2010

AVA Academia
AVA Publishing SA AVA Academia
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 Contents

New 2010 titles Fashion Design Working with ethics

002 054 144

A note from the publisher Film-Making Distributors

004 062 148

Advertising Graphic Design Title index

006 068 150

Animation Illustration eBook vendors

014 090 159

Architecture Interior Architecture

024 098

Branding Interior Design

030 104

Creative Photography Landscape Architecture

036 110

Design Management Marketing

042 116

Digital Media Photography

050 122

Product Design
130

Typography
138

www.avabooks.com 000/01 http://blog.avabooks.com www.avabooks.com 002

NEW!NEW!NEW!

Epica 23 Basics Basics Animated Performance Basics The Fundamentals of Basics The Fundamentals of
008 Advertising 02: Animation 04: Architecture 03: Creative Photography Creative Photography 01: Design Management
Art Direction Stop-motion Required Reading Range Architectural Design Design Principles
023 Introductory Introductory
Intermediate Intermediate Intermediate 039 Intermediate 045
010–011 020–021 028–029 040–041

Research Methods in Brand-driven Innovation Basics Basics Basics The Visual Dictionary Basics Visible Signs
Design Management Fashion Design 06: Fashion Design 07: Film-Making 04: of Pre-Press Graphic Design 01: (Second edition)
Required Reading Range Knitwear Designing Accessories The Language of Film and Production Approach and Language
Required Reading Range 048 Required Reading Range
047 Intermediate Intermediate Intermediate Foundation Intermediate 084
060–061 060–061 066–067 071 078–079

Packaging Design Basics Basics Basics Basics The Visual Dictionary

Interior Design 01: Interior Design 02: Marketing 02: Product Design 03: of Typography
Required Reading Range Retail Design Exhibition Design Online Marketing Visual Conversations
089 Foundation
Intermediate Intermediate Intermediate Intermediate 140
108–109 108–109 120–121 134–135

http://blog.avabooks.com www.avabooks.com 002/003

A note from the publisher
Welcome to AVA Academia’s 2010 catalog.
Last year we surveyed many of our academic
subscribers to better understand what
information you wanted about our books in
order to best and most easily fulfill your needs.
You are now looking at the result of this
survey. We hope you enjoy it.
This publication is designed to help you, the
readers and users of our books, engage with
the framework of our publishing program.
This catalog describes our range of titles and
demonstrates how we position our books within
the parameters of a well-defined matrix. This
matrix is designed to echo the course structures
and levels that typically apply in the field of visual
arts in educational institutions around the world.
We trust that this catalog will serve as a guide
to help you evaluate how AVA Academia’s books
can provide you with a teaching resource and
your students with a learning tool.
Our books are written by leading academic
authorities, the texts undergo peer reviews and
are refined through ongoing consultation and
development, in order to best reflect the needs
of today’s student. To date, many hundreds
of universities, colleges and higher education
bodies around the world have adopted and
recommended our texts across numerous
courses and programs.
When our business was founded a few years
ago we wanted to rethink the concept of the
‘textbook’. Our audience is visually literate,
technically sophisticated and acutely aware
of good design and presentation. In our endeavor
to create twenty-first-century textbooks for
twenty-first-century students, AVA Academia’s
titles respond to these qualities. It seemed
to us that academic books about the applied
visual arts should themselves be both well
designed and well written, something that had
previously appeared to be an either/or option
for many publishers.
Readership
Our books are written for a student
audience where the applied visual
arts form part of a course of
specialized further education study.
As this is a wide audience, with
varied levels of knowledge, skill
and aptitude, all of our titles fall into
one of five readership categories.
Foundation
AVA’s Visual Dictionaries form
our foundation reading list. These
titles offer clear, comprehensive
and visually informative definitions
of the key terms in a discipline’s
vocabulary.
Introductory
The discipline-specific titles in our
Fundamentals range are aimed
at students embarking on further
education and offer a thorough
grounding in the subject.
Intermediate
Our Basics books provide readers
with an in-depth exploration of
each of the topics introduced in the
Fundamentals titles. These books
offer both a theoretical and practical
approach, supported by examples
and exercises.
Required Reading Range:
Course Reader
These reference titles
are specifically structured to
support the lifetime of an
undergraduate degree and
provide a detailed exploration
of the discipline covered.
Required Reading Range:
Module Reader
These titles are designed to
support specialized modules
of degree courses and
provide a platform for further
exploration of the subject matter.
Our books also incorporate
a methodology for the consideration
of ethical issues in the applied
visual arts (see page 144). This
reflects not only our current
preoccupations in society as
a whole, but also builds on AVA
Academia’s underlying publishing
philosophy: that the purpose
of our books is to help our readers
and users engage fully with the
subject matter in hand.
This catalog describes all our
books by discipline and readership
category. It includes all current titles
as well as our planned program
for the year ahead. We encourage
requests for desk inspection copies
from academics, and details as
to how books can be ordered are
set out here.
Please feel free to share this
catalog with your colleagues
(also available for download
at www.avabooks.com).
As always, your comments
and feedback are welcome,
simply write to us at
enquiries@avabooks.com
How to order desk inspection copies
AVA Academia titles are available at the
publisher’s discretion as desk inspection
copies. They are offered to teaching staff for
consideration on courses with a minimum
of 15 students, where English is the primary
teaching language. You may select up to two
titles per department to consider for course
adoption at any one time, subject to confirmation
of relevant academic credentials. AVA Academia
reserves the right to offer copies by way of
eBook rather than print if multiple requests from
the same department/institution are received.
All copy requests should be made via our
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ask you to register. You will then be sent
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email on receipt to complete your registration
and receive your books. Once registered you
can return to our website at any time and log-in
using your email address and password.
Your feedback is important in helping us
maintain and deliver a high standard of visually
stimulating textbooks and for ensuring our
future titles are appropriate for your courses
and programs. For each inspection copy you
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price of the book if feedback is not received.
In submitting a request it is assumed that you
are agreeing to these terms.
http://blog.avabooks.com www.avabooks.com 004/005
D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Advertising

009 010–011 013

The Fundamentals of Basics Advertising Kiss and Sell:
Creative Advertising 01 Copywriting Writing for Advertising
02 Art Direction

Annual

008
Epica 23

www.avabooks.com 006/007
 Annual
F Introductory

Epica 23: Europe’s Best Advertising The Fundamentals of Creative Advertising

Ken Burtenshaw, Nik Mahon and Caroline Barfoot

The Epica Awards are the most Ken Burtenshaw has

prestigious creative awards
in Europe, established in order
to foster the highest standards of
creativity from advertising agencies,
film production companies, media
consultancies and photographers.
Epica 23 brings together images
from all the winners of the
09/10 Epica Awards, featuring
more than 950 commercials,
print ads, publications, internet
sites, direct marketing operations,
packaging design projects, and
integrated campaigns. It is an
essential source of information for
all those interested in contemporary
European creative trends.
This unique record is conveniently
arranged by product category
with creative credits and brief
translations where necessary.
Key features
Brings together images from
all the winners of the most
prestigious creative awards
in Europe.
The only reference annual
on European advertising
covering all types of media.
Features all gold, silver and
bronze Epica Award winners,
together with a good selection
of other high-scoring entries.
Over 1000 high-quality
color images.
Readership
Annual
Epica 23: Europe’s Best Advertising
showcases a vast array of award-
winning contemporary advertising.
It is a key text for all creative
people working in the advertising
industry. It is also of interest to
advertisers, media planners and
visual arts students worldwide.
extensive experience as a senior
art director in the advertising
business. He has run the
BA Advertising course at
Southampton Solent University,
UK since 2001.
Nik Mahon is a senior lecturer
in advertising at Southampton
Solent University, UK. Nik
has worked with a number
of advertising agencies in the
UK and overseas as an art
director and creative director.
Caroline Barfoot has over
20 years’ experience of media
and marketing communications
in account management and
planning. Caroline lectures on
advertising strategy, market
research and the advertising
industry at Southampton Solent
University, UK.
Key features
Introduces students to
the key elements of the
advertising industry.
Contains detailed discussions
of campaign strategy, creative
briefing, media selection and
reaching a creative solution.
A step-by-step guide to the
creative process. Explains
how advertising agencies
plan, generate and produce
advertising campaigns.
Readership
Avoids an overly textual Introductory
approach with lively and
The discipline-specific titles
engaging visuals designed to
in our Fundamentals range are
appeal to creative students.
aimed at students embarking
on further education and
Emphasizes the working
offer a thorough grounding
practice of the modern
in the subject.
advertising agency as well
as the conceptual and This book provides students
creative side. with an understanding of basic
advertising principles before
Includes professional examining specific key areas
interviews, student in greater detail.
exercises and checklists
to encourage a practical
application of theory.

NEW! ! Gives excellent insight into the essential aspects of advertising as a medium. Gives students an insight
into professional application of the theory covered on the course. Kate Sillitoe / Chester University / UK
! This is an excellent working introduction to advertising – having shown students
the book, several have already purchased it. Truro College / UK
! Makes advertising fun. Good examples of edgy work.
The overall layout of the book is great. Adam Schwartz / California State University / USA

ISBN and title specifications listed on pages 150–159 www.avabooks.com 008/009

b Series Intermediate

Basics Advertising

01 Copywriting The Basics Advertising series explores

Rob Bowdery key areas of advertising through a range
02 Art Direction of case studies juxtaposed with key
Nik Mahon advertising ‘basics’. All books in this series
contain numerous visual examples, which
show the variety of work that advertisers are
involved in, plus accompanying explanatory
text to help the reader understand why
some ads work so well. There are practical
exercises as well as tips and guidance on
how to generate ideas and think creatively,
enabling the reader to fully understand
the work being discussed.
Key features
Each title provides students
with an in-depth discussion
of a key area of advertising.
Includes practical student
exercises and case studies
taken from the best of
contemporary advertising.
Presented in a visually
stimulating style, designed
to appeal to students of the
creative arts.
Readership
Intermediate
Our Basics books provide readers
with an in-depth exploration of
each of the topics introduced in
the Fundamentals titles. These
books offer both a theoretical and
practical approach, supported by
examples and exercises.
Individual titles can form the basis
of specific advertising modules,
while the series as a whole
functions as a comprehensive
reference tool, and can be called
upon at any stage of a student’s
education.

Basics Advertising: Copywriting

NEW!
! A must for all advertising and marketing students – not just for aspiring copywriters. Ronni Curtis / South Africa
! Solid in introducing students to broad concepts. Good use of examples in the text. Cameron Jenyns / RMIT University / Australia
! Excellent, comprehensive text. Very revealing and useful.
This book will appear on our new reading list. Tim Bones / West Kent College / UK

ISBN and title specifications listed on pages 150–159 www.avabooks.com 010/011


Robert Sawyer is the
author of Kiss & Sell: Writing
for Advertising (see page 13).
He has enjoyed a successful
career as a copywriter, creative
director and consultant.
ISBN and title specifications listed on pages 150–159
Robert Sawyer
copywriter / consultant / writer
What is the key point that you want students
to take away from reading Kiss & Sell?
The central point of the book is that copywriting
is a craft that is honed and sharpened with
practice. There is no good or bad copy; there
is only effective or ineffective copy. Our task
as copywriters is to use our craft to sell products,
goods, and services and, increasingly, ideas.
We make our clients’ messages compelling.
As for creativity, it is a value generally applied
by others, after the fact.
How do you feel the industry contributions add
to the text?
The industry examples were selected to
demonstrate that there is no one voice, one
style, one technique that is effective in the
real world. The work shows how different
brands utilize different verbal tones and manner
to persuade those who require persuasion,
or to assure those who need to be reassured,
that the brand’s message is relevant to them.
What was your motivation for writing Kiss & Sell
and how do you anticipate it will help students?
Students will be introduced to the notion that
copy is a craft and not an art. That it has a specific
obligation: to advance the interests of one’s
clients. The book shows good copy can be poetic,
or badly written; it can even torture the language,
but it cannot be ignored. Ignored copy is ‘bad’
copy. I anticipate Kiss & Sell will free students
from the oppressive notion that one must be
‘gifted’ to master the craft and enjoy a rewarding,
if not spectacular, career.
How, in your opinion, does the book reflect
current advertising practice?
Although my book focuses on print, offering
only a few examples of interactive work,
the basic premise remains intact, regardless
of media. As advertising increasingly goes
off the page and on to a variety of screens,
as the presence of social networking grows
more immersive, the craft of copywriting remains
invaluable, because in the end, good copywriting
begins with good ideas; and ideas remain at
the heart of our business – technology is only
an execution.
How do you see advertising education
progressing?
The role of education is to ensure that students
understand how people assimilate, relate to,
and act on information. They should be taught
to understand that the primacy of context doesn’t
change although the usages of technology do.
Saying this, educators are obliged to focus on the
craft of copywriting and the uses of verbal skills
because in the end, the best ideas communicated
clearly will win, regardless of the media.
What does Kiss & Sell offer today’s
advertising students?
Kiss & Sell offers students a reality check.
As people are increasingly seduced or distracted
by the media that deliver a message, the book
reminds them it is well chosen words – from
traditional narratives to rock and roll lyrics –
that persuade. Kiss & Sell shows that even if all
a consumer sees is a face, or a shoe, that image
will trigger a cascade of words. The book also
reminds students that consumers express
their desires in words; express their joys and
disappointments in words. And, even if the
ultimate execution is communicated in grunts
and glyphs, the copywriter had to first sell the
concept with words.
R Required Reading Range
Robert Sawyer worked as
a copywriter, copy supervisor and
creative director for over 20 years,
creating advertising for global
companies such as Saatchi and
Saatchi. He now consults as
a strategist for design firms in
New York and is also a published
poet and playwright.
! An insight into the contemporary field of copywriting and advertising.
Well considered and excellently compiled. Christopher Morris / Salford University / UK
Module Reader
Kiss & Sell: Writing for Advertising
Robert Sawyer
Kiss & Sell: Writing for Advertising
is an exploration of all aspects
of copywriting. This book discusses
various subjects and media, from
print and broadcast to interactive
media, as well as tactics and
strategies employed by copywriters.
The text is supported by insightful
interviews with leading practitioners
and a wide variety of some of the
most successful advertising copy
ever produced. Kiss & Sell provides
students with a clear understanding
of the various dynamics at work
in effective copywriting.
! An excellent book, which I have already used extensively. Newcastle College / UK
Key features
An exhaustive discussion
of the copywriting process.
Educates students in the
value of good copywriting.
Discusses the different media,
subjects and styles available
to the copywriter.
Provides ideas and inspiration
as to the most appropriate
approach to copywriting.
Includes a wide range of
illustrative examples, and
contributions from leading
copywriters.
Readership
Required Reading Range
Module Reader
These titles are designed
to support specialized modules
of degree courses and provide
a platform for further exploration
of the subject matter.
This title represents a
comprehensive overview
of a specific area of advertising.
As such it is an ideal core text
for copywriting modules, as
part of a larger advertising degree.
www.avabooks.com 012/013
D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Animation

017 018–021 022

The Fundamentals of Basics Animation Re-Imagining Animation:
Animation 01 Scriptwriting The Changing Face
02 Digital Animation of the Moving Image
03 Drawing for Animation 023
04 Stop-motion Animated Performance:
Bringing Imaginary Animal,
Human and Fantasy
Characters to Life

www.avabooks.com 014/015
 F Introductory

Barry Purves The Fundamentals of Animation

animator / director / writer Paul Wells

Barry Purves is the author of
Basics Animation: Stop-motion
(see page 18). He is a stop-motion
animator and director with more
than thirty years’ experience.
AVA titles have been very successful and widely
adopted. What do you think are the factors that
make our titles stand out?
AVA titles are written by informed and
experienced authors with a clear, no-nonsense
approach. They combine an easily-understood
design scheme with concise text. Each
book is a compact wealth of knowledge
and experience.
How is Basics Animation: Stop-motion relevant
to the courses you teach, how does it compare
with titles that you currently use?
Like all AVA titles, this book is affordable
to students and first-time film-makers,
as well as being simple, accessible and
well-illustrated. AVA books are unique in
balancing high theory with an equal amount
of useful practical information.
What is the key point that you want students
to take away from reading your book?
The book illustrates all the joys and frustrations
of the craft. It lets the reader know exactly what
to expect and how to judge whether stop-motion
is appropriate for a specific project. It clearly
sets out what stop-motion is good at and what
it may struggle with, and how a film script may
make the most of what stop-motion has to offer.
What was your motivation for writing
Basics Animation: Stop-motion and how
do you anticipate it will help students?
This book aims to make the choice easier for
a student or newcomer facing a barrage of
different animation techniques and styles.
With plenty of tips and observations, this book
will be an invaluable guide to stop-motion as
a medium.
How, in your opinion, does the book reflect
current animation practice?
It discusses stop-motion’s traditional use
in the past, as a device to replicate live action;
a practice which has now been superseded
by CGI. This is then contrasted with the current
stop-motion renaissance, in which the practice
is celebrated as a film-making technique
in its own right, with such films as Coraline,
Fantastic Mr Fox, and Mary and Max.
Paul Wells is a professor
of animation at Loughborough
University, UK. He has also
lectured extensively in universities
across the world on animation
and has spoken at numerous
animation festivals and events.
His special interests include
animation and broadcasting
and he is a regular contributor
to publications in the field
of animation.
Key features
A core animation text, covering
the fundamental principles
of animation.
Examines the entirety of the
creative process: from finding
and researching a concept,
through the preparation
and techniques used, to the
execution of the work.
Explores animation’s cultural
links with the styles and
narratives of popular culture.
Aligns animation theory
to the variety of processes
and practices available to
a student.
Presented in an engaging
visual style, accompanied by
examples and analysis of
contemporary student and
commercial animation.
Includes a practical section
for aspiring animators,
dealing with career paths,
portfolios and the structure
of the creative industries.
Readership
Introductory
The discipline-specific titles in
our Fundamentals range are aimed
at students embarking on further
education and offer a thorough
grounding in the subject.
This book provides students with
a comprehensive discussion of
basic animation theory and practice,
before examining specific key areas
in greater detail.

How do you feel the industry contributions add

to the text?
The book draws on a large variety of illustrations
from both classic stop-motion films and those
currently in the cinema or yet to be released.
It deals with the full scope of stop-motion
history, and benefits from insight from an author
operating right at the heart of the industry.

! Basics Animation: Stop-motion is
affordable to students and first-time
film-makers, as well as being simple,
accessible and well-illustrated.
! Nicely organized and compartmentalized for easy use with the course. Many good outside references cited.
Up to date. Focused on university level courses and not the craft of animation. Christian Faur / Denison University / USA
! This book is completely in line with our animation course’s teaching objectives. The text is accessible
to students and offers many insightful examples. Peter Parr / Bournemouth Arts Institute / UK
! The book is well designed, provides good comments and is well illustrated.
It has a refreshing feel to it. Central England University / UK

ISBN and title specifications listed on pages 150–159 www.avabooks.com 016/017

b Series Intermediate

Basics Animation

01 Scriptwriting The Basics Animation series provides Basics Animation: Digital Animation
Paul Wells students with a comprehensive guide to the ! Useful in giving an excellent overview of the topic. Philip Long / Southampton Solent University / UK
02 Digital Animation key principles and practices of animation;
Andrew Chong from scriptwriting and conceptual drawing,
03 Drawing for Animation to different styles and methods of animation
Paul Wells with production. The books feature contributions
Joanna Quinn and Les Mills and examples from artists, animators,
04 Stop-motion film-makers, scholars and archivists from
Barry Purves all over the world.
The text is supported by student exercises
and practical guides, all presented in
a unique and engaging visual style.
Each Basics Animation title explores
an aspect of animation in detail. When
combined, the series represents an essential
reference guide.

