Graphic Arts & Design

Since the days of silent cinema, opening title sequences have provided audiences with far more than just a list of names. Their designers—whether anonymous studio employees or world-renowned artists such as Saul Bass and Maurice Binder—have found countless ways to captivate and entertain us while the credits unfurl. Featuring all the creative devices at the filmmakers’ disposal, these introductions serve to whet our appetite for the films ahead while helping to shape our viewing expectations in crucial ways.

This anthology brings together 18 years of publications by Deborah Allison, who was one of the first scholars to conduct extensive research into the history of American film title sequences. Topics covered include the main functions of opening title sequences; an historical survey of key design trends in American film titling; aesthetic responses to the advent of widescreen cinema; theme songs and generic iconography in Westerns; novelty title sequences and self-reflexivity; cartoons and caricatures of cast and crew; and retro title sequences. The collection also features a new and exclusive essay about title sequence design in the twenty-first century.

Kondor was an apostle of flying: a group of about hundred works in the oeuvre deals with a certain topic from the long history of flight and flying machines. From ornithopters, which imitated the flight of birds, and the figure of Louis Blériot, who was the first to cross the English Channel, to the landing on the Moon, he created a wide range of works that reflected on the beautiful and frightening idea of conquering gravity. The study argues that there were three substantially different approaches, and they can be mapped onto three roughly consequent periods of Kondor’s career: (1) Images of tradition: in the early period, flight was associated with mythological stories, the history of flight, and the history of art (for example, works related to Icarus, Leonardo, or Blériot). (2) Images of destruction: from around the mid-1960s, Kondor  began to depict horrifying accidents and frightening machines. In the second, middle phase of his art, destruction prevailed in flight-related themes. Not independently from his childhood experiences, these works are dominated by war catastrophes, flight accidents, and military aircraft. (3) Images of construction: in parallel with the rapid development of astronautics and airliner’s technology, the last phase of Kondor’s art became more constructive. He produced small airplane models, created photo series using these models, and illustrated science fiction. These artworks were influenced by the new, flight-related visual language found in contemporary popular media.

Fundamentally, with every design solution, we are trying to present information in the best possible way to make communication easier. n this paper, we will be talking about functionality of layouts and how to ameliorate them by following a set of iterative protocols. We will be using an existing website layout as a case study as we procedurally try to enhance it by applying these protocols.

We designed updated courseware of graphic design in which you will learn all the aspects of graphic designing. We teach you training over below software::

1) Adobe Illustrator 
2) Adobe Photoshop
3) Adobe InDesign
4) CorelDRAW
5) QuarkXPress
6) Acrobat Reader
7) Adobe Bridge

This article proposes that the emerging field of illustration research embraces practice-led research, and will argue that it benefits practice outside of formal academic research. The author’s practice-led Ph.D. research provides the tools that will be used to investigate illustration methodologies within a research practice. These can be adopted to complement industry-oriented, brief-led ways of working to provide long-term transferable skills, enabling illustrators to be entrepreneurial, and give them a robust set of methods to identify and interrogate their subject matter.

Um conjunto de obras que pertencem ao acervo da Coleção Livro de Artista da Universidade Federal de Minas Gerais serviram como ponto de partida para esta reflexão a respeito das técnicas de impressão. Os livros foram exibidos em 2019 na mostra Matéria de Poesia, formada por 34 trabalhos impressos em 12 técnicas diferentes, e incluem processos artesanais e industriais; técnicas tradicionais ainda em uso, como o estêncil, ou obsoletas, como a tipografia. A maioria dos livros aqui apresentados são como um comentário a respeito das possibilidades técnicas do método de impressão escolhido. Buscamos demonstrar como o conhecimento especializado e o acesso aos meios de produção são dois aspectos importantes do trabalho artístico. Adaptamos para o campo do livro impresso os conceitos usados em estudos de gravura, as técnicas foram agrupadas por semelhança no processo de produção da matriz ou pelo método de impressão. Comparados aos demais livros de artista, constatamos que os trabalhos dos artistas-impressores se destacam pela sua qualidade gráfica e pela interdependência entre o conceito e sua forma de apresentação.

