Geo-graphic Information System (GIS) and Remote Sensing (RS) datasets pertaining to land cover, topography, surficial geology, and glacial history. The description and mapping of the landform-vegetation-soil relationships identified in the ELS work provides tools to support the design and implementation of future field- and RS-based studies, facilitates further analysis and contextualization of existing data, and will help inform natural resource management decisions. We collected information on the geomorphic, topographic, hydrologic, pedologic, and vegetation characteristics of ecosystems using a dataset of 724 field plots, of which 407 were sampled by ABR, Inc.—Environmental Research and Services (ABR) staff in 2016–2017, and 317 were from existing, ancillary datasets. ABR field plots were located along transects that were selected using a gradient-direct sampling scheme (Austin and Heligers 1989) to collect data for the range of ecological conditions present within KATM, and to provide the data needed to interpret ecosystem and soils development. The field plot dataset encompassed all of the major environmental gradients and landscape histories present in KATM. Individual state-factors (e.g., soil pH, slope aspect) and other ecosystem components (e.g., geomorphic unit, vegetation species composition and structure) were measured or categorized using standard classification systems developed for Alaska. We described and analyzed the hierarchical relationships among the ecosystem components to classify 92 Plot Ecotypes (local-scale ecosystems) that best partitioned the variation in soils, vegetation, and disturbance properties observed at the field plots. From the 92 Plot Ecotypes, we developed classifications of Map Ecotypes and Disturbance Landscapes that could be mapped across the park. Additionally, using an existing surficial geology map for KATM, we developed a map of Generalized Soil Texture by aggregating similar surficial geology classes into a reduced set of classes representing the predominant soil textures in each. We then intersected the Ecotype map with the General-ized Soil Texture Map in a GIS and aggregated combinations of Map Ecotypes with similar soils to derive and map Soil Landscapes and Soil Great Groups. The classification of Great Groups captures information on the soil as a whole, as opposed to the subgroup classification which focuses on the properties of specific horizons (Soil Survey Staff 1999). Of the 724 plots included in the Ecotype analysis, sufficient soils data for classifying soil subgroups was available for 467 plots. Soils from 8 orders of soil taxonomy were encountered during the field sampling: Alfisols (<1% of the mapped area), Andisols (3%), Entisols (45%), Gelisols (<1%), Histosols (12%), Inceptisols (22%), Mollisols (<1%), and Spodosols (16%). Within these 8 Soil Orders, field plots corresponded to a total of 74 Soil Subgroups, the most common of which were Typic Cryaquents, Typic Cryorthents, Histic Cryaquepts, Vitrandic Cryorthents, and Typic Cryofluvents.
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