Basics Animation: Scriptwriting

! It will be promoted to all my classes. Phil Organ / Swansea Institute / UK

! Offers valuable introductory insight into the subject for students from a visual background who struggle with the
need to develop meaningful and structured approaches to script development. Andrew Selby / Loughborough University / UK

ISBN and title specifications listed on pages 150–159 www.avabooks.com 018/019

 Key features
Each Basics Animation title
represents a comprehensive
guide to a key aspect of the
animation process.
The titles include
examples and case studies
taken from the best of
contemporary animation,
as well as contributions
from animation pioneers.
Presented in a visually
stimulating style, designed
to appeal to students of the
creative arts.
Basics Animation: Drawing for Animation
! Covers a huge subject area in an accessible and readable way. The layout is good and helps the
reader access areas of particular interest. The best thing is the quality and relevance of illustrations.
Samantha Moore / Wolverhampton University / UK
ISBN and title specifications listed on pages 150–159
Readership Basics Animation: Drawing for Animation
! A great resource for the animation student. This book has it all. The reader can find out
Intermediate how drawing enhances the animation process from thumbnails to storyboards.
Steve Weymouth / University of New South Wales / Australia
Our Basics books provide readers
with an in-depth exploration of
each of the topics introduced in the
Fundamentals titles. These books
offer both a theoretical and practical
approach, supported by examples
and exercises.
Individual titles can form the basis
of specific modules, while the
series as a whole functions as
a comprehensive reference tool,
and can be called upon at any
stage of a student’s education.
NEW!
www.avabooks.com 020/021
R Required Reading Range
Module Reader R Required Reading Range
Module Reader

Re-Imagining Animation: The Changing Face of the Moving Image Animated Performance: Bringing Imaginary Animal, Human and Fantasy Characters to Life
Paul Wells and Johnny Hardstaff Nancy Beiman

Paul Wells is professor
of animation at Loughborough
University, UK. He has also
lectured extensively in universities
across the world on animation,
and has spoken at numerous
animation festivals and events.
His special interests include
animation and broadcasting,
and he is a regular contributor
to publications in the field
of animation.
Johnny Hardstaff is an
internationally established
award-winning designer,
film-maker and artist. He has
written several books on gaming
and produced innovative pop
music videos for Radiohead,
among others.
Re-Imagining Animation explores
the changing nature of animation
in the twenty-first century. With
the digital revolution, what was
once merely an adjunct of film
has become central to the entire
cinematic enterprise. This title
examines animation’s changing role
through engagement with a series
of contemporary moving-image
works. Each case study looks
at the entire creative process, from
the initial creative stimulus, through
the development of an aesthetic
and the technical production
of the work, to the final outcome.
Re-Imagining Animation addresses
animation as part of a wider creative
culture, analyzing its relation to
cinema, design and art in general.
Key features
Discusses the changing role
of animation in the digital age.
Explores the increasing role
of animation in other creative
practices, from graphic
design to cinema in general.
Features work from artists,
film-makers, and scholars,
as well as contributions from
Oscar-winning animators.
A visually inspiring
and engaging text, designed
to appeal to students
of animation and other
creative arts.
Readership
Required Reading Range
Module Reader
These titles are designed
to support specialized modules
of degree courses and provide
a platform for further exploration
of the subject matter.
This book addresses the
changing role of animation as
part of a larger creative culture,
and as such is suitable as
a supporting text for students
of other disciplines, as well as
a core text for animation students.
Nancy Beiman is a professor
at the Sheridan Institute of
Technology and Advanced
Learning in Oakville, Canada.
She has produced, directed,
designed, storyboarded
and animated for television
commercials, specials, features,
and new media projects.
Her employers have included
The Walt Disney Company,
Warner Brothers Animation,
and Bill Melendez Productions.
Nancy has been teaching at
college level since 2000, and her
first book, PREPARE TO BOARD!
Creating Story and Characters
for Animated Features and
Shorts, has been adopted as
a standard text by animation
schools worldwide.
Animated Performance introduces
students to the fascinating process
of bringing animated characters
to life. It demonstrates the power
of animation, without the bodily
constraints of human actors, to
portray an almost unlimited variety
of characters. Students will learn
how species, weight and design
can affect character actions, so that
no two character performances are
ever alike. The book also examines
the ways in which an individual
character’s movements vary with
the emotional or narrative context.
Hundreds of thumbnail drawings
show how cloth, paper, wood,
animal, invertebrate, winged,
aquatic and mechanical beings
can live and move without losing
their non-human qualities.
Key features
Introduces animation
students to the techniques and
processes behind convincing
animated performances.
More than 200 color
illustrations demonstrate
a variety of human, animal,
and inanimate character
performances.
Includes student exercises,
practical tips and never-
before-published interviews
with legendary animators
Art Babbitt, Frank Thomas
and Ollie Johnston.
Readership
Required Reading Range
Module Reader
These titles are designed
to support specialized modules
of degree courses and provide
a platform for further exploration
of the subject matter.
This book is a suitable title
to accompany modules concerning
animated character performance
and related topics and will prove
a useful reference guide throughout
an academic career.

! An excellent book. It covers topics that very few books address in depth,
with regard to contemporary moving image practice. Marc Bosward / Derby University / UK
! The text contains very important and in-depth information for teachers, visual artists and graduate students.
It pushes you to think about the changing aspects of this art form and industry. There is a lot to discover in
this book. Naime Tasdemir / Istanbul Bilgi Univesity / Turkey
NEW!
ISBN and title specifications listed on pages 150–159 www.avabooks.com 022/023
D
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} Architecture

026 027 028–029

The Visual Dictionary of The Fundamentals of Basics Architecture
Architecture Architecture 01 Representational Techniques
02 Construction + Materiality
03 Architectural Design

www.avabooks.com 024/025
D Foundation
F Introductory

The Visual Dictionary of Architecture The Fundamentals of Architecture

Gavin Ambrose, Paul Harris and Sally Stone Lorraine Farrelly

Gavin Ambrose is a practising Lorraine Farrelly is an architect

graphic designer. His current
commercial practice includes
clients from the arts sector,
publishers and advertising
agencies. He is the co-author
and designer of several books
on branding, packaging and
editorial design.
Paul Harris is a freelance writer,
journalist and editor. Paul writes
for international magazines and
journals in London and New York.
He is a co-author and collaborator
on books about packaging design
and design principles.
Sally Stone is an author,
academic and designer. She has
published a number of books,
papers and journal articles on
the urban environment, building
re-use, installation art and
interior design.
Key features
Explains and contextualizes
over 250 architectural terms.
Definitions are accompanied
by illustrations and examples
taken from historical and
contemporary architecture.
Covers traditional terms still
in current usage, as well as
modern terminology such as
Blobtecture and McMansion.
Defines a wide variety
of practical terms, such as
Belfry, Cladding, and Rotunda.
Also covers movements
and styles, including
Deconstructivism,
Functionalism, and
Modernism.
Includes a timeline of
architecture.
Readership
Foundation
AVA’s Visual Dictionaries form
our foundation reading list. These
titles offer clear, comprehensive
and visually informative definitions
to the key terms in a discipline’s
vocabulary.
Each title offers a wide overview
of the discipline as a whole, its
history and contemporary practice.
It also provides a useful reference
tool throughout higher education.
who co-ordinates degree courses
in architecture and interior design
at the University of Portsmouth,
UK. She also lectures at
universities around the world on
representation in architecture.
Lorraine examines in universities
in the UK, has taught at various
European universities and
has presented her research on
architecture and the European
city at conferences internationally.
She has written several books
about contemporary architecture
and interior design, as well as
articles on architectural drawing,
architectural education and
contemporary architecture.
Key features
An introduction to the basic
concepts and principles that
inform architecture.
Guides students through
the history of architecture
and introduces contemporary
theory and practice.
Explores graphic techniques
for representing ideas,
construction and materials
and final realization.
Argues for an understanding
of site and context when
developing architectural
projects.
Includes informative examples
and case studies from history
and recent years.
Supported by an engaging
visual style, designed to
appeal to creative students.
Readership
Introductory
The discipline-specific titles in
our Fundamentals range are aimed
at students embarking on further
education and offer a thorough
grounding in the subject.
This book provides students with
a historical and theoretical overview
of the practice of architecture,
before examining specific
processes in greater detail.

Gavin Ambrose, Paul Harris & Sally Stone

This book is a guide to the many and varied terms

used frequently within architecture. From Abacus to
Ziggurat, Column to Cornice, via Ha-ha and Skyscraper,
this book will prove an invaluable resource to anyone
interested in architecture. Each term is explained and
contextualised, giving the reader an enhanced
understanding of architectural terminology. More than
250 common architectural terms are distilled and
illustrated. From practical terms such as Belfry,
Cladding and Rotunda to movements and styles such
as Deconstructivism, Functionalism and Modernism,
from modern terminology and concepts such as
Blobitecture and McMansion to many of the
traditional terms still in current usage.

The Visual Dictionary

of Architecture

! I am pleased with the content and hope it will be a useful accompaniment
to lectures and studio sessions. Janet McGaw / Melbourne University / Australia
! The layout and design of this book is great. Eric Stark / Maine at Augusta University / USA
! Relevant, with diverse aspects of architecture and history. Well illustrated. A good read during orientation. Contains good
reminders about techniques and processes for the final year project. Wai Keung Alpha Lee / Lincoln School of Architecture / UK
! This book is awesome. Wonderfully designed, easy to understand, great images, great writing.
What a wonderful overview of so many aspects of the design and practice of architecture.
Eric Stark / Maine at Augusta University / USA

ISBN and title specifications listed on pages 150–159 www.avabooks.com 026/027

b Series Intermediate
Basics Architecture
01 Representational Techniques
Lorraine Farrelly
02 Construction + Materiality
Lorraine Farrelly
03 Architectural Design
Jane Anderson
Basics Architecture: Representational Techniques
! The first book I have come across which thoroughly explains
relevant architectural presentation methods. Sarah Radif / Southampton Solent University / UK
Basics Architecture: Construction + Materiality
! Very well-rounded, and introduces a very good scope of projects discussing materiality.
Heath Bradley / Montana State University / USA
ISBN and title specifications listed on pages 150–159
The Basics Architecture series provides
students with a detailed understanding
of key areas of architecture, including
methods of representing ideas and concepts,
the materials and methods of construction
and the design process itself.
Each title can be taken individually as an
in-depth guide to an aspect of architecture,
while the series as a whole represents
a major reference text for students at
any academic level. The books draw on
examples of classical architecture, as well
as featuring contemporary case studies
and work from leading international
architects and designers.
Key features
Addresses the key areas
of architecture with in-depth
guides, supported by
practitioner interviews,
student exercises and
resources.
Includes a variety of case
studies and examples of work
taken from history, as well
as the best of contemporary
architecture.
Presents information
in a consistently engaging
visual style.
Readership
Intermediate
Our Basics books provide readers
with an in-depth exploration of
each of the topics introduced in the
Fundamentals titles. These books
offer both a theoretical and practical
approach, supported by examples
and exercises.
Individual titles can form the
basis of specific modules, while
the series as a whole functions
as a comprehensive reference
tool and can be called upon at any
stage of a student’s education.
NEW!
www.avabooks.com 028/029
D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Branding

033 035
The Fundamentals of More Than a Name:
Branding An Introduction to Branding

www.avabooks.com 030/031

Melissa Davis is author of
The Fundamentals of Branding
(see page 33). She is a
consultant with over 15 years’
experience in journalism,
branding and communication.
ISBN and title specifications listed on pages 150–159
Melissa Davis
communications consultant
What is the key point that you want students
to take away from reading The Fundamentals
of Branding?
I have sought to give students an insight into
the discipline of branding; from the stages
of developing a brand, to ways of working with
clients and across teams, through to key trends.
The book will help students with the transition
from studying theory to playing an active part in
creating brands.
How do you feel the industry contributions add
to the text?
The various examples and case studies, as
well as the stories from people who work
in the industry, strengthen the book by making
it easier to digest. They also offer a ‘real world’
perspective. These examples are designed
to inspire students – and they can also apply
their own favourite examples to the theory put
forth in the book.
What was your motivation for writing The
Fundamentals of Branding and how do you
anticipate it will help students?
After writing More than a Name: an
Introduction to Branding in 2005, I wanted
to write a foundation title that would condense
some of the concepts from my previous book
into more bite-sized chunks. The Fundamentals
of Branding is a fast-paced book that is easy
to read. It is also a useful book for small- and
medium-sized businesses as well as students.
! The Fundamentals of Branding will help
F Introductory
The Fundamentals of Branding
Melissa Davis
How, in your opinion, does the book reflect Melissa Davis has over 15 years’
current branding practice? experience in journalism, branding Key features Readership
and corporate communications.
She has worked with some of the
The book is up-to-date with current branding Introduces students to the Places branding in a global Introductory
world’s biggest brands, including
practice, including trends and approaches. Apple, TNT, Microsoft and Nike, basic principles behind context and discusses
I work in the industry, so I have drawn upon consulting on communication its relation to business The discipline-specific titles in our
the creation and development
my own experience, as well as interviewing strategies and brand campaigns. practices as well as other Fundamentals range are aimed
In 2005, she established of successful brands.
people working in senior positions within the creative disciplines. at students embarking on further
Truebranding, a London-based
branding sector. agency that advises companies education and offer a thorough
Offers insight into key aspects
on the integration of social and Each chapter is supported grounding in the subject.
environmental issues within their such as audiences, trends,
How do you see branding education brand strategy. brand structures and brand by examples of well-known This book provides students
progressing? architecture. brands from around the with a comprehensive discussion
world, as well as case
I believe that digital media will have a huge of basic branding theory, before
Explores the fundamental studies of branding in new examining specific key practices
influence on branding in a way that we have yet
client/agency relationship. and emergent markets. in greater detail.
to see. This will need to be reflected on courses.
Many brand managers feel a loss of control,
Presented in an engaging
but the essential issue is more about adapting
visual style, designed to
and delivering on the brand promise in a different
appeal to students of the
way. International influences and new consumer
creative arts.
markets are also expanding the branding world.
It’s a very exciting time.
! Well presented examples, themes and chapters. Good written style.
students with the transition from studying Like the size of the book and its simplicity. Jeffrey Tribe / Bedford College / UK
theory to playing an active part in ! Very colorful, an excellent overview of the subject. Much needed in an area not usually so entertainingly
creating brands. expressed on the written page. Martin Dawber / Liverpool John Moores University / UK
www.avabooks.com 032/033
 R Required Reading Range
Module Reader

Jeffrey Tribe More Than a Name: An Introduction to Branding

discussing The Fundamentals of Branding Melissa Davis with commentary by Jonathan Baldwin

Jeffrey Tribe is an
advanced practitioner at
Bedford College, UK.
AVA titles have been very successful and widely
adopted. What do you think are the factors that
make our titles stand out?
AVA books contain straight-talking creative
content and learning that is, quite simply, difficult
to find in any other format.
How is The Fundamentals of Branding relevant
to the courses you teach, how does it compare
with titles that you currently use?
At Bedford College, this book is recommended
reading for higher level students studying
graphic design. We believe it demystifies what
is perceived to be a complex subject by breaking
it up into simple, easy-to-digest parts.
Does the content reflect the structure
of your course?
Interestingly, I have just compiled a personal
presentation for students on branding, and
I found this book to be an excellent support
reference. It has reassuringly confirmed many
ideas and thoughts, and provided some excellent
examples to refer to.
How does the book assist students’
understanding of the topic?
By providing a simple, no-nonsense
deconstruction of a subject shrouded in
jargon, accompanied by highly relevant,
up-to-the-minute examples.
How do students respond to the visual content
of AVA books?
They welcome the easy-to-follow written
style and content, not to mention the price!
How do the industry examples in the books
support your teaching?
AVA titles use exemplary, key themes which
the students can all comprehend and relate
to. This makes the learning process that much
more understandable and interesting.
How, in your opinion, does the book reflect
current branding practice?
The book reflects current branding practice by
discussing topics such as social responsibilities,
collaborations and predicted trends and shifts.
Do you call upon any other AVA Academia titles
in the courses you teach?
We use many AVA titles to support and inspire
our communication design courses. We also
like the variety in readership levels, which span
all of our higher education needs. For example,
the Basics Design series is a fantastic starting
point for many of our students, whilst at the
other end of the scale the Required Reading
titles challenge our most able higher education
students and, on many occasions, the tutors.
Melissa Davis has over 12 years’
experience in journalism, branding
and corporate communications.
She has worked with some of the
world’s biggest brands, including
Apple, Shell and Microsoft,
consulting on communication
strategies and brand campaigns.
Melissa is now based in London
and advises corporations on
social responsibility programs.
Jonathan Baldwin is a lecturer
in design history, theory and
practice at Dundee University,
Scotland. He teaches and writes
on issues related to popular
culture, the media, graphic design
and higher education. He has
experience working as a
professional graphic designer
and has contributed to many
publications and conferences on
art and design in higher education.
More Than a Name: An Introduction
to Branding is a modern, visually
instructive textbook offering
students a comprehensive
introduction to the world
of branding, from theory to
implementation. The book argues
that a brand is far more than just
a logo. It discusses the larger
creative and economic process
of branding, as well as the
psychological theory behind
impactful and successful brands.
The text is supported by practical
tips and exercises, as well as
contemporary examples from
some of the world’s best-known
brands and brand agencies.
Key features Readership
A comprehensive guide Required Reading Range
to the theory and practical Module Reader
implications of branding.
These titles are designed
to support specialized modules
Discusses the thinking behind
of degree courses and provide
the creation of a brand, its
a platform for further exploration
execution and its maintenance
of the subject matter.
and development.
This book is an ideal core text
Supported by interviews, for branding modules, as part
case studies and work from of degrees in advertising,
industry leaders. marketing, design or other
creative disciplines.
Accompanied by practical
guides and student exercises,
presented in a visually
engaging style.