This paper focuses on the urban graffiti painted with a political message by different
movements of the Italian political radicalism in the cities of Rome, Florence, Massa,
Carrara, Verona and Udine. For the purpose of this article, during the period from June
2011 to June 2012, a total of 165 graffiti have been photographed, of which 83 painted by
neo-fascist groups, 72 by extreme left groups and 10 by anarchist groups. These three
macro communities, made of different subgroups, emerged as the most active in expressing
their antagonism towards the parliamentary parties with their graffiti that combine semantic
(words) and semiotic (images) elements. An analysis of the collected graffiti’s language
form, meaning and context allows for the identification of the variety of styles of
communication adopted by the different political antagonisms and the different contents of
their communication through graffiti as well as the key elements of their political identities.
Key words: political radicalism, graffiti, linguistics

Jeremias Falck (c. 1605/09–1677) is considered to be the greatest engraver of early modern times working in the Polish-Lithuanian Commonwealth. Graphical representa- tions of  ower forms constitute a signi cant part of his oeuvre. So far they have not been of special interest to researchers, therefore it is worth giving them more attention now. It seems necessary to look at the existing attributions to estimate the real number of Falck’s works on this subject, and to formally analyse various prints. It is also necessary to critically approach the questions of the original prints, later editions, and copies.
Up to date researchers have recorded selected  ower representations, without referring to the information in the only catalogue raisonné of Falck’s works by Block, who attributed to him up to 98 compositions on the subject. Only by compar- ing prints from the Polish museums with various collections abroad the answer to the question how many  ower arrangements were actually created by Jeremias Falck can be provided.
Falck’s authorship of the series Novae et exquisitae FLORUM ICONES has been con rmed. It is also highly likely that he elaborated most of the plates of the series Verscheyde Nieuwe TULPEN.
From the frontispiece of the series Novae et exquisitae FLORUM ICONES we can
conclude that Falck was not only the engraver, but also the author of the composition (inventor). Flowers in his works do not map a particular set of a botanical collection, but are a recommendation for an artistic representation of the plant.  ey could have been a kind of a template for painters, and at the same time objects d’art for collectors.  anks to their artistic qualities, perfect workmanship, and attention to the highest editorial standards, Falck’s  ower engravings became desirable works in the art mar- ket, copied by other designers and reprinted by other publishers.
e analysis of the preserved prints linked to Falck can also lead to a number of general conclusions on the functioning of the market for graphic art in the 17th cen- tury. Florilegia were usually formed in series containing a few to a dozen composi- tions. Herbaria’s cards could circulate in the form of a compact collection of a few series together, but also in smaller folders or even as loose cards.  e study shows that they were particularly popular in 17th-century France and the Netherlands.  e increase in production, mainly of the copies of previous cycles, occurred in the 1670s and lasted until the early 18th century. Falck and Vauquer were copied by Gerard Valck, Nicolaes Visscher and many others.

[NOTE: The captions of fig 6 and 7 have images of fig 7 and fig 6]

Internet necessitates and Unicode facilitates multilingual typography on a scale never seen before. As a result, multilingual typesetting, something that used to be an obscure academic specialism, suddenly sprung to the limelight. Since printing with movable type originated in Europe in a Latin-scripted environment, other scripts still tend to be treated as a complement to Latin script and their measurements normalized accordingly. The challenge that designers are facing is to create computer typography that does justice to all scripts and cultures, according to their own standards. This makes it all the more relevant to come to terms with Arabic.

Arabic and English manual for the first computer naskh typeface with variations. The typeface was not driven by smart font technology, but static. For this reason it consisted of 31 fonts, each with a fixed selection of variation features . Inside the fonts, the smallest number of glyphs was used, while each glyph was made with the smallest number of points, so that all 31 fonts files plus the instructions fitted on a single 1.4 MB floppy disk.
The text was set using Microsoft Word for Windows, with the very DecoType Professional Naskh font set that it describes. This font introduced novel features like variation and stretch that raised the level of ambition and interest in classic features throughout the design world.

Maggie Macnab, a professional designer and educator, shows how an effective logo maximizes a client’s budget by using meaningful visual descriptors that are at once universal and concise. For the audience, this relationship translates into interesting, commonsense and sometimes surprising a-ha! connections, prompting longer viewing times and more likelihood of recall.

İlk yayım bilgisi: “İstanbul’un 100 Grafik Tasarımcısı ve İllüstratörü”, 2011.
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Avrupa-Amerikan modernizminin ve postmodernizminin üst söylemleri; grafik tasarım tarihindeki ayrıcalıklı ve önyargılı bilginin kökenlerini oluşturmakta ve Batı’daki gelişmeler tasarım tarihi üretimi için kıstas olmakta... Oysa, Türkiye’nin kendi dinamiklerinden, görsel kültür ve iletişim tarihinden hareketle kendi grafik tasarım tarihini yazması gerekiyor!
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Bir zamanlar basın–yayın dünyasının merkezi ‘Babıâli’ için çalışan, ‘ressam’ olarak anılan sanatkârlar vardı; gazetelerin, dergilerin, yayınevlerinin ve matbaaların gündelik görsel ihtiyaçlarına hızlı çözümler üretirlerdi. Basın–yayın dünyamızın güzel yazı, çizim ve resimleme işleri bu deneyimli zanaatkârların elindeydi. Günümüz grafik tasarımcılarının ‘öncüleri’ diyebileceğimiz Babıâli ressamları, uzun yıllar görsel belleğimizi şekillendirip zanaat’tan tasarım’a geçişin aktörleri oldular.
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Resimli Ay dergisi, 1924 > “Kapak Ressamımız Cevad Bey: Şimdiye kadar bizde mecmua kapaklarını yapmakta Cevad Bey kadar muvaffak olmuş ressamımız yoktur. Cevat Bey kapak ressamcılığının tekniğini en ziyade anlamış Türk ressamımızdır...”

Penulisan sejarah desain grafis di Indonesia menjadi sebuah pekerjaan yang penting ketika dalam dunia desain profesional yang semakin bertumbuh cepat dan mendunia, permasalahan identitas keindonesiaan mulai dipertanyakan. Identitas dalam desain grafis menjadi penting saat interaksi dengan desain grafis dunia membutuhkan pembeda. Penggalian identitas Keindonesiaan menjadi sulit akibat berbagai faktor, misalnya pengaruh budaya barat yang telah dikenal lama sejak masa penjajahan Belanda dan kemudian Jepang. Penulisan sejarah desain grafis juga dipengaruhi oleh perkembangan desain grafis atau desain komunikasi visual yang demikian meluas. Begitu banyak media desain komunikasi visual yang memiliki sejarah perkembangannya masing-masing. Hal ini membuat penulisan sejarah desain komunikasi visual menjadi makin meluas, dan rumit. Salah satu kendala lain adalah masalah politik identitas, di mana desainer khususnya dan praktisi desain grafis pada umumnya, yang berasal dari etnis Tionghoa Peranakan, memiliki peran signifikan.

Kata kunci: Sejarah, Desain Grafis, Nusantara, Tionghoa Peranakan.

This essay addresses the constructions of Mexican graphic art history.  In particular, a select group of recent exhibitions and their accompanying catalogues are examined in relation to the narrative development of Mexican graphic art. How El Taller de Gráfica Popular (The Workshop for Popular Graphic Art) or TGP, a graphic art collective founded in Mexico City in 1937, is situated within Mexican art history is a primary concern of this essay. The significance of the Mexican Revolution to the TGP is also a focus of this text. In particular, this article analyzes two prints by TGP member artists from the 1947 portfolio Las Estampas de la Revolución Mexicana (Prints of the Mexican Revolution) with a focus on the graphic collective’s approach to narratives about the war.