! The Fundamentals of Branding provides ! The book is visually fantastic and the information is on target for students.
a simple, no-nonsense deconstruction Judith Anderson / Miami International University of Art & Design / USA
of a subject shrouded in jargon. ! A great book; very well written. Good format and layout. Incredibly useful and relevant to the course.
Leon Maurice / Northumbria University / UK

ISBN and title specifications listed on pages 150–159 www.avabooks.com 034/035

D
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b
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R
Required Reading Range
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Required Reading Range
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} Creative Photography

039 040–041
The Fundamentals of Basics Creative Photography
Creative Photography 01 Design Principles

www.avabooks.com 036/037

Jeremy Webb is the author
of Basics Creative Photography:
Design Principles (see page 40).
He is a photographer and tutor
with over 25 years’ experience.
ISBN and title specifications listed on pages 150–159
Jeremy Webb
photographer / educator
AVA titles have been very successful and widely
adopted. What do you think are the factors that
make our titles stand out?
AVA books combine a wealth of knowledge and
insight with a very accessible approach to design.
I think it’s a combination that is very powerful
and draws readers in. They are also written by
experienced professionals who can use real
world examples to illuminate their text, and this
makes them highly readable as coursework
books. It’s that extra edge which offers readers
something that other titles just can’t offer.
How is Basics Creative Photography:
Design Principles relevant to the courses you
teach, and how does it compare with titles
that you currently use?
This book, like all AVA titles, is current and
up-to-date in its illustration of commercial
and art-based practice. One of the strengths
of AVA books is that they span both worlds
with ease, without alienating one from the other.
The contents are very focused on real needs
and current issues, and this is the major factor
that seems to set them apart.
What is the key point that you want students
to take away from reading your book?
It offers readers the opportunity to become
reacquainted with design as the driving force
behind strong visual art. Whether it’s artistic
or commercial, photography has to communicate
with real conviction in order for it to reach
its audience, and being mindful of the power
of design allows photographers from both worlds
to communicate their vision with dynamism,
craft and integrity.
! AVA books are very focused on real needs
F Introductory
The Fundamentals of Creative Photography
David Präkel
How, in your opinion, does the book reflect David Präkel runs his own
current photography practice? photographic training workshops Key features Readership
in Northumberland, UK. He has
enjoyed a successful and diverse
Many artists, professional photographers and Offers students a Offers practical, industry Introductory
career in journalism, photography
students find themselves exploring diverse paths and education and has taught at comprehensive introduction advice, such as the importance
within the medium of photography, but the need all levels in universities, colleges, The discipline-specific titles in our
to the world of applied of communication.
for strong design is always in demand, right schools in both the UK and the Fundamentals range are aimed
US as well as the prestigious creative photography.
across the board – no matter how many fleeting at students embarking on further
Kodak Imaging Training Centre Includes guidance on
fashions within the visual arts come and go. in Harrow, London. education and offer a thorough
Explores the basic principles acquiring and developing
grounding in the subject.
I’ve found this to be as true today as it’s always that underpin photography, new skills, the practice
and guides the student of self-promotion and This book provides students
been: art editors and publishers the world over
through the practical self-administration, and with a comprehensive discussion
continue to seek out strong and unique visions
considerations involved a discussion of the image of basic photographic theory and
that are built upon strong principles of design.
This book gives both professional photographers in executing shots. workflow. practice, as well as practical advice
on operating as a professional
and those learning their trade in colleges and
Concerned with photography Accompanied by a wide range photographer. It is ideal for those
universities the chance to tap into this valuable
in a professional context – of case studies and examples studying professional practice
and vital resource.
images that are to be used in of work from contemporary modules within a lens-based visual
the fulfilment of a brief, rather photography. arts course.
than those created solely
for self-expression.
NEW!
and current issues, and this is the major
factor that seems to set them apart.
www.avabooks.com 038/039
b Series Intermediate Intermediate

Basics Creative Photography 01 Basics Creative Photography: Design Principles

Jeremy Webb

The Basics Creative Photography

Key features
Addresses key areas of
creative photography with
in-depth guides, supported
by student exercises and
resources.
Includes a variety of case
studies and examples of
work from historical and
contemporary photographers.
Presents information
in a consistently engaging
visual style.
series is a comprehensive introduction
to the fundamental aspects of creative
photography. The titles explore areas from
basic theory to the practical considerations
of image creation. The text is supported
by historical and contemporary examples,
as well as by case studies. Each title includes
student activities, guides, glossaries and
resource directories. When taken together,
the series forms an in-depth reference
text for students of all academic levels.
Key features
Discusses the application
of design principles in
the creation of original
and impactful photography.
Demonstrates how a range
of design principles can
be used in photographic
image-making, including
the use of line, shape, color,
space, texture and light.
Introduces students to a more
considered approach that
can add dynamism and impact
to photography, whatever the
style or genre.
Readership
Intermediate
Our Basics books provide readers
with an in-depth exploration of
each of the topics introduced in the
Fundamentals titles. These books
offer both a theoretical and practical
approach, supported by examples
and exercises.
Individual titles can form the
basis of specific modules, while
the series as a whole functions
as a comprehensive reference
tool, and can be called upon at any
stage of a student’s education.

NEW!
ISBN and title specifications listed on pages 150–159 www.avabooks.com 040/041
D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Design Management

045 046 047

The Fundamentals of Design Management: Research Methods in
Design Management Managing Design Strategy, Design Management
Process and Implementation 048
Brand-driven Innovation
049
Vision and Values in
Design Management

www.avabooks.com 042/043

Erik Roscam-Abbing
is the author of Brand-driven
Innovation (see page 48).
He is assistant professor
of brand and product design
strategy, in the school
of Industrial Engineering
at The Delft University
of Technology, Netherlands.
ISBN and title specifications listed on pages 150–159
Erik Roscam-Abbing
discussing design management and education
How important is design management
education?
Very important. My experiences in both design
and management education have taught me
two things: it’s important for design students to
learn to understand management and strategic
business issues. And it’s equally important
for business students to learn to understand
the power and richness of design thinking.
Design management education can pave
the way in bringing business and design together,
by researching and demonstrating synergies,
rooted firmly in theory, but proven in practice.
How has design management education grown
over the last couple of years?
It’s still an upcoming field but it’s growing
rapidly. Based on assessments by the Design
Management Institute and Business Week, there
are currently around 70 universities and schools
worldwide that teach design management.
This number will only increase, which is a great
development for the profession.
Is this a worldwide trend?
Very much so. Design management
education is by no means limited to the western
hemisphere. There are some great upcoming
design management programs in Brazil,
India, Singapore, Korea, China, Taiwan,
and Japan. Where I teach, on The Delft University
of Technology’s Master in Strategic Product
Design program in the Netherlands, we get
students from South America, the Far East,
and Africa. Around the world, design is
increasingly seen as a resource that, when
managed well, provides a sustainable basis
for meaningful innovation and differentiation.
F Introductory
The Fundamentals of Design Management
Kathryn Best
What interesting developments have you Kathryn Best is a designer,
noted lately in design management education? consultant, educator and author. Key features Readership
She runs courses in design,
I see a growing differentiation in postgraduate, strategy and innovation for Considers the practice
academia and industry, A comprehensive guide to Introductory
graduate, and undergraduate design specializing in interdisciplinary managing the people, projects, of design management
management programs. This requires specialized and collaborative working through a range of interviews The discipline-specific titles in
and procedures involved in
teaching methods, books, and training materials. methods. Kathryn previously and case studies, taken our Fundamentals range are aimed
worked in architecture, interiors design work.
There is still tremendous work to be done from design practitioners at students embarking on further
and brand consultancy, both
there. I also see an increasing integration of in the US and UK, where she and industry experts. education and offer a thorough
Explicitly places the principles
design management courses into the curriculum specialized in retail design and grounding in the subject.
narrative environments. and processes of design within
of existing design programs. But the most the context of a business or Explains how design The Fundamentals of Design
Kathryn’s current research
interesting development to me personally interest is in the potential enterprise. management can relate Management introduces students
is that business schools like Case Western of design and design thinking as to the cultural, environmental,
from all backgrounds to the theory
Reserve and Rotman School of Management a tool for innovation and change political and social impact
in the context of business, society, Of relevance to students and practice of managing design.
are starting to incorporate design thinking culture and the environment. of art and design, business, of an enterprise.
and design methodologies into their business
marketing or media:
school curricula. emphasises the inter- Presented in a clean, visually
disciplinary nature engaging style.
How do you see design management education of design management.
developing in the future?
The biggest challenge for design management
education is to deliver graduates who combine
solid strategic management and design
understanding with the modesty and curiosity
that is required for them to start gaining practical
experience after graduation. I believe design
management is about combining theoretical
knowledge, applicable skills and practical
experience. Universities and schools should
prepare students for their careers by launching
study projects in partnerships with design
studios, businesses, and design management
and strategy consultancies.
NEW!
www.avabooks.com 044/045
R Required Reading Range
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Module Reader

Design Management: Managing Design Strategy, Process and Implementation Research Methods in Design Management
Kathryn Best Hilary Collins

Kathryn Best is a designer,
consultant, educator and author.
She runs courses in design,
strategy and innovation both
in academia and industry, and
specializes in interdisciplinary
and collaborative working
methods, tools and processes
for design management teaching
and learning.
Kathryn has lectured
internationally at the Bartlett
School of Architecture and
the Royal College of Art
(London), and the Parsons
School of Design (New York),
and previously worked in
architecture, interiors and
brand consultancy (HOK, RTKL,
WATG, Wolff Olins, Orange,
Starbucks) both in the US
and UK, where she specialized
in retail design and narrative
environments.
Design Management: Managing
Design Strategy, Process
and Implementation leads the
student through the key knowledge,
practice and skill areas of design
management, focusing on
the strategy, process and
implementation involved in the
management of design. The book
explores the broadening role
of design in business, as an
increasingly integral part of the
decision-making processes.
Each topic is accompanied by key
questions about the issues raised
and professional case studies
and interviews demonstrate the
knowledge and practices described.
Key features
Provides students with
an understanding of the
relationship between
design and management
and its importance within
an organization.
Includes professional case
studies and insightful
interviews.
Accompanied by student
exercises and talking points,
bridging the gap between
academic theory and
professional practice.
Readership
Required Reading Range
Course Reader
These reference titles are
specifically structured to support
the lifetime of an undergraduate
degree and provide a detailed
exploration of the discipline
covered.
This title is a comprehensive
handbook to design management.
It is an ideal core text for a design
management degree, and will
prove useful at any academic level.
Hilary Collins is director
of postgraduate studies
at Euromed, Toulon, France.
She has extensive experience
of teaching research methods
and supervising dissertations
at both undergraduate and
postgraduate level within design
management and the creative
industries. Hilary’s recent
research projects have included
investigating the influences
of multiple cultures on identity
across the East and West
and the implications for the
field of design management.
Research Methods in Design
Management provides students with
the knowledge and skills required
to conduct effective research
projects in creative disciplines and
industries. In creative contexts, a
visual approach to research is often
more appropriate, but this must be
underpinned with systematic and
rigorous techniques. The book
assesses how academic research
methodologies must be adapted
to suit the creative disciplines and
industries and offers a guide to the
process of undertaking a research
project in this context.
Key features
Introduces students to the
practice of effective research
within design management.
Offers a clear, step-by-step
guide to undertaking a
research project.
Guidelines will help students
determine which kind
of researcher they are and
how the use of different
philosophical perspectives
will influence their research.
Accompanied by illustrative
examples taken from
contemporary work.
Readership
Required Reading Range
Module Reader
These titles are designed
to support specialized modules
of degree courses and provide
a platform for further exploration
of the subject matter.
This title represents a
comprehensive introduction to
a key area of design management.
It is an ideal core text for an
undergraduate degree, and will
prove useful at any academic level.

! Valuable as a core text for undergraduate design programs and an excellent

introduction to postgraduate design strategy studies. Ray Holland / Brunel University / UK
! A key text. Rich, stimulating and easy to read. Shimon Shmueli / Elon University / USA
! Easy to access key information. Demystifies jargon. Excellent inclusion of timeline.
Kirstie Hardie / Arts Institute / Bournemouth / UK
NEW!
ISBN and title specifications listed on pages 150–159 www.avabooks.com 046/047
R Required Reading Range
Module Reader R Required Reading Range
Module Reader

Brand-driven Innovation Vision and Values in Design Management

Erik Roscam-Abbing David Hands

Erik Roscam-Abbing is a
consultant and teacher of design
management. Erik is the founder
of Zilver brand driven innovation
in Rotterdam, where he consults
for a variety of international
clients in the product and service
industries. He also teaches at
the school of Industrial Design at
The Delft University of Technology,
Netherlands. He is a guest
teacher on the Eurib Master
of Brand Management program
in Rotterdam and on the
Design Management program
of Hochschule Lucerne,
Switzerland, as well as a module
coordinator of the Eurib Master
of Design Management program.
Brand-driven Innovation examines
the connections between branding,
design and innovation. It argues
that branding is not merely a branch
of advertising, but a tool for
sustainable growth in organizations.
Branding can inspire innovation
in products and services, creating
value for organizations and
consumers alike. This in turn
can lead to a durable relationship
between organizations and
customers. The book explores
branding theory and its relation
to innovation, in order to provide
students with a solid foundation
of knowledge. It also contains
a practical, four-step method that
will help readers apply brand-driven
innovation in their own academic
or business context.
Key features
A comprehensive overview
of the overlapping fields
of branding, innovation
and design.
Includes a practical
four-step method for applying
brand-driven innovation in an
academic or business context.
Addresses the role that
design management can play
in connecting the disciplines
of branding and innovation,
providing the reader with the
tools, processes and methods
to facilitate this relationship.
Readership
Required Reading Range
Module Reader
These titles are designed
to support specialized modules
of degree courses and provide
a platform for further exploration
of the subject matter.
Brand-driven innovation is an ideal
accompanying text for branding
or innovation modules within design
management courses and visual
arts degrees. It will prove useful for
any student wishing to understand
innovation, branding and design
within a business context.
David Hands is award leader
for the MA Design Management
course at Staffordshire University,
UK. David is also co-author
of the recently published book
Design Management: Exploring
Fieldwork and Applications.
Vision and Values in Design
Management examines the
changing role and nature of design
management. It demonstrates
to students the value of design
as a key strategic resource
that can be fully utilized in the
pursuit of securing a competitive
advantage within highly complex
and emergent markets. This book
offers contributions from key
thinkers and practitioners drawn
from both industry and academia
to provide an essential guide to the
development, key issues and future
directions of design management.
Key features
Introduces students to the
changing role of design
management within
businesses and organizations.
Demonstrates the value of
design as a strategic resource.
Includes contributions from
key design management
thinkers and practitioners.
Presented in an engaging
visual style, designed to
appeal to creatively-minded
students.
Readership
Required Reading Range
Module Reader
These titles are designed
to support specialized modules
of degree courses and provide
a platform for further exploration
of the subject matter.
This title serves as a companion
piece to design management
modules and courses and
is an ideal supporting text for
students engaged with design
in a commercial context.

NEW! ! Erik Roscam-Abbing is to be congratulated for this splendid book,

which bridges a long-overdue and highly topical gap. I will certainly
be recommending this book to all my design, design management,
branding, innovation, creative enterprise and marketing students;
as well as to practitioners, as there’s something in this for everybody.
! Highly relevant and stimulating for MA Design Strategy students.
Dr Ray Holland / Brunel University / UK

Chris Holt / Brunel University / UK

www.avabooks.com 048/049
D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Digital Media

052
The Fundamentals of
Digital Art
053
The Fundamentals of
Sonic Art & Sound Design

www.avabooks.com 050/051
F Introductory
F Introductory

The Fundamentals of Digital Art The Fundamentals of Sonic Art & Sound Design
Richard Colson Tony Gibbs

Richard Colson is a senior Tony Gibbs is leader of the BA

reader in Digital Art at Thames
Valley University, UK. He holds
a BA in Fine Art from Goldsmiths
College, UK and an MA in
Electronic Arts from Middlesex
University, UK. Richard has
been working with computer
systems for over 20 years and has
exhibited his work at the Design
Museum in London, the New York
Digital Salon, the Deluxe Arts
Gallery and Watermans Arts
Centre in London. Richard has
had one-man shows at Theo
Waddington Fine Art Ltd. and at
the Solomon Gallery, Dublin.
Key features
Offers a comprehensive
overview of the discipline
and practice of digital art.
Provides detailed explanations
of physical computing,
using data sources,
programming, networks
for artists and contemporary
experimental practices.
Documents the history and
development of digital art.
Accompanied by extensive
illustrations from recognized
practitioners as well as
students from leading
undergraduate programs.
Includes practical workshop
diagrams designed to help
students develop confidence
in the creation of digital art.
Presented in a visually
engaging style.
Readership
Introductory
The discipline-specific titles in our
Fundamentals range are aimed
at students embarking on further
education and offer a thorough
grounding in the subject.
This book is an invaluable resource
for anyone studying digital art
and design.
Sonic Arts program at Middlesex
University, UK. Launched in 1995,
this program was one of the first
interdisciplinary degree courses
in sonic art. In addition to program
leadership and teaching, Tony
has been responsible for the
development of the technical
resources of the Lansdown Centre
for Electronic Arts, Middlesex
University’s innovative research
centre, where he is currently
involved in a range of activities
including the development
of an interactive 3D audiovisual
system for use by composers,
performers and other artists.
Key features
Introduces students to the
diverse disciplines of sonic
art and sound design.
Examines the relevant
technologies and approaches
to recording, performance
and display.
Describes the history and
development of sonic art as
a distinct subject.
Supported by a variety of
examples, quotations and
interviews with artists.
Provides useful student
resources, suggested reading
and listening.
Designed specifically to
appeal to creative students.
Readership
Introductory
The discipline-specific titles in
our Fundamentals range are aimed
at students embarking on further
education and offer a thorough
grounding in the subject.
This book provides students
with an introduction to sonic
art, and examines specific
artists, techniques and issues
in greater detail.

! Excellent handbook. Well designed with all the essential information required for the subject. ! Excellent title; inspiring. The interviews are particularly valuable and insightful.
Lilian Lindblom / Middlesex University / UK Gareth Jenkinson / Goldsmiths / University of London / UK

! This book is designed beautifully. An excellent resource. Stephan Larson / Northern Michigan University / USA ! This text is a great resource. B Colby Jennings / Washington State University

ISBN and title specifications listed on pages 150–159 www.avabooks.com 052/053

D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Fashion Design

056 057 058–061

The Visual Dictionary of
Fashion Design
The Fundamentals of Basics Fashion Design
Fashion Design 01 Research and Design
02 Textiles and Fashion
03 Construction
04 Developing a Collection
05 Fashion Drawing
06 Knitwear
07 Designing Accessories

www.avabooks.com 054/055
D Foundation
F Introductory

The Visual Dictionary of Fashion Design The Fundamentals of Fashion Design

Gavin Ambrose and Paul Harris Richard Sorger and Jenny Udale

Gavin Ambrose is a practising Richard Sorger has previously

graphic designer. His current
commercial practice includes
clients from the arts sector,
publishers and advertising
agencies. He is the co-author
and designer of several books
on branding, packaging and
editorial design.
Paul Harris is a freelance writer,
journalist and editor. Paul writes
for international magazines and
journals in London and New York.
He is a co-author and collaborator
on books about packaging design
and design principles.
Key features
Explains and contextualizes
over 250 terms used within
fashion design.
Definitions are accompanied
by illustrations and examples
taken from traditional and
contemporary fashion design.
Covers historical terms
still in current usage as well
as modern terminology, such
as Tank top and Militaria.
Covers a wide variety
of practical terms, such as
Appliqué, Block printing,
Flax, Logo, Silhouette,
and Tailoring.
Also covers conceptual terms,
including Postmodernism,
Juxtaposition, and Zeitgeist.
Includes a detailed timeline
of fashion design.
Readership
Foundation
AVA’s Visual Dictionaries form
our foundation reading list. These
titles offer clear, comprehensive
and visually informative definitions
to the key terms in a discipline’s
vocabulary.
This book offers a wide overview
of the discipline as a whole, its
history and contemporary practice.
It also provides a useful reference
tool throughout higher education.
taught at The London College of
Fashion and Central Saint Martins,
UK. He is currently the fashion
design tutor at Middlesex
University, UK. For three years,
Richard ran SorgerKirchhoff,
his own womenswear label with
Ben Kirchhoff, selling in London
and Paris. In 2004, Richard started
designing under his eponymous
label and currently sells worldwide.
Jenny Udale is a practising
fashion and printed textile
designer. After graduating
from the Royal College of Art,
London, she launched her own
womenswear label, which is
stocked in stores around the
world. She is currently a lecturer
in fashion at both the Universities
of Kingston and Middlesex, UK.
Key features
Offers students an illustrated
introduction to the key
elements of fashion design.
Explores the entire design
process, from research to
production, different materials,
machinery and methods
of construction.
Discusses how a fashion
collection is formed,
who it is intended for and
how it is promoted.
Accompanied by
illustrative examples of
work from contemporary
fashion designers.
Provides practical insight
into fashion careers,
interviews with designers,
stylists, photographers,
buyers and agents.
Supported by an engaging
visual style, designed to
appeal to creative students.
Readership
Introductory
The discipline-specific titles in
our Fundamentals range are aimed
at students embarking on further
education and offer a thorough
grounding in the subject.
This book provides students with
a broad overview of the discipline,
before examining specific
processes in greater detail.

! Very good for students. Clear, easy to follow, good visuals, user friendly, pick-up-and-put-down.
Brenda Killigrew / New College I.D.C / UK
! This book enables students to understand the bigger picture of how the industry operates.
Terri Silk / Canberra Institute of Technology / Australia
! Very informative with design directives appropriate for the beginner.
Dawn Marie Forsyth / Fashion Institute of Design & Merchandising / USA
! Excellent book – really cutting edge. Backs up everything that we tell the students. Carole Semaine / Barnet College / UK
! This text will especially inspire and inform, fulfilling a much-needed task in the first level
fashion design course. Christine Nerad / Bluffton University / USA
! Great book, very current, attractive and appealing. Elizabeth Williams / Columbia College / Chicago / USA

ISBN and title specifications listed on pages 150–159 www.avabooks.com 056/057

b Series Intermediate

Basics Fashion Design

01 Research and Design The Basics Fashion Design series offers Basics Fashion Design: Construction
Simon Seivewright students a thorough introduction to the ! Easy to follow, informative and current. Makes good sense of very difficult subject matter. Patrick Gottelier / Falmouth University / UK
02 Textiles and Fashion principles and practices of fashion design.
! Techniques are well illustrated and inspirational photographs push students to try
Jenny Udale Each title covers a specific area in detail,
something beyond their skill level. Background and text unlike any other text book used
03 Construction explaining the creative process from
and a refreshing format. Great asset. Dr Lynn Boorady / Michigan State University / USA
Anette Fischer researching through designing to materials
04 Developing a Collection and construction. When combined, the
Elinor and Colin Renfrew series represents an in-depth source of
05 Fashion Drawing reference for fashion and textile students.
John Hopkins Each title is accompanied by varied examples
06 Knitwear of work from talented designers and is
Juliana Sissons supported by student exercises, checklists,
07 Designing Accessories case studies and resource directories.
Jane Francis

Basics Fashion Design: Research and Design Basics Fashion Design: Developing a Collection

! Very informative, visually appealing and inspiring for the students. ! Love the graphic layout and obvious understanding of the subject by writers. Great.
John Bauernfiend / Savannah College of Art and Design / USA Also love the size of the book – it’s easy to carry around. These are excellent books which absolutely
pin down the essential elements of what our subject is about. Christine Browett / Huddersfield University / UK
Basics Fashion Design: Textiles and Fashion

! Excellent book, particularly for first year (BA Hons) fashion design students.
Karen Harrigan / Nottingham Trent University / UK

ISBN and title specifications listed on pages 150–159 www.avabooks.com 058/059

 Key features
Each title introduces students
to a key aspect of fashion
design.
Accompanied by a wide variety
of case studies and examples
of work taken from
contemporary fashion
designers.
Supported by student
exercises, tips and helpful
resource directories.
Basics Fashion Design series
! The best comprehensive, single volumes on the market today.
Expertly written and a visual delight. A wide appeal to both academics
and students. Martin Dawber / Liverpool John Moores University / UK
ISBN and title specifications listed on pages 150–159
Readership Basics Fashion Design series
! Thank you! These books are excellent.
Intermediate They are really useful and relevant.
Susan Noble / Portsmouth University / UK
Our Basics books provide readers
with an in-depth exploration of
each of the topics introduced in the
Fundamentals titles. These books
offer both a theoretical and practical
approach, supported by examples
and exercises.
Individual titles can form the
basis of specific modules, while
the series as a whole functions
as a comprehensive reference
tool and can be called upon at any
stage of a student’s education.
NEW!
NEW!
www.avabooks.com 060/061
D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Film-Making

065 066–067
The Fundamentals of Basics Film-Making
Film-Making 01 Producing
02 Screenwriting
03 Directing Fiction
04 The Language of Film

www.avabooks.com 062/063

Robert Edgar-Hunt is the
co-author and author of titles in
the Basics Film-Making series,
including Screenwriting, Directing
Fiction, and The Language of Film
(see pages 66–67).
ISBN and title specifications listed on pages 150–159
Robert Edgar-Hunt
film-maker / educator / screenwriter
What is the key point that you want students
to take away from reading the Basics
Film-Making series?
Firstly that film-making, although challenging,
is within reach of everyone. With knowledge
of a few basic rules anyone can begin the
process of making their own work. Secondly,
whilst there are established processes involved,
students must find their own way through
pre- to post-production and ultimately to the
exhibition of their own work; this is an essential
lesson in the low-budget film game. Thirdly,
that film production is an intellectual exercise
as much as a practical one, and a good maker
will also be a good theorist, critic and historian
of cinema.
How do you feel the industry contributions add
to the text?
The film industry is a disparate one, ranging from
major-budget Hollywood to no-budget shorts,
and the examples in the Basics Film-Making
series reflect this diversity. They are essential in
demonstrating how other people produce their
work. This is also true of the interviews with new
film-makers and student film-makers featured
in Screenwriting, Directing Fiction and The
Language of Film. The input of Mark Herman, with
his work in a variety of contexts, is invaluable in
framing the process of feature-film production.
! Film exists as a valuable cultural artefact,
F Introductory
The Fundamentals of Film-Making
Jane Barnwell
What was your motivation for writing Basics Jane Barnwell is a leading
Film-Making: Directing Fiction and how do you academic and practitioner Key features Readership
in the field of film-making.
anticipate it will help students? As well as being senior lecturer
Provides students with Accompanied by diagrams, Introductory
at London Metropolitan University,
The experience of trying to direct a piece she has worked extensively a concise overview of FAQs, checklists and student
of work is the best precursor to teaching the in film production, including exercises. The discipline-specific titles in
the collaborative practice
subject – some of the knowledge can only come independent features, exhibition our Fundamentals range are aimed
work and co-directing several of film-making.
from experience. However, to the inexperienced Includes examples and case at students embarking on further
screening festivals.
producer, directing can be seen as the bit of the studies from contemporary education and offer a thorough
Breaks down the process
process that occurs on set. I wanted to provide cinema, independent and grounding in the subject.
of film-making into key
a framework for a new director by suggesting components, providing student films. This book provides students with
strategies that allow the individual to shape their valuable insight into the an understanding of basic cinematic
own practice, rather than dictating a set of rules. Presented in an engaging
methodology of cinema. principles and examines specific
style, designed to appeal to key areas in detail.
How, in your opinion, does the book reflect Sets out the division of the visual eye of film students.
current film-making practice? labour, and explains how
each individual role combines
Globally, education is placing increased value
on the practical production of work by students to influence the final piece.
at undergraduate and postgraduate levels.
Directing Fiction reflects the move towards
an integration of theory and practice to produce
informed, analytical, reflective producers
of cutting-edge film. The series also appeals
to students taking a more theoretical route, who
need more insight into how film is actually made.
How do you see film-making education
progressing?
Film is a clear academic discipline, both
theoretically and practically. It has a history and
a respect alongside other established disciplines.
Film is an essential part of our lives. Film
education will continue and film-making will be
at the heart of it. Film exists as a valuable cultural
artefact, as well as contributing to the global
economy. We need film-makers and they
need education. Film-making and film-making
education have a healthy and long-term future.
! Good, all round compact introduction, ideal for beginners. A key text. Chris Twigg / Lincoln University / UK
as well as contributing to the global ! These cogent, thoughtful, well written, texts are useful background material for teaching
economy. We need film-makers and film studies, animation, history and screenwriting. Darl Larsen / Brigham Young University / USA
they need education.
www.avabooks.com 064/065
b Series Intermediate

Basics Film-Making

01 Producing The Basics Film-Making series introduces

Charlotte Worthington students to the fundamental aspects
02 Screenwriting of film-making. Each title is an in-depth
Robert Edgar-Hunt guide to a specific area of the discipline,
John Marland from screenwriting to the practicalities
James Richards of production, to directing and the language
03 Directing Fiction of film. The series as a whole represents
Robert Edgar-Hunt a major reference text for film students
04 The Language of Film at any academic level. The books draw
Robert Edgar-Hunt on examples of work from historical and
John Marland contemporary film-makers, independent
Steven Rawle directors and students, and are presented
in a lively and engaging visual style.
Key features
In-depth exploration of key
aspects of film-making,
supported by student
exercises and resources.
Includes illustrative examples
from contemporary films,
shorts and student work.
Presents information in an
engaging visual style.
Readership
Intermediate
Our Basics books provide readers
with an in-depth exploration of
each of the topics introduced in the
Fundamentals titles. These books
offer both a theoretical and practical
approach, supported by examples
and exercises.
Individual titles can form the
basis of specific modules, while
the series as a whole functions
as a comprehensive reference
tool, and can be called upon at
any stage of a student’s education.

Basics Film-Making: Producing

NEW!
! Very accessible for all students wanting to embark on a career in film. Michael Smith / Leeds College of Art & Design / UK
! This book is perfect in the breakdown between documentary, dramatic
and news magazine styles. Kevin Welch / St Mary’s University / USA
Basics Film-Making: Screenwriting

! Perfect for teaching – especially allocating chapters. Enough concise

information for my course. The glossary is easy to see and very important.
Ellie Land / Northumbria University / UK
ISBN and title specifications listed on pages 150–159 www.avabooks.com 066/067
D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Graphic Design

070 072 074–077 080 082

The Visual Dictionary of
Graphic Design
071
The Visual Dictionary of
Pre-Press and Production
The Fundamentals of Basics Design The Production Manual: Good:
Creative Design 01 Format A Graphic Design Handbook An Introduction to
02 Layout Ethics in Graphic Design
073 081
The Fundamentals of 03 Typography The Layout Book 083
Graphic Design 04 Image Visual Research:
05 Colour An Introduction to
06 Print & Finish Research Methodologies
07 Grids in Graphic Design
08 Design Thinking
084
078–079 Visible Signs:
Basics Graphic Design An Introduction to Semiotics
01 Approach and Language
085
Left to Right:
The Cultural Shift from
Words to Pictures
086
Verbalising the Visual:
Translating Art and
Design into Words
087
Drip-dry Shirts:
The Evolution of the
Graphic Designer
088
Visual Communication:
From Theory to Practice
089
Packaging Design

www.avabooks.com 068/069
D Foundation
D Foundation

The Visual Dictionary of Graphic Design The Visual Dictionary of Pre-Press and Production
Gavin Ambrose and Paul Harris Gavin Ambrose and Paul Harris

Gavin Ambrose is a
practising graphic designer
whose client base includes the
arts sector, galleries, publishers
and advertising agencies.
He has written and designed
several books on graphic
design, branding and packaging.
Paul Harris studied
at the London College of
Communication and has gone
on to become a freelance
writer and editor. His work
has appeared extensively in
magazines and journals on both
sides of the Atlantic, including
style bible Dazed & Confused.
Key features
Explains and contextualizes
over 250 terms used within
graphic design and associated
disciplines.
Includes traditional practice
and process terms as well as
modern terminology.
Definitions are accompanied
by compelling illustrations
taken from historical and
contemporary design.
Covers a wide variety
of practical terms, such
as Perfect binding,
Deboss, and Strikethrough.
Also covers movements
and styles, including
Surrealism, Psychedelia,
and Postmodernism.
Includes a detailed timeline
of graphic design.
Readership
Foundation
AVA’s Visual Dictionaries form
our foundation reading list. These
titles offer clear, comprehensive
and visually informative definitions
to the key terms in a discipline’s
vocabulary.
Each title offers a wide overview
of the discipline as a whole, its
history and contemporary practice.
It also provides a useful reference
tool throughout higher education.
Key features
Explains and contextualizes
over 250 terms relating to the
preparation and production
of print and digital media.
Definitions are accompanied
by a wide variety of diagrams
and examples.
Covers traditional terms
still in current usage as well
as modern terminology,
from Acrobat to Woodblock.
Explains a range of practical
processes, including Accents,
Bitmap, and Color calibration.
Also covers a variety of styles
and finishes, such as Perfect
bound, Totally chlorine free
(TCF), and Offset lithography.
A valuable introduction to the
practical aspects of design
and printing.
Readership
Foundation
AVA’s Visual Dictionaries form
our foundation reading list. These
titles offer clear, comprehensive
and visually informative definitions
to the key terms in a discipline’s
vocabulary.
This book offers a wide overview
of the practices and processes
relating to the production of
printed material. It also provides
a useful reference tool throughout
higher education.

NEW!
! Gives information students need in a concise, accessible form. Derek Yates / Camberwell School of Arts / UK
! All those very useful things that you need to show a student all gathered under one cover. Brilliant.
Vicki Winteringham / Norwich University College of the Arts / UK

ISBN and title specifications listed on pages 150–159 www.avabooks.com 070/071

F Introductory
F Introductory

The Fundamentals of Creative Design The Fundamentals of Graphic Design

Gavin Ambrose and Paul Harris Gavin Ambrose and Paul Harris

Gavin Ambrose is a
practising graphic designer
whose client base includes the
arts sector, galleries, publishers
and advertising agencies.
He has written and designed
several books on graphic
design, branding and packaging.
Paul Harris studied
at the London College of
Communication and has gone
on to become a freelance
writer and editor. His work
has appeared extensively in
magazines and journals on both
sides of the Atlantic, including
style bible Dazed & Confused.
Key features
Offers a comprehensive
introduction to the key
principles of creative design.
Provides students with
a working knowledge
of design fundamentals,
including layout, format,
type, and image application.
Discusses the creative
process in terms of brief,
process and result.
Each process or principle is
accompanied by diagrammatic
explanations, associated
theories and historical context.
Includes examples and case
studies from contemporary
designers and practitioners,
accompanied by insights
from the creatives involved.
Presented in a visually
engaging style, designed
to appeal to creative
design students.
Readership
Introductory
The discipline-specific titles in our
Fundamentals range are aimed
at students embarking on further
education and offer a thorough
grounding in the subject.
This book provides an
understanding of basic design
tenets before examining specific
key areas in greater detail.
Key features
An ideal introductory text
for pre-university students
of graphic design.
A unique overview of graphic
design, covering a wide
range of disciplines, media
and processes.
Covers key components of
design, including typography,
art direction, production and
finishing, environmental
design, and self-promotion.
Places graphic design in
its socio-historical context,
discussing its influences
and development.
Includes contributions of work
from contemporary designers,
including Pentagram, Why
Not Associates, and Studio
Myerscough.
Presented in an engaging and
demonstrative graphic style.
Readership
Introductory
The discipline-specific titles in our
Fundamentals range are aimed
at students embarking on further
education and offer a thorough
grounding in the subject.
This book provides students
with a comprehensive discussion
of basic design theory and
methodology, before examining
specific key areas in greater detail.

! The text is wonderful. It hits all the basic elements I need in a visual, striking and creative manner.
Much better than the text we have been using thus far. Kevin Welch / St Mary’s University / USA
! Excellent for first year students – comprehensive coverage of all fundamentals. Gareth Stewart / Belfast Metro College / UK
! I am extremely impressed with this book – it brings together all the best bits of other publications and presents
them in bite-size chunks for the reader to digest. Fantastic! Andy Ellison / Nottingham Trent University / UK
! Great introductory text which captures all the key elements of communication design.
So much in one book. Jeffrey Tribe / Bedford College / UK
! Excellent, well-illustrated introduction to graphic design. Lillian Lindblom / Middlesex University / UK

ISBN and title specifications listed on pages 150–159 www.avabooks.com 072/073

b Series Intermediate

Basics Design

01 Format The Basics Design series is an indispensable Basics Design: Typography

Gavin Ambrose and Paul Harris
02 Layout
Gavin Ambrose and Paul Harris
03 Typography
Gavin Ambrose and Paul Harris
reference tool, providing students with
a thorough knowledge of the fundamental
principles of graphic design. Each title is
a comprehensive guide to a specific design
concern, while the entire series forms
! Physically well organized, excellent use of typography. An example of a well-thought out
book that serves to inform the novice, and can be used as a reference book. Printing techniques
are an important topic; good to see they are covered. Montclair State University / USA
Basics Design: Image

04 Image a major reference text. ! An excellent book that continues a well-considered, intelligent range of study guides. Lincoln University / UK
Gavin Ambrose and Paul Harris
Contemporary work is supported by concise
05 Colour
descriptions, technical expansions and
Gavin Ambrose and Paul Harris
diagrammatic visualisations, imparting
06 Print & Finish
a full understanding of the work being
Gavin Ambrose and Paul Harris
discussed. The titles themselves are highly
07 Grids
visual and have been adopted worldwide.
Gavin Ambrose and Paul Harris
08 Design Thinking
Gavin Ambrose and Paul Harris

Basics Design: Format Basics Design series

! A perfect primer for graphic design students and a wonderful reminder ! The texts are very approachable in the manner in which they have been
of the potential of print for established designers too. Barrie Tullett / Lincoln University / UK written and designed, making them excellent introductory and summary resources
for students and staff. Grant Ellmers / Wollongong University / Australia
Basics Design: Layout
! We have recommended the Basic Design series to all third and fourth year design students as affordable,
! Simple and informative, ideal for students, useful and inspiring
accessible and key texts. IADT Dunlaoghaire / IE
as a teaching resource. Rhed Fawell / Middlesex University / UK

ISBN and title specifications listed on pages 150–159 www.avabooks.com 074/075


Key features
A series of detailed
guides to the key aspects
of graphic design.
Includes case studies and
examples from the best
of contemporary design.
Presented in a visually
engaging, graphic style,
supported by student
exercises, tips and
resource directories.
Basics Design: Colour
! Very well organized and easy to follow. The book design and structure will help my
students learn more about color and color interaction. Luis Blanco-Doring / Spring Hill College / USA
ISBN and title specifications listed on pages 150–159
Basics Design: Grids
Readership
! Very focused. Covers all key elements and important issues in a very clear and
concise manner. Excellent book. One of the best in the series. Rhiannon Robinson / Cumbria University / UK
Intermediate
! Excellent choice for level 1 students, mainly due to the fact that the content is visual and concise and
Our Basics books provide readers successfully covers both technical and creative aspects of design layout and grids. Rhed Fawell / Middlesex University / UK
with an in-depth exploration of
each of the topics introduced in the
Fundamentals titles. These books
offer both a theoretical and practical
approach, supported by examples
and exercises.
Individual titles can form the basis
of specific modules, while the
series as a whole functions as
a comprehensive reference tool,
and can be called upon at any
stage of a student’s education.
Basics Design: Print & Finish
! Clear, easily understandable and of real benefit to students. Alison Barratt / Sunderland University Design Centre / UK
! Excellent primer in print production techniques, made accessible with
clear and concise examples and case studies. Gerard Fox / IADT Dunlaoghaire / IE
www.avabooks.com 076/077
b Series Intermediate
Basics Graphic Design
Key features
A series of clear supporting
texts for every stage of
a graphic design course.
Provides students with the
tools necessary to develop
key design skills.
Includes work from students
and well-known contemporary
designers.
NEW!
ISBN and title specifications listed on pages 150–159
01 Basics Graphic Design: Approach and Language
The Basics Graphic Design series is
a collection of useful reference guides
for students, covering every stage
of a graphic design course. Starting
with approaches to graphic design,
subjects covered include critical thinking
and evaluation, problem solving, the
development of project work and the
realization of design practice.
Showcasing varied work from renowned
studios and designers, these books
provide students with the tools to
develop their skills in new and emerging
technologies, and to become highly
motivated and independent individuals
with plenty to offer to the design world.
Intermediate
Gavin Ambrose and Nigel Aono-Billson
Key features
An engaging discussion
of various approaches to
graphic design and the
vocabulary that underpins
them.
An essential text for
foundation and undergraduate
students hoping to embark
on a career in graphic design.
Accompanied by over
200 illustrations and
examples from the world
of contemporary design.
Readership
Intermediate
Our Basics books provide
readers with an in-depth exploration
of each of the topics introduced
in the Fundamentals titles. These
books offer both a theoretical
and practical approach, supported
by examples and exercises.
Individual titles can form the
basis of specific modules, while
the series as a whole functions as
a comprehensive reference tool,
and can be called upon at any stage
of a student’s education.
www.avabooks.com 078/079
 R Required Reading Range
Course Reader R Required Reading Range
Course Reader