This richly illustrated tri-lingual volume (in English, Kazakh, and Russian) introduces the range and quality of art in modern Kazakhstan. We present a brief biography and commentary on sixty diverse artists from throughout that country, alongside examples of the artworks each has created. We recognize that any one book can only include a small portion of the vast artistic productivity within this rapidly growing and developing nation. We are very aware that many more artists are currently active in Kazakhstan, and that no possible selection within a book of reasonable size could claim to fully represent the variety and range of art produced. Yet we are also aware that despite the great recent growth of Kazakhstan’s museum and art gallery sectors, very little information about Kazakhstan’s modern art is currently available in English and to international audiences. We hope readers will enjoy the present selection of artists and artistry, and that they may then want to learn more or visit directly Kazakhstan’s centers of art production and display. They will find a very active world of museums, galleries, studios, and creative spaces, often steeped in traditional Kazakh cultural forms and traditions, yet presented in many innovative and cosmopolitan media and formats. The compilation and production of this book is part of a larger national effort within Kazakhstan’s Ministry of Culture, and particular its Kazakh Research Institute of Culture (KRIC), to enhance its partnerships with international museums, and to find new ways of introducing Kazakhstan’s art to a global audience. This process is also part of a series of activities carried out within the framework of Kazakhstan’s national cultural policy which aims both to rediscover Kazakhstan’s own national identity based on Kazakh history and culture, while also finding a uniquely Kazakh inspiration for transformation or modernization of Kazakhstan’s cultural life.
Scholars and art historians who look back from the future on these decades of Kazakhstan’s rapid growth and modernization will surely have much to observe and write about. They will note how the highly diverse individual artists of Kazakhstan sought out unique ways to integrate traditional Kazakh motifs, symbols, and themes, within artistic productions and media for a cosmopolitan art-market or global artistic forum. Each of the artists we have selected for inclusion within this compilation is inspired both by deep roots in Kazakhstan, and by contemporary global trends in art production.
The compilation of this book owes much to the Committee of Experts recently formed within Kazakhstan’s Ministry of Culture, for their suggestions about artists to be included, and about other means for recognizing and celebrating Kazakhstan’s national identity through the visual arts. We received many suggestions for the selection of artists to be included here, for which in the end we bear full responsibility – only hoping that this first attempt to introduce some of Kazakhstan’s pre-eminent artists to a global audience may be followed by many others.
It is our sincere hope that through this volume, both Kazakh and international readers will discover or re-discover the depth and range of artistic production in modern Kazakhstan, and will be inspired to visit and experience first-hand both the depth of Kazakhstan’s cultural traditions and the dynamism of Kazakhstan’s cosmopolitan artistic landscapes.
(Editors: Andrey Khazbulatov and Paul Michael Taylor)

Human beings both create and reflect the world around them. The power of influence for one individual is substantial, as every action ripples out into the world around them. Others regard their behaviors and—whether consciously or subconsciously—they are affected. While it is impossible to ever know the total impact one makes in the world, it is possible to set a personal intention to be, do and create good. While the umbrella concept of “good” is elusive, as perceptual judgments can vary, the true colors behind an action might best be realized in the intention for collective well-being. Perhaps Milton Glaser put it best when stating that at the very least, design should “try to do no harm” (Soar 576). Designers have the profound capability to influence the world, if not simply because design affects every detail of how individuals live their lives (Heskett 2). The conversation surrounding social design is one that recognizes the intrinsic capability graphic design has to influence the social conscience. Through visual communication, designers both contribute to and reflect the social and cultural identities of society. By shifting the focus of design back towards humanity, it is beneficial for designers to explore the societal influence they possess and to ask themselves what message their current work is communicating to the world.