The Production Manual: A Graphic Design Handbook The Layout Book

Gavin Ambrose and Paul Harris Gavin Ambrose and Paul Harris

Gavin Ambrose is a
practising graphic designer
whose client base includes the
arts sector, galleries, publishers
and advertising agencies.
He has written and designed
several books on graphic
design, branding and packaging.
Paul Harris studied
at the London College of
Communication and has gone
on to become a freelance
writer and editor. His work
has appeared extensively in
magazines and journals on both
sides of the Atlantic, including
style bible Dazed & Confused.
AVA’s award-winning title
The Production Manual provides
students with the practical
knowledge necessary to print and
produce creative work. This hands-
on guide allows graphic design
students to apply the knowledge
acquired during their course.
Essential production methods are
covered in detail, providing clear
descriptions of the various technical
processes involved in design for
print, exhibition stands, packaging
and signage. The book tackles
issues such as image resolution,
printing techniques and plate-
making, and demonstrates how to
achieve difficult effects such as
duotones and halftones. The text is
supported throughout by examples
of work taken from the best of
contemporary design.
Key features
A comprehensive introduction
to production methods for
students of design.
Allows students to apply the
knowledge they have gained
during their course.
Explores production methods
for a variety of contexts;
print, packaging, signage
and exhibition stands.
Supported by examples
of work taken from renowned
contemporary designers.
The Layout Book provides design
Readership students with a comprehensive
overview of layout design.
Required Reading Range It focuses on the fundamental
Course Reader principles that guide layout and
These reference titles describes the context in which
are specifically structured these principles were formulated,
providing a historical overview
to support the lifetime of
from early scribes through to
an undergraduate degree and
contemporary layout.
provide a detailed exploration
of the discipline covered. The book guides students
This title represents through key theoretical principles
a comprehensive introduction and the practical application
to a vital area of graphic design. of layout. It also demonstrates
It is an ideal core text for how knowledge of layout is not
a design degree and will prove only essential in the creation of
useful at any academic level. successful graphic design, but can
also influence associated activities
as diverse as fashion, engineering
and architectural design.
Key features
Provides students with
a detailed understanding of
all aspects of layout design.
Provides a historical overview
of the development of layout.
Demonstrates how layout
design can be transferred to
a number of other disciplines.
Supported by case studies
and examples of work from
the best of contemporary
layout design.
Readership
Required Reading Range
Course Reader
These reference titles
are specifically structured
to support the lifetime of
an undergraduate degree and
provide a detailed exploration
of the discipline covered.
This title is a comprehensive
handbook to a key aspect
of graphic design. It is an ideal
core text that will prove useful
at any academic level.

! Covers many topics that we often do not have time to cover within the modular structure of our courses. Well written and ! A valuable addition to the expanding group of titles from AVA. Visually stimulating and sexy – the right visual style
designed, which makes it an ideal book for long term reference for students and designers. Don Fitzpatrick / Coventry University / UK to grasp the attention of today’s media- and visually-oriented students. Martin Dawber / Liverpool John Moores University / UK
! It literally ticks all the boxes. An excellent handbook/reference. Adrian Newman / Wales University / UK The Layout Book (and other graphic design titles)
! Will use as a key text. A good foundation text for graphic design production. Kaitlin Wilson-Bryant / Piedmont College / USA ! All of the books will be recommended to our students
! A brilliant book, a must for all design students. Rachel Boon / Newcastle College / UK and purchased for the art library. Ruth Lozner / Maryland University / USA

ISBN and title specifications listed on pages 150–159 www.avabooks.com 080/081

R Required Reading Range
Lucienne Roberts studied
graphic design at the Central
School of Art and Design. After
a brief period at The Women’s
Press, she established the
studio sans+baum, hoping to ally
a commitment to accessible and
engaging design with a socially
aware agenda. Roberts’ new
studio LucienneRoberts+ was
established at the end of 2006,
working mainly in the arts and
voluntary sectors. In 2000, Roberts
was a signatory of the First Things
First manifesto. She has taught
at Yale and the London College
of Communication and was
a D&AD judge in 2008. Roberts
is a regular contributor to Eye
magazine and Grafik.
ISBN and title specifications listed on pages 150–159
Module Reader
Good: An Introduction to Ethics in Graphic Design
Lucienne Roberts
Good: An Introduction to Ethics
in Graphic Design is a detailed
study of ethical practice in graphic
design and other visual arts
disciplines. It seeks to engage
students in debate about their craft
and analysis of their values, asking;
is it possible to be a ‘bad’ good
designer or a ‘good’ bad designer?
If so, which is preferable? The book
seeks to marry theory with practical
application, removing some
of the mystique that surrounds
ethical philosophy and highlighting
its relevance for us all. It is
supported by discussions and
insight from established designers,
typographers, photographers
and illustrators.
! Accessible and well-designed, with text broken up into manageable chunks.
An excellent text for lecturers and undergraduates. Dave Caton / Swindon College / UK
Key features
An in-depth introduction
to ethics and ethical practice
in graphic design.
Seeks to engage students
in a discussion of values and
ethics in their work.
Highlights the practical
application and relevance
of theory and philosophy.
Throughout the book,
designers, typographers,
photographers and illustrators
try to define being ‘good’.
Readership
Required Reading Range
Module Reader
These titles are designed
to support specialized modules
of degree courses and provide
a platform for further exploration
of the subject matter.
Good: An Introduction to Ethics in
Graphic Design is a comprehensive
discussion of an important area
of cultural theory. It is an ideal core
text for contextual studies modules,
as part of a larger visual arts degree.
R Required Reading Range
Ian Noble is currently director
of research and postgraduate
programs within the School
of Graphic Design at the London
College of Communication. He
has worked professionally as
an editorial designer and as an
educator and design writer.
Russell Bestley is a senior
lecturer at the London College
of Communication. His work has
been primarily concerned with
research through education
and practice. He has recently
completed a PhD on the second
generation of UK punk and
graphic design.
! This book has both academic credibility and professional integrity. Tony Pritchard / London College of Communication / UK
! Good informative text which enhances understanding of the topic. Kate Sillitoe / Chester University / UK
Module Reader
Visual Research: An Introduction to Research Methodologies in Graphic Design
Ian Noble and Russell Bestley
Visual Research: An Introduction
to Research Methodologies in
Graphic Design is a guide to
the practice of researching for
graphic design projects. It explains
the key terms and theories
that underlie design research;
examining the importance of
audience, communication theory,
semiotics and semantics. The
book features a range of case
studies which demonstrate how
the use of rigorous research
methods can form the basis of
effective visual communication
and design problem solving,
eschewing end-product analysis
for a discussion of the way in
which research feeds into the
design process.
! It is very accessible to my students. Packed with excellent information and examples
and beautifully designed. Cate Roman / Woodbury University / USA
Key features
A thorough investigation into
research methods for graphic
design and other visual arts
disciplines.
Written by widely respected
academics that have
many years’ experience in
both industry and academia.
Features case studies that
demonstrate how effective
design research is integral
to a successful execution.
Focuses on the importance
of research throughout the
design process, not just the
final stages.
Readership
Required Reading Range
Module Reader
These titles are designed
to support specialized modules
of degree courses and provide
a platform for further exploration
of the subject matter.
Visual Research: An Introduction
to Research Methodologies
in Graphic Design is a detailed
introduction to researching
for design. It is an ideal core text
for research modules, as part of
a larger visual arts degree.
www.avabooks.com 082/083
R Required Reading Range
Module Reader
Second edition
R Required Reading Range
Module Reader

Visible Signs: An Introduction to Semiotics Left to Right: The Cultural Shift from Words to Pictures
David Crow David Crow

David Crow worked as Visible Signs: An Introduction to Left to Right is an in-depth

a designer in London at the design
group Assorted Images and as
an art director for Island Records
before running his own freelance
consultancy. As a freelance
designer, he worked for a range
of clients in the cultural sector
including Rolling Stones Records,
Virgin Records, Phonogram and
The Royal Shakespeare Company.
He then moved into academic
life where he ran the graphic
arts department at Liverpool’s
John Moores University, UK
for eight years before becoming
Head of the School of Design
at Manchester Metropolitan
University, UK.
Semiotics guides students through
visual communication theory
relating to semiotics and explains
how this theory can be applied
to their own work. Basic semiotics
is taught in most art schools as part
of a contextual studies program,
but many students find it difficult
to understand how these ideas
might impact on their own
practice. Visible Signs tackles
this problem by explaining basic
semiotic terminology through
visual examples of graphic work.
Concepts such as signs and
signifiers, language and speech are
all explored through contemporary
graphic design and fine arts.
Key features
A detailed introduction
to semiotics and semiology.
Explains how students can
apply semiotic theory in the
creation of their own work.
Tackles an often-
misunderstood subject
with visual examples from
contemporary design and
fine art.
One of AVA’s most successful
titles, Visible Signs has
been adopted as a key text
at numerous universities and
colleges around the world.
Readership
Required Reading Range
Module Reader
These titles are designed
to support specialized modules
of degree courses and provide
a platform for further exploration
of the subject matter.
This title is an approachable
guide to semiotic theory, providing
students with a solid foundation
of knowledge, and an awareness
of how this knowledge can be
applied in practice. It is an ideal
core text for theory-based modules,
and will prove useful at any
academic level.
study of the influence digital
technology has had on the
way we communicate and the
increasingly visual nature of
our culture. It demonstrates that
the development of language
has gone hand in hand with the
development of technology,
discussing the challenge posed
to alphabetic information by
the rapid development of screen-
based media over the latter half
of the twentieth century. This
title is a detailed discussion of
the role design and other creative
disciplines have to play for a new
image-centric generation.
Key features
A detailed study of the
development of image-based
language and culture in the
latter half of the twentieth
century.
Discusses the relationship
between emerging
technologies and language.
Explores the significance
of design and other creative
disciplines in our image-based
culture.
Presented in a demonstrative
visual style.
Readership
Required Reading Range
Module Reader
This title is designed to support
specialized modules of degree
courses and provide a platform
for further exploration of the
subject matter.
Left to Right is a detailed discussion
of a prevalent topic in cultural
theory. It is an ideal core text for
contextual studies modules, as
part of a larger visual arts degree.

NEW! ! Very accessible. An ideal introduction to semiotics.

Mel Brown / Plymouth College of Art & Design / UK

! This stimulating book will significantly inform the theoretical

and practical work of students studying at both undergraduate and
postgraduate levels. Tony Pritchard / London College of Communication / UK
! This book is well written and the content is very relevant to the graphic design course.
Nick Kapica / Ravensbourne College of Art & Design / UK

! The book bridges the gap between the technical and theoretical, enabling students to think more
laterally and thus improve their practice. Charles daCosta / Savannah College of Art & Design / USA

! This is the best book for my students to use as a text.

Kelly Carr / Baltimore University / USA

ISBN and title specifications listed on pages 150–159 www.avabooks.com 084/085

 R Required Reading Range
Module Reader R Required Reading Range
Module Reader

Verbalising the Visual: Translating Art and Design into Words Drip-dry Shirts: The Evolution of the Graphic Designer
Michael Clarke Lucienne Roberts

Michael Clarke has a
distinguished academic career
and is currently the art and design
correspondent for the Times
Educational Supplement (UK).
He has written numerous articles
on major exhibitions and current
developments in the visual
arts and is a member of The
International Association of Art
Critics (AICA).
Verbalising the Visual: Translating
Art and Design into Words
investigates how we can best
communicate our experiences
of visual culture into written
and spoken words. The book
introduces students to a broad
range of language and terminology:
formal and informal, academic
and colloquial, global and local, all
of which can be found in current
art and design discourse.
It includes a variety of examples
and case studies that explore
the many ways in which language
is used to discuss, describe, analyze
and critically evaluate art and
design. Students will learn to select
and effectively employ language
to present oral and written critical
assessment of art and design.
Key features
An in-depth study of the
written and spoken discussion
of visual works.
Offers visual arts students
the tools they need to properly
understand and effectively
use language in presentations
and essays.
Discusses the full range
of language used in art and
design discourse.
Supported by illuminating
examples and case studies.
Readership
Required Reading Range
Module Reader
These titles are designed
to support specialized modules
of degree courses and provide
a platform for further exploration
of the subject matter.
This title provides students with
the tools they need to communicate
effectively about their work
either in written essays or in
group discussions. It is an ideal
core text for presentation and
discussion modules, which
will prove useful at any stage
of a student’s academic career.
Lucienne Roberts studied
graphic design at the Central
School of Art and Design. After
a brief period at The Women’s
Press, she established the
studio sans+baum, hoping to ally
a commitment to accessible and
engaging design with a socially
aware agenda. Roberts’ new
studio LucienneRoberts+ was
established at the end of 2006,
working mainly in the arts and
voluntary sectors. In 2000, Roberts
was a signatory of the First Things
First manifesto. She has taught
at Yale and the London College
of Communication and was
a D&AD judge in 2008. Roberts
is a regular contributor to Eye
magazine and Grafik.
Drip-dry Shirts: The Evolution of the
Graphic Designer is a visual history
of graphic design that introduces
students to the work of some of the
most established and innovative
designers in the discipline’s history.
The book includes illustrated
interviews with designers such as
Ken Garland, Wim Crouwel, Milton
Glaser, Karl Gerstner and Rosmarie
Tissi, each of whom place their work
in historical and personal contexts
as they reflect on their formative
years and long careers. This title is
rich in anecdotes and observations,
as influential designers speak
honestly about what it was like
to make design history.
Key features
A detailed visual re-telling of
the history of graphic design
and its pioneers.
Includes interviews and insight
from leading names such as
Ken Garland, Wim Crouwel and
Milton Glaser.
Includes analysis and
contextual discussion of
historically significant pieces
of design.
Features an illustrated
timeline, placing history
into context.
Readership
Required Reading Range
Module Reader
These titles are designed
to support specialized modules
of degree courses and provide
a platform for further exploration
of the subject matter.
This title represents
a comprehensive introduction to
the rich history of graphic design,
providing students with a solid
grounding in the historical context
and development of the discipline.
It is an ideal core text for a history
of design module and will prove
useful at any academic level.

! Fills a gap in the market providing a well paced, informative structure for all visual arts students. ! A good text that bridges theory, history and studio/practical teaching. Tim Fabian / Lincoln University / UK
Philip Long / Southampton Solent University / UK ! Well written and suitable for a graduate-level class pertaining to visual communication in graphic design.
! A clear text. A must within the studio. User friendly and useful. Kate Christman / Falmouth University College / UK Linda Miller / Art Institute of Pittsburgh / USA

! Not only demystifies writing about design but makes it vibrant, relevant and exciting.
Andrew Gossett / Middlesex University / UK

ISBN and title specifications listed on pages 150–159 www.avabooks.com 086/087

R Required Reading Range
Module Reader R Required Reading Range
Module Reader

Visual Communication: From Theory to Practice Packaging Design

Jonathan Baldwin and Lucienne Roberts Gavin Ambrose and Paul Harris

Jonathan Baldwin is a lecturer
in design history, theory and
practice at Dundee University,
Scotland. He teaches and writes
on issues related to popular
culture, the media, graphic
design and higher education
and has experience working as
a professional graphic designer
and has contributed to many
publications and conferences on
art and design in higher education.
Lucienne Roberts established
the design studio sans+baum
after a brief period at The
Women’s Press, hoping to ally
a commitment to accessible and
engaging design with a socially
aware agenda. Roberts’ new
studio LucienneRoberts+ was
established at the end of 2006.
Roberts was a signatory of the
First Things First manifesto, has
taught at Yale and the London
College of Communication
and was a D&AD judge in 2008.
She is a regular contributor to
Eye magazine and Grafik.
AVA Academia’s award winning
Visual Communication: From Theory
to Practice introduces design
students to cultural theory through
a series of essays and contributions
from leading designers. It seeks
to locate graphic design in a wider
cultural context, drawing a student’s
attention to the key debates and
issues that surround it.
The title incorporates contextual
essays that explore how cultural
theory can be applied to the real-
world practice of graphic design,
and are discussed by designers
such as Neville Brody, Michael
Bierut and Joan Farrer. This title
helps students to develop sound
critical judgment and informed
strategies for the conception of
new ideas that accurately reflect
the current zeitgeist.
Key features
An in-depth discussion
of cultural theory and how
it relates to the practice
of graphic design.
Bridges the gap between
design theory and
the day-to-day practice
of graphic design.
Includes contributions and
discussions from acclaimed
designers.
Allows students to engage
with a difficult area of design.
Readership
Required Reading Range
Module Reader
These titles are designed
to support specialized modules
of degree courses and provide
a platform for further exploration
of the subject matter.
This title is a companion
piece to cultural theory modules
and courses and has been
edited to fit broadly into the
diverse curricula of art schools
and colleges around the world.
Gavin Ambrose is a practising
graphic designer. Gavin’s
current commercial practice
includes clients from the arts
sector, publishers and advertising
agencies. He is the co-author
and designer of several books
on branding, packaging and
editorial design.
Paul Harris is a freelance writer,
journalist and editor. Paul writes
for international magazines
and journals in London and
New York. He is co-author and
collaborator on several books
about graphic design.
Packaging Design introduces
students to the most overtly
commercial area of graphic design.
While many other areas of design
have commercial aspects, the
success of a piece of packaging
design is inextricably linked with
its ability to sell a product. This book
discusses the implications of this
commercial function for a designer.
It explores methods of visually
communicating the value of
a product to its target audience
and examines the entire lifespan
of a piece of packaging: from
its manufacture and construction,
to its display in various retail
environments, to its eventual
disposal and the associated
environmental concerns.
Key features
Introduces design students
to the most commercial area
of graphic design.
Explores the relationship
between branding and graphic
design.
Discusses the full lifespan
of a piece of packaging design;
from design and manufacture
to disposal.
Accompanied by illustrative
examples and case studies
taken from contemporary
packaging design.
Readership
Required Reading Range
Module Reader
These titles are designed
to support specialized modules
of degree courses and provide
a platform for further exploration
of the subject matter.
This book provides students
with an understanding of the
conventions of packaging design
and is an ideal core text for
packaging design and commercial
design modules.