In this text I wish to delve into the creation of textual content as well as its visualization through typographic design mechanisms inside three dimensional virtual worlds, which are known as the metaverse. I am particularly focused upon the way in which such virtually three dimensional environments may place the usage of text within a context that stands in contradiction to its traditional one by creating an unexpected novel purpose which takes a marked departure from the intrinsic attribute with which text has inherently been associated – namely the attribute of readability. In such environments readability, or indeed even legibility, may often be displaced through the usage of text and typography as a playful device, as artifacts which may manifest in puzzle-like configurations, or as visual structures the contents of which are meant to be understood through means other than straightforward reading; thus bringing about states of heightened engagement, wonder and ‘play’ through their manipulation or indeed simply by being immersed within the spaces which are brought about through their very agency. I also wish to expand upon this subject by talking about my own experiments with this material and will conclude by positing that further virtual dimensions can be instrumental in eliciting exciting alternative usages of text and typography which bring to the fore the allographic properties of text as an artistic/creative expressive media that may well bear further scrutiny and exploration.

Formal theories reveal a visual dimension underlying better-known picture theories. Patterns of elements such as lines, shapes, and spaces, along with their properties, generate emotional responses and follow visual styles in society. The elements combine into systems that create perspectives on the world. Formal awareness may generate an understanding of visual philosophies and their inherent values and consequences. Picture theories start from the tension between scientific invention and artistic expression. From linguistics and philosophy, semiotics provides terms for analyzing pictures as signs that mediate among mind, eye, and reality, operate within codes, and reproduce mythology. From film and literary aesthetics, narrative theory offers analytical structures that reproduce realism through supposed objectivity, rationality, and autonomy in dialogue with conventions and genres. Critical, cultural, and poststructural theories assert the inauthenticity of pictures, social construction of representation, and instability of meaning. Visual aesthetics, analysis, criticism, and ethics have entered flux in digital times.

Abstract
Everything interesting in life belongs to the field of semiotics. For youth, Social Networking sites are currently interesting, popular. It is widely used collaborative platform for group and social communication. Social networking as general term has become a global term for communication. There are several SNS like Orkut, Facebook, Myspace, google+ etc. But more than 1000 million (Jan 2013) people all around the world are actively using Facebook to stay connected with their friends and the people around them. This number is comparatively very high as compared to other SNS. What makes Facebook so popular over other social networking sites? There are various reasons of its popularity which lies in its simplicity, connectivity, privacy, having more friends, sharing content, tagging etc. But what it separates outs out from other SNS? So, I tried to understand it through the semiotic (User Interface Design, signs and symbols for expressing communication timeline, emoticons, and visual profile) and applied semiotic (forms of meaning of user generated content for sharing, commenting, posting and chatting) study by analyzing various semiotic tools associated with Facebook.
Keyword – SNS, Facebook, Semiotic, Peirce, Saussure

"I was asked to write the entry on "Art Criticism" for the (then) Grove Dictionary of Art; the version I submitted contained the observation that, according to some notions of art criticism, all of art history is also a form of criticism. I noted that "by that definition, all thirty-seven volumes of this 'Grove Dictionary of Art,' which has involved over 7,600 scholars, is actually art criticism." The edited MS was returned with the sentence deleted; I complained to the editor of the dictionary, and I was told the sentence would be restored. It never was. (That's a little cautionary tale about the institutional differences between art history and art criticism.)

Aside from that, this essay is an attempt to gather and arrange the major theories of art criticism."

Hyphen welcomes papers on ty­pog­ra­phy and graphic communication and contributions at the meeting places between typography and other disciplines.
Eighteen volumes have been published since 1998; the next volume will be printed in summer 2021.
https://www.istvc.org/hyphen.html
The editor will be accepting contributions till the end of January 2021 and endeavours to ac­knowl­edge receipt within a month after the contribution has arrived.

This chapter reassesses 20th century surrealist automatism in relation to Rodolphe Töpffer's 19th century account of comic strip composition and production, in particular the impact of technological possibilities for autographic reproduction. It is argued that perceptions of the value and success of surrealist automatic texts and images shift when such works are understood as publishing interventions within the public sphere of production.