! This is the best book on visual communication today. Laurence Bach / Philadelphia University of the Arts / USA
! Well illustrated and structured. Cultural theory is an important and often neglected area
of training for arts and communications students. Dr Mary Lou Nemanic / Penn State University / USA NEW!
ISBN and title specifications listed on pages 150–159 www.avabooks.com 088/089
D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Illustration

092 093 094–095 097

The Visual Dictionary of
Illustration
The Fundamentals of Basics Illustration Illustration:
Illustration 01 Thinking Visually A Theoretical and
02 Text and Image Contextual Perspective
03 Sequential Images
04 Global Contexts

www.avabooks.com 090/091
D Foundation
F Introductory

The Visual Dictionary of Illustration The Fundamentals of Illustration

Mark Wigan Lawrence Zeegen/Crush

Mark Wigan is an artist, Lawrence Zeegen is an

illustrator and academic. He was
an early pioneer of trans-global
club art in 1980s New York,
London and Tokyo. Mark’s work
has evolved into a multimedia
archive, chronicling the changing
worlds of club culture and street
style. For the past ten years,
he has been lecturing worldwide
and has led illustration programs
at a range of universities.
Key features
Explains and contextualizes
over 250 terms used within
illustration.
Definitions are accompanied
by examples taken from
traditional and contemporary
illustration.
Covers traditional terms still
in current usage as well as
modern terminology such as
Raster and Punk.
Includes a wide variety
of practical terms, such
as Collage, Woodcut, and
Storyboard.
Also covers movements
and styles, including Dada,
Surrealism, and Romanticism.
Includes a detailed timeline
of illustration.
Readership
Foundation
AVA’s Visual Dictionaries form
our foundation reading list. These
titles offer clear, comprehensive
and visually informative definitions
to the key terms in a discipline’s
vocabulary.
This book offers a wide overview
of the discipline as a whole, its
history and contemporary practice.
It also provides a useful reference
tool throughout higher education.
illustrator, educator and
writer. As Head of the School
of Communication Design,
Kingston University, UK,
he leads undergraduate
and postgraduate courses
in animation, filmmaking,
graphic design, illustration and
screen design for film and TV.
Lawrence has lectured and
spoken at conferences,
institutions and design events
nationally and internationally.
He contributes regularly
to numerous magazines and
publications and has published
several books on the subject
of illustration.
Formed in 1998, Crush is
a creative agency working
with a diverse range of clients
from international names to
niche markets.
Key features
Introduces students
to the theory and practice
of illustration.
Takes readers through each
stage of the creative process;
from interpreting the brief
and generating ideas to design
and production.
Addresses the effects of digital
technology on illustration, and
the use of this technology in
self-promotion and marketing.
Features case studies and
interviews with illustrators
from around the world.
Includes a useful section
on copyright and the legalities
of selling work.
Lavishly illustrated with
some of the best work from
contemporary illustration.
Readership
Introductory
The discipline-specific titles in our
Fundamentals range are aimed
at students embarking on further
education and offer a thorough
grounding in the subject.
This book provides students with
an introduction to the discipline,
before examining specific
processes, ideas and practicalities
in greater detail.

! Excellent design. Nicely produced with straightforward information. Neat, convenient. ! The content of the book is excellent for the undergraduate illustration route, particularly at level 3. This book
Ideal for using as a common glossary with the students. Ideal for me as a fine art based lecturer has come at a perfect time – it was much needed and provides a great basis for professional practice!
to communicate with graphic design and illustration students. Charles Williams / Canterbury College / UK Andrew Kulman / Birmingham Institute of Art & Design / UK

! My feeling is the book has value, being concise and wide ranging. ! The Fundamentals of Illustration fits very well within our illustration course.
Very relevant to the illustration course. Andrew Kulman / Birmingham City University A very strong overview of the industry. Stanly Community College / USA

ISBN and title specifications listed on pages 150–159 www.avabooks.com 092/093

b Series Intermediate
Basics Illustration
01 Thinking Visually
Mark Wigan
02 Sequential Images
Mark Wigan
03 Text and Image
Mark Wigan
04 Global Contexts
Mark Wigan
Basics Illustration: Thinking Visually
! This book is very impressive – it has a contemporary approach and the writing whilst
manageable does go to some degree of depth in discussing pertinent issues around illustration.
Well designed like other AVA books and certainly a good book to see as a key text.
University of Central England / UK
ISBN and title specifications listed on pages 150–159
The Basics Illustration series explores
key areas of illustration through a series
of case studies juxtaposed with key
creative ‘basics’. Each title explores
a fundamental aspect of the discipline,
from basic theory to working alongside
text and with animation, to the global
context of illustration. The books can
be taken as individual, in-depth handbooks,
or combined to form a comprehensive
reference guide. The text is supported
by a vast range of exemplary work from
contemporary illustrators of note, and
includes student exercises, tips, and helpful
resource directories.
! The numerous illustrations complement the information presented in the text. Relevant to the course I teach.
Key features
Addresses the fundamental
aspects of illustration with
in-depth guides, supported
by student exercises and
resources.
Includes a variety of case
studies and examples
of work taken from the best
of contemporary illustration.
Presents information
in a consistently engaging
visual style.
Basics Illustration: Text and Image
The relationship of type to imagery is an important component of the course. Kerri Eckes / Raleigh Durham Art Institute / USA
! This book represents an important addition to the previous three in the series.
Readership
Intermediate
Our Basics books provide readers
with an in-depth exploration of
each of the topics introduced in the
Fundamentals titles. These books
offer both a theoretical and practical
approach, supported by examples
and exercises.
Individual titles can form the basis
of specific illustration modules,
while the series as a whole
functions as a comprehensive
reference tool.
These titles can be called upon at
any stage of a student’s education.
Basics Illustration: Global Contexts
Well illustrated with good case studies. Andrew Kulman / Birmingham City University / UK
www.avabooks.com 094/095

Kerri Henrickson is an
instructor in Graphic Design
at The Art Institute of
Raleigh-Durham, Durham,
North Carolina, USA.
ISBN and title specifications listed on pages 150–159
Kerri Henrickson
discussing The Fundamentals of Illustration
Why have you adopted this book and how do
you use it?
I adopted this book for an illustration course.
Students were given reading assignments
in which they had to answer questions, for which
The Fundamentals of Illustration was very useful.
I also used the brainstorming ideas as a way
to encourage my students’ creative thought
processes. They were very helpful in prompting
students to think outside of the box and come
up with numerous solutions to one problem.
Does the content reflect the structure of
your course?
Yes. The course was actually loosely
structured around it, with projects inspired
by chapters. For example, students did projects
on music illustration, book illustration and
editorial illustration after reading those sections
in the book.
How do the books assist students’
understanding of the topic?
Examples and techniques help to reinforce
course content as well as to give students
ideas for their own creative process.
They really enjoyed the illustrations in the
book. The examples served to demonstrate
the wide range of possibilities in illustration.
! The content is organized in such
How do the industry examples in the books
support your teaching?
Industry examples directly relate to the projects
given in class. Students are given projects based
on the different types of industry described
in the books. They are required to describe the
business side of a project as well as producing it.
What is special/different about AVA’s approach?
The content is organized in such a way that
it can hold a visual art student’s interest, while
also giving simple yet concise explanations
for the subject matter. The illustrations in the
book inspire the students, and the information
is organized in an easy-to-follow way.
a way that it can hold a visual
art student’s interest, while also giving
simple yet concise explanations for
the subject matter.
R Required Reading Range
Alan Male is an illustrator,
educator and writer. Since
1993 Alan has been head of
the BA illustration program at
University College Falmouth,
UK, and has lectured throughout
the United States.
A professional illustrator
since 1973, Alan has worked
nationally and internationally
producing work for children’s
books, editorials, CDs, reference
books, encyclopaedias and
advertising. He has won several
awards and has exhibited in
London, Arizona, Denver and
the Museum of American
Illustration. He also has work in
the New York State Museum’s
permanent collection.
! Good support for third year undergraduates well past their initial training.
Course Reader
Illustration: A Theoretical and Contextual Perspective
Alan Male
Illustration: A Theoretical
and Contextual Perspective is
a comprehensive guide to
contemporary illustration. It provides
students with an understanding
of the theory, research, conceptual
processing and contexts of
illustration practice. It describes
a variety of definitions and
philosophies of illustration, together
with a relevant historical overview.
The book introduces the notion
of the illustrator as a socially and
culturally aware communicator:
an able professional with
knowledge, understanding and
insight regarding the context
within which they are working
and the subject matter that they
are engaged with.
A key text next year. Tomas Tornqvist / Linkoping University / Sweden
Key features
A detailed overview
of contemporary illustration
and the role of the illustrator.
Discusses all aspects
of the discipline, from the
relevant theory and historical
background to particular
definitions and philosophies.
Explores the role of the
professional illustrator as part
of the creative industries.
Includes a wide variety
of examples and case studies.
Readership
Required Reading Range
Course Reader
These reference titles
are specifically structured
to support the lifetime of
an undergraduate degree and
provide a detailed exploration
of the discipline covered.
This title represents a detailed
study of the discipline as a whole.
It is an ideal core text for an
illustration degree, but will prove
useful at any academic level.
www.avabooks.com 096/097
D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Interior Architecture

100 101 102–103

The Visual Dictionary
of Interior Architecture
and Design
The Fundamentals of Interior
Architecture
Basics Interior Architecture
01 Form + Structure
02 Context + Environment
03 Drawing out the Interior
04 Elements/Objects

www.avabooks.com 098/099
D Foundation
F Introductory

The Visual Dictionary of Interior Architecture and Design The Fundamentals of Interior Architecture
Graeme Brooker, Michael Coates and Sally Stone John Coles and Naomi House

Graeme Brooker is program John Coles is program leader

leader on undergraduate and
postgraduate courses on
interior design at Manchester
Metropolitan University, UK.
Michael Coates is an academic
and lecturer in contextual and
critical studies within the School
of Design at Manchester
Metropolitan University, UK.
Sally Stone is director
of the College of Continuity
in Architecture at the Manchester
School of Architecture.
Key features
Explains and contextualizes
over 250 terms used
within interior architecture
and design.
Definitions are accompanied
by illustrations and examples
taken from traditional
and contemporary interior
architecture and design.
Covers traditional terms
still in current usage as well
as modern terminology
such as Hyper-reality and
Sustainability.
Includes a wide variety
of practical terms, such
as Elevation, Installation,
and Function.
Also covers conceptual terms,
including Constructivisim,
Minimalism, and Formalism.
Readership
Foundation
AVA’s Visual Dictionaries form
our foundation reading list. These
titles offer clear, comprehensive
and visually informative definitions
to the key terms in a discipline’s
vocabulary.
This book offers a wide overview
of the discipline as a whole, its
history and contemporary practice.
It also provides a useful reference
tool throughout higher education.
for the MA Interior Architecture
course and joint program
leader for the BA Honors Interior
Architecture and Design course
at Middlesex University, UK.
Naomi House is a lecturer
and joint program leader
of Interior Architecture and
Design at Middlesex University,
UK, a role that she balances
with that of tutor in Critical and
Historical Studies at the Royal
College of Art, London.
Key features
Offers students an
introduction to the key
ideas that inform interior
architecture design.
Areas of study include space
and form, site and function,
materials and texture, light
and mood, and presentation
and representation.
Each chapter draws upon
theory as well as contemporary
and historical references
to illustrate the richness and
diversity of design practice.
Readership
Includes practitioner
Introductory
biographies and work from
The discipline-specific titles in
leading designers, such
as Blacksheep, Bluebottle, our Fundamentals range are aimed
Jonathan Stickland, at students embarking on further
education and offer a thorough
Universal Design Studio,
grounding in the subject.
and Virgile & Stone.
This book provides students with
Includes a ‘buildings
an understanding of the basic
of interest’ directory and concepts of interior architecture,
information. before they move into more specific
areas of expertise.
Presented in a lively
and engaging visual style,
designed to appeal to
creative students.

! Covers a broad range of terms and clearly explains them. Veronica Hendry / London College of Communication / UK ! Well organized information in bite-sized chunks, making it highly appropriate for
! Very useful and clear. Gulnur Ballice / Yasar University / Turkey first year students of architecture and design. Gary Brown / Liverpool John Moores University / UK
! A clear and informative book for first year students. Veronica Hendry / London College of Communication / UK

ISBN and title specifications listed on pages 150–159 www.avabooks.com 100/101

b Series Intermediate

Basics Interior Architecture

01 Form + Structure The Basics Interior Architecture series

Graeme Brooker and offers students an essential introduction
Sally Stone to the subject of interior architecture
02 Context + Environment and the ideas that underpin it. Each title
Graeme Brooker and examines a key area of the discipline
Sally Stone in detail, from creating conceptual and
03 Drawing out the Interior representative images, to the practical
Ro Spankie considerations of construction and context.
04 Elements/Objects The text is supported by detailed studies
Graeme Brooker and of contemporary work, alongside student
Sally Stone activities and resources. Taken as a whole,
the series represents a comprehensive
guide to the field of interior architecture.
Key features
A series of detailed guides
to the key aspects of the
discipline.
Includes case studies and
examples from the best
of contemporary interior
architecture.
Presented in a visually
engaging style, with many
examples supported by
working drawings and plans.
Readership
Intermediate
Our Basics books provide readers
with an in-depth exploration of
each of the topics introduced in the
Fundamentals titles. These books
offer both a theoretical and practical
approach, supported by examples
and exercises.
Individual titles can form the
basis of specific modules, while
the series as a whole functions as
a comprehensive reference tool,
and can be called upon at any stage
of a student’s education.

Basics Interior Architecture: Form + Structure Basics Interior Architecture: Drawing out the Interior

! A very good textbook, in a subject area where relevant content was previously difficult to find. ! Some great examples of how designers use drawing not only as a visualization tool
Valerie Mace / London College of Communication / UK but also as a design tool. Valerie Mace / London College of Communication / UK
Basics Interior Architecture: Context + Environment Basics Interior Architecture: Elements/Objects

! This book will serve us very well as a textbook/case study reference ! Terrific for students in terms of color, materials and furniture design.
on projects that illustrate various issues. Anita Cooney / Pratt Institute / USA The size and weight of the book are also good – small and compact and
easy to transport. Anita Cooney / Pratt Institute / USA

ISBN and title specifications listed on pages 150–159 www.avabooks.com 102/103

D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Interior Design

107 108–109
The Fundamentals of Basics Interior Design
Interior Design 01 Retail Design
02 Exhibition Design

www.avabooks.com 104/105

Simon Dodsworth is the author
of The Fundamentals of Interior
Design (see page 107). He is
a Director of Interior Design at
the KLC School of Design, UK.
ISBN and title specifications listed on pages 150–159
Simon Dodsworth
educator / interior designer
AVA titles have been very successful and widely
adopted. Why do you think this might be?
It was clear from the first time I saw one of AVA’s
books that they were a little bit different, and
a little bit special. I like books, particularly ones
about subjects that I love, but there’s a quality
to everything about AVA’s titles, from the paper
to the photography to the graphic design. I think
that’s one of the key issues. The users of the
books might not be experts in the subjects (yet),
but they have a passion for design. Whether their
chosen area of specialization is film, architecture
or graphic design, all design has the same roots.
So, I think that all the users appreciate the care
that’s gone into these books. And that goes
for the tutors, teachers and academics that are
responsible for recommending them too. I’m
amazed and a little disappointed when I come
across a book on one area of design or another
that looks as though it’s been thrown together
by someone who doesn’t really care. Needless
to say, no AVA books are like that!
How relevant are AVA books to the courses
you teach, and how do they compare with other
titles that you currently use?
They’re relevant because they look at the
important subject areas – those which students
sometimes struggle to get to grips with. The large
number of illustrations provides a real inspiration
and motivation for those students. They’re
also contemporary, so they feel appropriate
and relevant to what the students are learning.
What is the key point that you want students
to take away from reading The Fundamentals
of Interior Design?
Students should realize that design is an
exploration of different ideas, undertaken within
a framework of principles and methodologies
that encourage unique and individual solutions
to problems. There is never a single ‘right or
wrong’ answer to a brief.
F Introductory
The Fundamentals of Interior Design
Simon Dodsworth
How do you feel the industry contributions add Simon Dodsworth studied
to the text? at KLC School of Design, where Key features Readership
he gained an Honors Diploma
The solutions that students produce to a in interior design. After graduating Features diagrams and
he worked as a freelancer Provides a thorough Introductory
brief are often limited by their own experience on residential projects with introduction to the ‘talking points’ to get students
and knowledge. In a learning environment, established architects, and thinking about key issues. The discipline-specific titles in our
key elements of interior
I think it is important for students to be shown also established his own design Fundamentals range are aimed
business. He was later invited design and the ideas that
possibilities often beyond what they could Includes a section on ethics at students embarking on further
to teach at KLC, where he is underpin them.
imagine for themselves. The industry examples now Director of Interior Design. in interior design. education and offer a thorough
are intended to inspire and do just that. grounding in the subject.
Describes the entire design
process, from researching Presented in a rich visual style, This text provides students with
What was your motivation for writing The initial ideas to realizing them designed to appeal to students a comprehensive introduction to
Fundamentals of Interior Design and how do of the creative arts.
in three-dimensional form. basic interior design theory, before
you anticipate it will help students? examining specific key practices
Includes a variety of in greater detail.
I hoped to pass on some of the sheer
case studies taken from
excitement of creating a living, working space
contemporary interior
that is the essence of interior design. I hope
designers, including
the book inspires and instils a certain confidence
Jonathan Tuckey Design
in students, helping them to think, ‘Yes, I can
and Project Orange.
do this.’
How, in your opinion, does the book reflect
current interior design practice?
The book aims to promote newer technologies
and practices that help the design process,
at the same time as celebrating the older, more
craft-based production methods which are still
at the core of the design process. Developing
a design through hand sketching in a free and
fluid manner, then scanning and rendering those
same sketches digitally embraces the best of
both worlds.
How do you see interior design education
progressing?
As the speed of change in any industry only ever
increases, it’s vital that students are taught not
just existing techniques, but also the means to
discover new ones for themselves, as well as the
confidence to learn new practices and update
existing skills under their own steam.
www.avabooks.com 106/107
b Series
Basics Interior Design
01 Retail Design
Lynne Mesher
02 Exhibition Design
Pam Locker
ISBN and title specifications listed on pages 150–159
Intermediate
Key features
Addresses the key areas of
interior design with in-depth
guides, supported by student
exercises and resources.
Includes a variety of case
studies and examples of
work taken from the best of
contemporary interior design.
Presents information
in a consistently engaging
visual style.
NEW!
The Basics Interior Design series is
a collection of useful reference guides
for students, covering every aspect
of the interior design discipline. Titles
include discussions of designs for retail
environments and those for exhibition
spaces. The books can be taken as
individual, in-depth handbooks, or combined
to form a comprehensive reference guide.
The text is supported by a range of case
studies and examples of work from
the best contemporary interior designers,
and includes student exercises, tips, and
helpful resource directories.
Retail Design
Key features
Approaches the subject
of interior design in
a commercial context.
Examines the impact
of branding, context, site and
setting on interior spaces.
Investigates methods
of creating layouts, promoting
customer circulation and
regulating pace.
Exhibition Design
Key features
Explores the role of the
exhibition designer as
a creative practitioner.
Examines the full scope
of exhibition design:
for fairs, attractions, world
expositions, museums,
galleries, historic houses,
landscape interpretation
and art installations.
Discusses the overlap
of exhibition design
into other areas of interior
and graphic design.
NEW!
Readership
Intermediate
Our Basics books provide readers
with an in-depth exploration
of each of the topics introduced
in the Fundamentals titles. These
books offer both a theoretical
and practical approach, supported
by examples and exercises.
Individual titles can form the
basis of specific modules, while
the series as a whole functions as
a comprehensive reference tool
and can be called upon at any stage
of a student’s education.
www.avabooks.com 108/109
D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Landscape Architecture

113 114–115
The Fundamentals of Basics Landscape Architecture
Landscape Architecture 01 Urban Design

www.avabooks.com 110/111

Tim Waterman is the author
of The Fundamentals of Landscape
Architecture (see page 113) and
co-author of Basics Landscape
Architecture: Urban Design
(see page 115). He lectures
in landscape architecture at the
Writtle School of Design, UK
ISBN and title specifications listed on pages 150–159
Tim Waterman
educator / practitioner
AVA titles have been very successful and widely
adopted. What do you think are the factors that
make our titles stand out?
AVA books provide a comfortable mix of text
and imagery that is easy to read while conveying
a considerable weight of complex information
relating to design. The books are plainly
written without condescension and are full
of good content and pertinent information.
The books are well designed and are a good
size to carry around.
How is The Fundamentals of Landscape
Architecture relevant to the courses you teach,
and how does it compare with titles that you
currently use?
The Fundamentals of Landscape Architecture
fulfils the vital and otherwise unfulfilled role
of clearly and simply defining the function
of the landscape architect, the scope of the
field and its history. It also takes the opportunity
to examine a single project in detail, which allows
the reader to understand the structure of work
within a landscape architecture firm, and its
exciting range and depth.
What is the key point that you want students
to take away from reading The Fundamentals
of Landscape Architecture?
I hope that students will come early
in their studies to an understanding of the
remarkable breadth of landscape architecture
as a profession, and that they will become
more empowered to rise to leadership roles.
Landscape architecture is the best equipped
of the architectural disciplines to provide
for a sustainable future, so we need motivated
students to become powerful practitioners
when they graduate.
F Introductory
The Fundamentals of Landscape Architecture
Tim Waterman
How do you feel the industry contributions add Tim Waterman has worked
to the text? on numerous large-scale strategic Key features Readership
and master planning projects
in central London and South East
The broad range of international work that Introduces students to the Describes how a project moves Introductory
England. He lectures in landscape
illustrates The Fundamentals of Landscape architecture at the Writtle School basic premises and functions from concept, through design,
Architecture is intended to highlight the of Design, UK. to realization. The discipline-specific titles in our
of landscape architecture.
incredible reach of the profession. The firms Fundamentals range are aimed
that provided imagery for the text are involved Presented in a sophisticated at students embarking on further
Serves as a guide to the
in varied and meaningful work, and the rich visual style, designed to education and offer a thorough
many specialist fields within
photographs and drawings that were contributed appeal to creative design grounding in the subject.
landscape architecture,
support the text both with meaning and beauty. such as landscape strategy students. This book provides an
The projects speak for themselves, and the and urban design. understanding of basic tenets
images and captions may be read independently An engaging introduction
before examining specific key
from the text. Explains the process to a broad field that is growing areas in greater detail.
of designing for sites, calling in importance.
What was your motivation for writing The upon historical precedents
Fundamentals of Landscape Architecture and and contemporary examples.
how do you anticipate it will help students?
Landscape architecture can provide good
answers to many of the most urgent issues
of our time, whether climate change, the
coming food crisis, or water management.
The next generation of landscape architects
will be practicing in a field that is coming
into full blossom. It will help students to
understand all the areas in which they might
become meaningfully engaged as landscape
architects. The book also has a wider audience
than simply a student readership. It is also
aimed at people interested in exploring
career options and at professionals in other
disciplines seeking to find out more about
landscape architecture.
How, in your opinion, does the book reflect
current landscape architecture practice?
The Fundamentals of Landscape Architecture
is aimed at an international readership, and the
issues it addresses and the projects it exhibits
are chosen for clarity and general applicability
rather than a high degree of specificity. The
book presents a broad and complex profession
without pretension or jargon.
www.avabooks.com 112/113
b Series Intermediate
Basics Landscape Architecture
Key features
Each Basics Landscape
Architecture title represents
a comprehensive guide
to a key aspect of landscape
architecture and design.
Includes examples and case
studies taken from the best
of landscape architecture.
Presented in an engaging
visual style.
Basics Landscape Architecture: Urban Design
! I like the ‘high design’ quality of this book. It has short, explicit sections highlighting
key topics in the field of landscape architecture. Ken Yocom / University of Washington / USA
ISBN and title specifications listed on pages 150–159
01 Basics Landscape Architecture: Urban Design
The Basics Landscape Architecture series
provides students with a detailed guide
to the key principles and practices of
landscape architecture and design. The
titles feature contributions and examples
of work from landscape architects all
over the world. The text is supported
by student exercises and practical guides,
all presented in a unique and engaging visual
style. Each Basics Landscape Architecture
title explores an aspect in detail. When
combined, the series represents an essential
reference guide.
Intermediate
Ed Wall and Tim Waterman
Key features
An in-depth guide to the
role of landscape architecture
in urban design.
Provides a history and
definition of urban design
and discusses the roles of the
various professions involved.
Looks at the elements of
urban form and the importance
of contextual details, from
the scale of the city and its
region to the use of materials.
Readership
Intermediate
Our Basics books provide readers
with an in-depth exploration of
each of the topics introduced in the
Fundamentals titles. These books
offer both a theoretical and practical
approach, supported by examples
and exercises.
Individual titles can form the
basis of specific modules, while
the series as a whole functions
as a comprehensive reference
tool, and can be called upon at any
stage of a student’s education.
www.avabooks.com 114/115
D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Marketing

119 120–121
The Fundamentals of Basics Marketing
Marketing 01 Consumer Behaviour
02 Online Marketing

www.avabooks.com 116/117

Edward Russell is the author
of The Fundamentals of Marketing
(see page 119). He is professor
of advertising at the SI Newhouse
School of Public Communications
at Syracuse University.
ISBN and title specifications listed on pages 150–159
Edward Russell
professor of advertising
AVA titles have been very successful and widely
adopted. What do you think are the factors that
make our titles stand out?
AVA books are written from the student’s
perspective. They are fairly priced,
beautifully-designed books that students
want to read. The authors keep the information
intellectually challenging, but approachable.
The exercises are practical and interesting and
make the information real in student’s lives.
How is The Fundamentals of Marketing relevant
to the courses you teach, and how does it
compare with titles that you currently use?
I teach between five and six courses every
year, and I have dropped every book I started
teaching with. Some are simply too expensive.
I won’t ask students already paying an enormous
amount of money to attend university to spend
$175 or more for a book that I consider only
‘pretty good’. Some are pure fantasy. I don’t need
to fill students’ heads with unusable theories
and irrelevant discussions about developments
that are now ancient history. It’s not enough
to teach the past or even the present. We have
to teach the future. AVA is very good at that.
! AVA books are written from the student’s
What is the key point that you want students
to take away from reading The Fundamentals
of Marketing?
As a professor, I put forward the best
in theoretical models; but as a practitioner,
everything in this book is real-world
marketing the way it’s actually practiced.
I find about a third of most textbooks’
ridiculous filler is of no practical value and
often contains unusable theories. They aren’t
in here. Everything here is real.
How, in your opinion, does the book reflect
current marketing practice?
I don’t like textbooks that talk about how
things are changing but offer no clue as
to where the business is going. Students aren’t
in the midst of the changes because today’s
reality is the norm for them. I’ve tried to start
with what’s happening now and predict future
changes so students can prepare for the
future they will control.
perspective. They are fairly priced,
beautifully-designed books that students
want to read.
F Introductory
Edward Russell is professor
of advertising at the SI Newhouse
School of Public Communications
at Syracuse University, New York.
A graduate of Ohio University and
Northwestern University, Edward
moved to New York to work for
Saatchi & Saatchi Advertising.
During his 25 years in the business
he has worked on almost every
product category in nearly every
market in several of the world’s
largest and most successful
advertising agencies, including
Saatchi & Saatchi Worldwide,
The Leo Burnett Company and
J Walter Thompson.
! A well structured and richly informative text detailing various marketing processes and strategies.
The Fundamentals of Marketing
Edward Russell
Key features Readership
Offers students an engaging Features examples and case Introductory
and accessible introduction studies from Amazon, Bling
H20 and Tap’d NY, Petstages, The discipline-specific titles in our
to marketing.
Red Bull and Wal-Mart. Fundamentals range are aimed
at students embarking on further
Demonstrates the process
Each chapter concludes education and offer a thorough
undergone by marketing
with a detailed exercise grounding in the subject.
organizations from initial
product concept through to the based around the development This book provides students with an
creation of a successful brand. of a full marketing plan. understanding of basic marketing
theory and examines specific case
Focuses on key marketing Includes a helpful student studies in detail.
tools: selling theories, resources directory.
consumer behavior,
brand creation, strategic
pricing, distribution
methods, market research,
and strategic thinking.
Christopher Morris / Salford University / UK
www.avabooks.com 118/119
b Series
Basics Marketing
01 Consumer Behaviour
Hayden Noel
02 Online Marketing
Brian Sheehan
Basics Marketing: Consumer Behaviour
! An easy-to-digest overview of the subject.
Very student-friendly. Hugh Williamson / Staffordshire University / UK
! Simple and easy to read. Very relevant and gives good insight into the industry.
We don’t currently have any titles relating to this area. Owen Williams / Southwark College / UK
ISBN and title specifications listed on pages 150–159
Intermediate
Key features
A detailed overview of
the practice of marketing.
Includes a wide variety
of case studies and illustrative
examples of effective
contemporary marketing.
Supported by student
exercises, tips, and helpful
resource directories.
The Basics Marketing series is
a comprehensive introduction to the
discipline for students of the applied visual
arts who are required to undertake marketing
modules as part of their course. The titles
deal with various areas of the subject, from
consumer theory to the burgeoning field
of online marketing. While each title can
be taken individually as an informative guide
to a particular aspect of marketing, when
combined they represent a comprehensive
reference text for students at any academic
level. The text is supported by contemporary
case studies, examples of successful
marketing and engaging student activities
and guides.
Consumer Behaviour
Key features
Explores the relationship
between consumers
and culture and looks at
the impact of current trends
on consumer behavior.
Introduces the many different
ways in which consumers
around the world respond to
marketing strategies.
Examines the influence
of ethnicity, religion, class,
age and gender on consumers’
actions, and the importance
of understanding the
challenges and diversity
of a global marketplace.
Online Marketing
Key features
Offers an accessible and
practical introduction to
the most dynamic and fast-
moving field in marketing.
Considers the major online
trends that have passed,
and those that will continue
in one form or another for
some time.
Includes case studies
examining eBay, Google and
Barack Obama’s election
campaign.
NEW!
Readership
Intermediate
Our Basics books provide readers
with an in-depth exploration of
each of the topics introduced in the
Fundamentals titles. These books
offer both a theoretical and practical
approach, supported by examples
and exercises.
Individual titles can form the
basis of specific modules, while
the series as a whole functions
as a comprehensive reference
tool, and can be called upon at any
stage of a student’s education.
www.avabooks.com 120/121
D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Photography

124 125 126–127 128

The Visual Dictionary of
Photography
The Fundamentals of Basics Photography Creative Vision:
Photography 01 Composition Digital and Traditional
02 Lighting Methods for Inspiring
03 Capturing Colour Innovative Photography
04 Post-Production Black & White 129
05 Post-Production Colour Train Your Gaze:
06 Working in Black & White A Practical and Theoretical
07 Exposure Introduction to Portrait
Photography

www.avabooks.com 122/123
D Foundation
F Introductory

The Visual Dictionary of Photography The Fundamentals of Photography

David Präkel Helen Drew

David Präkel runs his own Helen Drew worked extensively

photographic training workshops
in Northumberland, UK. He has
enjoyed a successful and diverse
career in journalism, photography
and education and has taught
at all levels in universities, colleges
and schools in both the UK and
the US, as well as the prestigious
Kodak Imaging Training Centre
in Harrow, London.
Key features
Explains and contextualizes
over 250 terms used within
photography.
Definitions are accompanied
by illustrations and examples
taken from historical and
contemporary photography.
Covers analogue terms still
in current usage as well as
modern digital terminology
such as Raw format and High
Dynamic Range.
Deals with a wide variety
of practical terms, such
as ISO speed, Backlighting,
and Noise.
Also covers conceptual terms
and photographic styles,
ranging from Photojournalism
to Distortion.
Includes a detailed timeline of
photography, its technological
advances and pioneers.
Readership
Foundation
AVA’s Visual Dictionaries form
our foundation reading list. These
titles offer clear, comprehensive
and visually informative definitions
to the key terms in a discipline’s
vocabulary.
Each title offers a wide overview
of the discipline as a whole,
its history, practice and technical
considerations. It also provides
a useful reference tool throughout
higher education.
for Sir Terence Conran and the
Design Museum during the 1990s.
Projects included the exhibition
and book ‘Soho Night & Day’ for
Conran’s Mezzo complex and
freelance work for the South
Bank Centre and the BBC.
She went on to become creative
manager of the Getty Images
Gallery in London, curating and
designing exhibitions’ historical
content using images from the
world-famous Hulton Archive.
Key features
An illustrated introduction to
the key elements of film and
digital photography.
Draws upon photographic
theory, historical references
and detailed diagrammatic
explanations to explain
the underlying principles
of photography.
Chapters cover equipment,
composition, lighting, genre,
processing and printing.
Includes quick-reference
fact files, tips and student
exercises.
Accompanied by examples
and case studies from leading
contemporary photographers
and practitioners.
Readership
Introductory
The discipline-specific titles in our
Fundamentals range are aimed
at students embarking on further
education and offer a thorough
grounding in the subject.
The Fundamentals of
Photography equips students
with an understanding of
essential photographic principles,
before examining specific key
areas in detail.

! Good guides to fuel ideas and inspire students! Southampton Solent University / UK
! The best text I have ever seen. Dr Samir Husni / Mississippi University / USA
! This book has come at a perfect time – it was much needed and provides a great basis for professional practice.
Unitec School of Art & Design / New Zealand

ISBN and title specifications listed on pages 150–159 www.avabooks.com 124/125

b Series Intermediate

Basics Photography

01 Composition The Basics Photography series comprises

David Präkel a collection of titles offering an essential Key features Readership
02 Lighting introduction to the subject. The titles
David Präkel are fully illustrated with clear diagrams Each title provides students Intermediate
03 Capturing Colour and inspiring imagery, featuring work from with an in-depth discussion of
Our Basics books provide readers
Phil Malpas renowned photographers both past and a key aspect of photography.
with an in-depth exploration of
04 Post-Production Black & White present. Each deals with a specific subject, each of the topics introduced in the
Steve Macleod ranging from the practical essentials to Includes practical student
Fundamentals titles. These books
05 Post-Production Colour contextual considerations and production exercises and case studies
offer both a theoretical and practical
Steve Macleod processes. The text is supported by student taken from historical and
approach, supported by examples
06 Working in Black & White exercises and useful directories of resources. contemporary photography.
and exercises.
David Präkel Taken as a whole, the series provides
07 Exposure a comprehensive technical and aesthetic Presented in a visually Individual titles can form the
David Präkel coverage of photography. stimulating style, designed basis of specific modules, while
to appeal to students of the the series as a whole functions
visual arts. as a comprehensive reference
tool and can be called upon at any
stage of a student’s education.

Basics Photography: Lighting Basics Photography: Working in Black & White

! By far the most relevant starter text I have encountered. ! An easy to understand text. Issues are well presented.
Andrew Sugden / Edge Hill University / UK A very useful book for students. Helen Carter / Flinders University / USA
Basics Photography: Capturing Colour

! Very well written and straightforward.

Material explaining color theory is quite approachable.
Brian Atkinson / Brigham Young University / USA

ISBN and title specifications listed on pages 150–159 www.avabooks.com 126/127

R Required Reading Range
Module Reader R Required Reading Range
Module Reader

Creative Vision: Traditional and Digital Methods for Inspiring Innovative Photography Train Your Gaze: A Practical and Theoretical Introduction to Portrait Photography
Jeremy Webb Roswell Angier

Jeremy Webb is a freelance
photographer, digital artist
and a tutor in photography
at Great Yarmouth College, UK.
He has extensive experience
in a wide variety of businesses,
including the design of a number
of online education courses.
He is a contributor to numerous
magazines and websites and
undertakes regular exhibitions
and commissions of his work.
Creative Vision: Traditional and
Digital Methods for Inspiring
Innovative Photography invites
students to bridge the gap
between capturing a photograph
and ‘making’ an image. Focusing
on both digital and traditional
techniques, this book explores
how the photographer can use and
abuse the ‘rules’ of photography
to their own creative end to
produce work of artistic merit.
This book encourages inspiration
and experimentation and focuses
on the importance of asking
questions rather than simply
seeking answers in the search
for creativity in photography.
Key features
Introduces students
to an artistic approach to
photographic image-making.
Encourages students to
experiment with the rules
of photography.
Discusses the use of both
digital and traditional
techniques.
Includes a variety
of illustrative examples of
creative photography.
Readership
Required Reading Range
Module Reader
These titles are designed
to support specialized modules
of degree courses and provide
a platform for further exploration
of the subject matter.
Creative Vision is an ideal
text to accompany photography
modules as part of design
or fine art degrees, or artistic
modules included in a photography
qualification.
Roswell Angier has enjoyed
a rewarding career as both
a photographer and educator.
He has worked as a freelance
magazine photographer, been
a partner in a cooperative
photographic agency in New York
and is currently a faculty member
at the School of the Museum
of Fine Arts, Boston. Many of his
images are held in prestigious
collections, including the
Museum of Fine Arts in Boston,
the Smithsonian Institution,
the Addison Gallery of American
Art and private collections
around the world.
Train Your Gaze: A Practical and
Theoretical Introduction to Portrait
Photography offers the student
a comprehensive guide to the
practice of portrait photography.
The text combines the theoretical
with the practical and technical
and is supported by numerous
photographs of human subjects,
both contemporary and canonical.
It particularly stresses the presence
of the photographer’s gaze, an
integral part of what the picture is
about. Each chapter is accompanied
by an assignment that allows the
student to explore an aspect of
portrait photography in a way that
is both structured and experimental.
Key features Readership
A detailed study of the art Required Reading Range
of portrait photography. Module Reader
These titles are designed
Discusses the importance
to support specialized modules
of the photographer’s gaze as
of degree courses and provide
a presence in any image.
a platform for further exploration
of the subject matter.
Illustrated with images
by some of the world’s most This title is an ideal core text for
influential photographers portrait photography modules, and
and artists. will prove a useful reference tool
at any academic level.
Accompanied by a series
of student assignments,
encouraging students
to experiment with different
styles and methods of portrait
photography.