En la década del setenta se desarrollaron prácticas gráficas alternativas que actuaron en la frontera entre lo poético y lo político y han sido mayormente excluidos del discurso canónico de la historia el arte en Puerto Rico porque implican un desplazamiento gráfico respecto de la ortodoxia de la gráfica y su circulación en el país. En este trabajo se estudia y amplía la concepción de prácticas artísticas de motivación política entre 1970 y 1980, tomando en consideración la relación entre varios actores culturales que actuaron en el límite de la poesía, la gráfica y la acción política. El estudio se centra en la publicación Fuera de Trabajo (1977) de Esteban Valdés y la campaña del Gobierno Araña llevada a cabo por el Comité Pro Defensa de la Cultura Puertorriqueña (1980), pero también incluye otras obras y acciones centrales a esta problemática, tales como la revista mural Alicia la Roja, las performances de Carlos Irizarry, un billete-volante utilizado por el Movimiento Pro Independencia y las protestas en las bienales grabado de San Juan durante la década del setenta. Indagando en el significado que estas piezas tuvieron en su época, quiénes las realizaron, el por qué de su circulación alternativa y las implicaciones políticas que tuvieron, se ha hecho una interpretación de por qué fueron excluidas del canon de la gráfica puertorriqueña, posicionando las obras y artistas en un contexto local e internacional. También se investiga sobre las relecturas que se les hizo a partir de la inclusión de estos trabajos en distintas instancias de exhibición y circulación a partir de 2000. Como hipótesis principal, esta tesis sostiene que la gráfica experimental y política realizada en Puerto Rico entre los años 1970 y 1980 constituye un desplazamiento gráfico de circulación alternativa en relación al canon artístico local y una vanguardia relacionada al conceptualismo. Las piezas no sólo se enfrentaron a los cánones del arte en Puerto Rico, sino que también intervienen muy puntualmente en el escenario político del país, como acciones en y sobre la historia que sólo han sido reconsideradas en acción diferida a principios de la década del 2000.

The vanitas theme with skulls, hourglasses and other reminders of man’s mortality is ubiquitous in portraits from the 16th century on, and also in still-life painting from the early 17th century, especially in the Low Countries. In 'Vanitas Still Life with Skulls' of around 1640-62 by the Utrecht painter Aelbert Jansz van der Schoor we see six skulls, bones, an hourglass, wilting roses and a nearly extinguished candle beneath a shelf with books and sealed documents – symbols of learning and authority. Musical instruments, empty glasses, coins or pearls, and perhaps a globe or crucifix are also often included and embody the transience of life, learning, beauty, wealth and earthly pleasure. In shrill contrast to the wealth displayed in Dutch homes, these sombre reminders suited the moralising tendencies of patrons in the Golden Age.
Yet while mortality is represented by the skull, Death himself does not appear in vanitas paintings as he does in the Danse macabre – and in Dutch genre scenes of the period. Much has been written about Peter Paul Rubens’s copies of Hans Holbein’s 'Images of Death', but scant attention has been paid to Dutch re-interpretations of the Danse macabre in the Golden Age. Nonetheless, this popular motif inspired major artists such as Rembrandt, Jan Lievens, Jan Steen, Abraham Bloemaert, Judith Leyster and Adriaen van de Venne. In paintings, but especially in drawings and prints, they show Death arriving unexpectedly to summon the rich miser, the lovers and the merrymakers: archetypal sinners oblivious of their own death or the hereafter. With hourglasses, flowers and coins as added symbols, these scenes have much in common with the vanitas genre.

Obiettivo del volume è analizzare le nuove possibilità progettuali/realizzative della grafica e comunicazione ambientale, valutando e sistematizzando l'attuale stato dell'arte, cercando di capire come discipline viste spesso tra loro come molto distanti, quali il graphic design, la progettazione architettonica, la geometria descrittiva, la comunicazione visiva ed extra-visiva, la scienza della comunicazione, l'informatica, condividano di fatto settori di ricerca ed ambiti applicativi comuni. Sono, infatti, sempre più diffuse le applicazioni/contaminazioni della grafica (nelle sue molteplici e svariate forme) nel campo dell'architettura, che, grazie all'uso degli strumenti elettronici per progettare ed alle nuove tecnologie e materiali costruttivi, trova nuovi settori d'interesse e sinergie sempre più strette con l'architettura stessa, che solo 30 anni fa non erano ipotizzabili. È la grafica dello spazio vissuto, con dimensioni di supergrafica e caratteristiche tridimensionali da una parte, dimensioni virtuali legate all'uso dei dispositivi smart, dall'altra. La classificazione proposta dei campi d'impiego in cui la grafica entra a stretto contatto con l'architettura, è la seguente: - architettura tipografica; - grafica ed anamorfismo; - grafica come rivestimento (texture); - grafica e facciate mediatiche; - grafica del temporaneo. A queste forme si integra il wayfinding, ovvero le indicazioni grafiche che consentono l'orientamento nello spazio, che in molte circostanze si sovrappongono ad alcune delle categorie indicate in precedenza ed in altri casi si collega a sistemi di comunicazione ambientale legati a dispositivi tecnologici come gli smartphone od i tablet, attraverso la realtà aumentata o sistemi virtuali similari.

The present paper focuses on the concepts of urban and linguistic space. It considers the city as a diamesic melting pot. Graffitism is seen as a communication channel that needs to be examined in order to better understand the urban language and its many forms.
Key words: graffiti, linguistics, diamesia

This essay explores the intersection of Indian and European typologies-specifically of portraits, as well as generic types of people-among Indian drawings and paintings, French chromolithographic books, and British miniatures and colonial photographs. The study focuses on the French publishing house Firmin Didot and its publication Le Costume historique (Historical Costume; 1888). For illustrating the section on India, the author, Auguste Racinet, consulted Indian paintings in Firmin Didot's library alongside colonial photographs and other materials. By examining the sources alongside their reproductions, this essay traces the shifting meanings among forms as visual typologies from different cultures collided, and the role that media played in these reinscriptions.

The graphic arts emphasize design, be it in the arts of drawing, painting, engraving, etching, or other print media, from the techniques of producing a single image to the composition of the page, the album, or the book. This volume of Ars Orientalis focuses on how interlocking practices of making, collecting, compiling, and publishing graphic arts across Asia and between regions in Asia and Europe encouraged the replication, and also the subtle transformation, of forms, opening up new possibilities for interpretation. 1 The essays focus specifically on the steady replication of readily identifiable forms-whether portraits, general types of people, flora or fauna, ornament, books or other objects, or even the materials of making themselves, like paper-as well as their production in artist workshops, libraries, and publishing houses and their collection in albums, books, or other compendia. In short, the articles engage with the creation and reception of forms and how they wander. In focusing on the replication of forms, this volume returns to debates that have stimulated scholars for the last century. 2 It does so self-reflexively, seeing these writings as part of the textual discourse that is in dialogue with the visual one under discussion. 3 Yet, the volume aims to add to the existing scholarship by focusing primarily on Asian workshop practices of replication, attending to the processes by which forms moved across cultures and the question of how they were resituated over time, and by interweaving Asian and European historiographies of replication. These essays specifically engage with replicating forms in the eighteenth and nineteenth centuries. In this era, manual and mechanical processes of replication were in use simultaneously within specific cultures as well as across cultures, particularly in commercial ventures. Noticing the intersection of reproductive technologies raises questions not only about production and reception but also about the associations between media and meaning. 4 In addition to inquiries about materiality and processes of production, we find that many of the artists, collectors, and publishers discussed here developed-or perpetuated-taxonomies of form. 5 These forms range from books and objects in Korea to the personification of musical modes in India to the portrayal of exotic foreigners in Ottoman lands and the British visualization of viruses in Sri Lanka. This impulse to classify, and the circulating figures that resulted, urge us to think carefully about the force of forms, both as a creative and a reductive conduit employed to devastating effect by colonial states, among other regimes.