! Comprehensive in its coverage of equipment, processing and printing. ! Well written in an engaging manner. Treats the subject seriously and in an interesting way.
The text is clear, concise and easy to follow. An ideal book for use when introducing Good, clear assignments at the end of each chapter. Don Fitzpatrick / Coventry University / UK
the subject. Nigel Aono-Billson / Canterbury College / UK

ISBN and title specifications listed on pages 150–159 www.avabooks.com 128/129

D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Product Design

133 134–135 137

The Fundamentals of Basics Product Design Thinking: Objects:
Product Design 01 Idea Searching Contemporary Approaches
02 Material Thoughts to Product Design
03 Visual Conversations

www.avabooks.com 130/131

Richard Morris is the author
of The Fundamentals of Product
Design (see page 133). He is
head of the Centre for Design
Technology at the University
of Brighton, UK.
ISBN and title specifications listed on pages 150–159
Richard Morris
educator / designer
AVA titles have been very successful and widely
adopted, what do you think are the factors that
make our titles stand out?
Some students require broad overviews whilst
others require more detailed information on
specific areas, and AVA’s books are helpful
in providing these different levels of content to
suit different needs. The information is delivered
using a nice mixture of considered text and
visually strong images, making them practical
as well as informative.
How is The Fundamentals of Product Design
relevant to the courses you teach, and how does
it compare with titles that you currently use?
There are many great books on specific aspects
of design, or that come from certain design
perspectives, but I struggle to find a key course
book which covers all of the bases and differing
viewpoints. The Fundamentals of Product Design
provides one book that does all of this. I hope
that it also does this in a way that is both inspiring
and practical.
What is the key point that you want students
to take away from reading The Fundamentals
of Product Design?
It can be hard to find single books that explain
in simple terms what’s involved in product design.
It is such a broad discipline, seen by different
people in so many different ways. I hope that
students will see these different views and the
richness involved, and be fired up by the beauty
and challenges of design as a result.
How do you feel the industry contributions add
to the text?
I think it’s good to have a wide range of
industry examples that include alternatives to
the well-known and well-worn iconic products.
Good design is not the sole preserve of a few
famous designers. Good design is practiced by
all kinds of individuals and design teams working
away within the industry. Good design can also
be achieved by amateurs and students, not just
experienced design professionals. I hope that
this too is inspirational to students.
What was your motivation for writing The
Fundamentals of Product Design and how do
you anticipate it will help students?
It can be easy for students to get lost in the
detail and complexity of design. I wanted to write
a book that captured the essence of product
design and provided some clarity. I also wanted
a book that provided guidance not just with
the overall holistic process, but which could
help at different stages within that process too.
It had to be motivational too!
How, in your opinion, does the book reflect
current product design practice?
Some of the ideas included here are common
practice, have been around for a while and are
unlikely to change. The necessity for designers
to communicate more effectively is one such
example. However, our understanding of design
is evolving all the time and I aim to have captured
the emerging techniques, terminology and
trends. I hope I have also covered some of the
ideas that are not yet common practice but may
become routine for designers in the near future.
F Introductory
The Fundamentals of Product Design
Richard Morris
Richard Morris worked as
a designer in Australia and Key features Readership
London on projects ranging
from light fittings to cooker hoods,
Provides students with an Accompanied by interviews Introductory
point-of-sale fixtures and train
seating. He later worked as a integrated and cohesive view with industry professionals
troubleshooter for GEC Alsthom The discipline-specific titles in our
of the product design process. and examples of work from
Turbine Generators. Fundamentals range are aimed
talented designers around
On completion of a at students embarking on further
Masters degree in Business Covers materials, the globe.
education and offer a thorough
Administration, he ran his manufacturing, idea
own business for seven years grounding in the subject.
generation, CAD, engineering Supported by an engaging
and worked with new business
start ups in energy saving functions, product types, visual style, designed to The Fundamentals of Product
and in innovative crafts. He and market research. appeal to creative students. Design furnishes students
is now head of the Centre
with a full understanding of the
for Design Technology at the
University of Brighton, UK. Includes a helpful student essential principles of product
resources directory. design, before going on to explore
specific key areas in detail.
! Gives the information students need in a concise accessible form. David Yates / Camberwell School of Arts / UK
! I ordered this book for all the courses. I think it is terrific. Paris Junior College / USA
! A thorough, refreshing text that effectively utilizes new imagery to breathe fresh life into the subject.
It’s great to see new examples of key works. Gyles Lingwood / Lincoln University / UK
www.avabooks.com 132/133
b Series Intermediate
Basics Product Design
01 Idea Searching
David Bramston
02 Material Thoughts
David Bramston
03 Visual Conversations
David Bramston
Basics Product Design: Idea Searching
! The text is incredibly well laid out and written. Students got a lot from the information,
text, images and design. Daniel Graham / Georgetown College / USA
! Good text, good examples. Ragnar Tengstrand / Mälardalen University / Sweden
ISBN and title specifications listed on pages 150–159
The Basics Product Design series is
a detailed introduction to the key aspects
of product design. The titles explore
areas from basic theory to the generation
of ideas, supported by examples and case
studies taken from practices around the
world, including internationally recognized
designers, artists and researchers. Each
title includes student activities, guides,
glossaries and resource directories.
When taken together, the series forms
an in-depth reference text for students
of all academic levels.
Key features
Addresses the key areas of
product design with in-depth
guides, supported by student
exercises and resources.
Includes a variety of case
studies and examples of
work taken from the best of
contemporary product design.
Presents information
in a consistently engaging
visual style.
Readership
Intermediate
Our Basics books provide readers
with an in-depth exploration of
each of the topics introduced in the
Fundamentals titles. These books
offer both a theoretical and practical
approach, supported by examples
and exercises.
Individual titles can form the
basis of specific modules, while
the series as a whole functions
as a comprehensive reference
tool that can be called upon at any
stage of a student’s education.
NEW!
www.avabooks.com 134/135

Tim Parsons is the author of
Thinking: Objects: Contemporary
Approaches to Product Design
(see page 137). He has worked
with manufacturers in Britain
and Europe and has exhibited
his work widely.
ISBN and title specifications listed on pages 150–159
Tim Parsons
designer / writer / lecturer
AVA titles have been very successful and widely
adopted, what do you think are the factors that
make our titles stand out?
AVA books take a very visual approach to
communicating theoretical information. This is
important because design students – and I speak
having been one for many years myself – tend
to be put off by material presented in a dry way.
A particular favourite of mine is Visible Signs
by David Crow, which skilfully uses the design
of the book itself to demonstrate the theories
behind the tricky subject of semiotics.
How is Thinking: Objects relevant to the courses
you teach, and how does it compare with titles
that you currently use?
Most of the design texts I refer to in my
teaching fall into two categories: historical
and contextual textbooks, and ‘catalogs’
of contemporary design. The former, while
essential to understanding the detail of
the subject, are often visually very dry, with
little imagery. Conversely, the books that review
contemporary design through their objects
tend to do so with imagery, and rarely contain
any in-depth text or critical analysis. Thinking:
Objects attempts to strike a balance, making
a book that is visually rich as well as containing
the necessary theoretical perspectives.
What is the key point that you want students
to take away from Thinking: Objects?
Product design today is a far more diverse and
complex discipline than it was even ten years
ago. Thinking: Objects is an attempt to help
students make sense of this complex intellectual
landscape. Many design courses channel their
students towards stereotypical working contexts
and design approaches. However, this can result
in a blinkered outlook that denies them the full
range of choices available. Thinking: Objects
defines and discusses contemporary approaches
to product design in order to help students and
graduates chart a path that fits most closely
with their own critical concerns.
What was your motivation for writing
Thinking: Objects and how do you anticipate
it will help students?
Having undertaken a vocationally-focused
education and having seen the design industry
expand its scope dramatically in that time,
I felt there was a need for a publication that
revealed the breadth of potential avenues down
which a product designer could go.
How, in your opinion, does the book reflect
current product design practice?
As there is no single prevailing design
movement today, the designer is charged
with defining their own notion of ‘good design’.
Thinking: Objects shows many of the directions
chosen by today’s contemporary practitioners
and describes their working tools. Like many
professions, the ways designers are employed
has become more flexible, and the book also
explores the ‘rules of engagement’ for working
speculatively and to commission, as well as in
the traditional in-house designer role.
R Required Reading Range
Tim Parsons is a product
designer, writer and lecturer
on design. He has worked with
manufacturers in Britain and
Europe and exhibited widely.
He has contributed articles to
publications including Blueprint
and Phaidon’s Design Classics.
His London studio creates
tableware, lighting, accessories,
furniture, and more.
Course Reader
Thinking: Objects: Contemporary Approaches to Product Design
Tim Parsons
Thinking: Objects: Contemporary
Approaches to Product Design is Key features Readership
an in-depth study of contemporary
A detailed overview of Required Reading Range
product design. It discusses
contemporary product design. Course Reader
influences on modern product
design such as globalization, These reference titles
Discusses the trends and
technology, the media and the are specifically structured
influences on modern product
need for a sustainable future, and to support the lifetime of
design and explores how
demonstrates how students can an undergraduate degree and
students can incorporate
incorporate these influences into provide a detailed exploration
these into their own work.
their own work. of the discipline covered.
The book also discusses how
Includes informative case This book is an ideal core
students can learn to read the studies and a wide variety of text for modules based on
signals an object sends, interpret illustrative examples from the contemporary product design
meaning and discover historical best in product design today. or contextual theory, as part
context. Thinking: Objects provides of a larger design degree.
an essential reference tool that will
enable a student to find their own
style and succeed in the industry.
! I am impressed by the scope and richness of the content. A very interesting and
sober analysis of ‘phenomena’ within the design field. Well done! Relevant to anyone
working professionally or in education. Olof Kolte / Lund University / Sweden
www.avabooks.com 136/137
D
Foundation
F
Introductory
b
Intermediate
R
Required Reading Range
Course Reader
Required Reading Range
Module Reader
} Typography

140 141 142–143

The Visual Dictionary of The Fundamentals of Basics Typography
Typography Typography 01 Virtual Typography

www.avabooks.com 138/139
D Foundation
Gavin Ambrose is a
practising graphic designer
whose client base includes the
arts sector, galleries, publishers
and advertising agencies.
He has written and designed
several books on graphic
design, branding and packaging.
Paul Harris studied
at the London College of
Communication and has gone
on to become a freelance
writer and editor. His work
has appeared extensively in
magazines and journals on both
sides of the Atlantic, including
style bible Dazed & Confused.
ISBN and title specifications listed on pages 150–159
The Visual Dictionary of Typography
Gavin Ambrose and Paul Harris
Key features
Explains and contextualizes
over 250 terms used within
typography and its associated
disciplines.
Includes traditional, manual
practices and processes as
well as modern terminology.
Definitions are accompanied
by compelling illustrations
taken from historical and
contemporary typography.
NEW!
F Introductory
The Fundamentals of Typography
Gavin Ambrose and Paul Harris
Readership Key features Readership
Deals with a wide variety Foundation An ideal introductory text, Includes a detailed history Introductory
of practical terms, such giving pre-university students of typography and language.
AVA’s Visual Dictionaries form The discipline-specific titles in our
as Point size, Leading, a thorough grounding
our foundation reading list. These Fundamentals range are aimed
and Gutter. in the wide-ranging field Discusses different
titles offer clear, comprehensive at students embarking on further
of typography. typographic methodologies
and visually informative definitions education and offer a thorough
Also covers movements for print and online.
to the key terms in a discipline’s grounding in the subject.
and lettering styles, such Discusses fundamental
vocabulary.
as Gothic, Reductionism, typographic principles Contains over 150 This book provides students
and Constructivism. Each title offers a wide overview through detailed comprehensively-indexed with a comprehensive discussion
of the discipline as a whole, its explanations, expanded typefaces. of basic typographic theory and
Also includes a detailed history and contemporary practice. illustrations, and historical methodology, before examining
timeline of typography. It also provides a useful reference and contemporary examples Presented in an engaging and specific key areas in greater detail.
tool throughout higher education. from leading practitioners demonstrative graphic style.
around the world.
! Excellent: great information. Will be a real asset to undergraduates. Neil Leonard / Arts Institute, Bournemouth / UK
! I will adopt this book, it is concise and approachable for students and I like
the visual examples that are not in other texts. David Peacock / Seattle Pacific University / USA
www.avabooks.com 140/141
b Series Intermediate Intermediate

Basics Typography 01 Virtual Typography

Matthias Hillner

The Basics Typography series offers

Key features
Each title provides students
with an in-depth discussion
of a key aspect of typography.
Includes case studies
taken from historical and
contemporary typography.
Presented in a visually
stimulating style, designed
to appeal to students of the
visual arts.
students an essential introduction to the
subject of typography and the key elements
that underpin it. Titles are fully illustrated
with detailed studies of classical and
contemporary typefaces and designs.
Each deals with a specific subject, ranging
from the practical essentials to more
theoretical discussions. Taken as a whole,
the series provides a comprehensive
technical and aesthetic examination
of typography.
Key features
Examines visual data
that appears in a near-
typographical form,
operating on the borderline
between image and text.
Analyzes the use of
typography in moving image
and new digital contexts.
Supported by case studies
and examples of work
from artists and designers
including Why Not Associates,
Tomato and Neville Brody.
Readership
Intermediate
Our Basics books provide readers
with an in-depth exploration of
each of the topics introduced in the
Fundamentals titles. These books
offer both a theoretical and practical
approach, supported by examples
and exercises.
Individual titles can form the basis
of specific typography modules,
while the series as a whole
functions as a comprehensive
reference tool that can be called
upon at any stage of a student’s
education.

Basics Typography: Virtual Typography

! Will be used as a key text as it is great at explaining the evolution

of type design and how people process information. Kevin Barrios / Raffles Design Institute / Singapore
! This title is a very interesting and engaging overview of the use of virtual typography.
Andy Blossom / Kingston College / UK

ISBN and title specifications listed on pages 150–159 www.avabooks.com 142/143


Each of AVA’s titles include pages
that are specifically designed to
promote awareness of personal
ethical considerations in our
readers’ chosen field of design.
The following pages (144–147),
contain a sample of this content.
Our titles further expand on this
sample and incorporate a case
study relevant to the book’s
subject area and suggestions
for further reading. It is our
hope that the inclusion of this
content will promote structured
discussion in this crucial area
of design discourse, both inside
and outside the classroom.
Working with ethics
Lynne Elvins and Naomi Goulder
The subject of ethics is not new, yet its
consideration within the applied visual arts
is perhaps not as prevalent as it might be.
Our aim here is to help a new generation
of students, educators and practitioners find
a methodology for structuring their thoughts
and reflections in this vital area.
AVA Publishing hopes that these Working
with ethics pages provide a platform
for consideration and a flexible method for
incorporating ethical concerns in the work
of educators, students and professionals.
Our approach consists of four parts:
The introduction is intended to be an
accessible snapshot of the ethical landscape,
both in terms of historical development and
current dominant themes.
The framework positions ethical consideration
into four areas and poses questions about the
practical implications that might occur. Marking
your response to each of these questions on
the scale shown will allow your reactions to be
further explored by comparison.
The case study sets out a real project and
then poses some ethical questions for further
consideration. This is a focus point for a debate
rather than a critical analysis so there are
no predetermined right or wrong answers.
A selection of further reading for you
to consider areas of particular interest in
more detail.
Introduction
Ethics is a complex subject that interlaces the
idea of responsibilities to society with a wide
range of considerations relevant to the character
and happiness of the individual. It concerns
virtues of compassion, loyalty and strength,
but also of confidence, imagination, humour
and optimism. As introduced in ancient Greek
philosophy, the fundamental ethical question is:
what should I do? How we might pursue a ‘good’
life not only raises moral concerns about the
effects of our actions on others, but also personal
concerns about our own integrity.
In modern times the most important and
controversial questions in ethics have been
the moral ones. With growing populations and
improvements in mobility and communications,
it is not surprising that considerations about
how to structure our lives together on the
planet should come to the forefront. For visual
artists and communicators, it should be no
surprise that these considerations will enter
into the creative process.
Some ethical considerations are already
enshrined in government laws and regulations
or in professional codes of conduct. For example,
plagiarism and breaches of confidentiality can
be punishable offences. Legislation in various
nations makes it unlawful to exclude people with
disabilities from accessing information or spaces.
The trade of ivory as a material has been banned
in many countries. In these cases, a clear line has
been drawn under what is unacceptable.
But most ethical matters remain open to
debate, among experts and lay-people alike,
and in the end we have to make our own
choices on the basis of our own guiding
principles or values. Is it more ethical to work
for a charity than for a commercial company?
Is it unethical to create something that others
find ugly or offensive?
Specific questions such as these may lead
to other questions that are more abstract.
For example, is it only effects on humans
(and what they care about) that are important,
or might effects on the natural world require
attention too?
Is promoting ethical consequences justified
even when it requires ethical sacrifices along
the way? Must there be a single unifying
theory of ethics (such as the Utilitarian thesis
that the right course of action is always the
one that leads to the greatest happiness
of the greatest number), or might there always
be many different ethical values that pull
a person in various directions?
As we enter into ethical debate and engage
with these dilemmas on a personal and
professional level, we may change our views
or change our view of others. The real test
though is whether, as we reflect on these
matters, we change the way we act as well
as the way we think. Socrates, the ‘father’
of philosophy, proposed that people will naturally
do ‘good’ if they know what is right. But this
point might only lead us to yet another question:
how do we know what is right?
http://blog.avabooks.com www.avabooks.com 144/145
A framework for ethics
You
What are your ethical beliefs?
Central to everything you do will be your
attitude to people and issues around you.
For some people, their ethics are an active
part of the decisions they make every day as
a consumer, a voter or a working professional.
Others may think about ethics very little and
yet this does not automatically make them
unethical. Personal beliefs, lifestyle, politics,
nationality, religion, gender, class or education
can all influence your ethical viewpoint.
Using the scale, where would you place
yourself? What do you take into account to
make your decision? Compare results with
your friends or colleagues.
01 02 03 04 05 06 07 08 09 10
Your client
What are your terms?
Working relationships are central to whether
ethics can be embedded into a project,
and your conduct on a day-to-day basis is
a demonstration of your professional ethics.
The decision with the biggest impact is whom
you choose to work with in the first place.
Cigarette companies or arms traders are
often-cited examples when talking about
where a line might be drawn, but rarely
are real situations so extreme. At what point
might you turn down a project on ethical
grounds and how much does the reality
of having to earn a living affect your ability
to choose?
Using the scale, where would you place
a project? How does this compare to your
personal ethical level?
01 02 03 04 05 06 07 08 09 10
Your specifications
What are the impacts of your materials?
In relatively recent times, we are learning
that many natural materials are in short
supply. At the same time, we are increasingly
aware that some man-made materials can
have harmful, long-term effects on people
or the planet. How much do you know
about the materials that you use? Do you
know where they come from, how far they
travel and under what conditions they
are obtained? When your creation is no longer
needed, will it be easy and safe to recycle?
Will it disappear without a trace? Are these
considerations your responsibility or are they
out of your hands?
Using the scale, mark how ethical your
material choices are.
01 02 03 04 05 06 07 08 09 10
Your creation
What is the purpose of your work?
Between you, your colleagues and an
agreed brief, what will your creation achieve?
What purpose will it have in society and will
it make a positive contribution? Should your
work result in more than commercial success
or industry awards? Might your creation
help save lives, educate, protect or inspire?
Form and function are two established
aspects of judging a creation, but there
is little consensus on the obligations
of visual artists and communicators toward
society, or the role they might have in solving
social or environmental problems. If you
want recognition for being the creator, how
responsible are you for what you create
and where might that responsibility end?
Using the scale, mark how ethical the purpose
of your work is.
01 02 03 04 05 06 07 08 09 10
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 Distributors
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Export Sales Department Distributed Sales Co-ordinator
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Export Sales Department Export Sales Department Cleveland, Co. Durham, Northumberland,
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Ms Helen Lee
Taipei
e helen_lee@asiapubs.com.hk
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Title index Barcodes shown are for printed books only. For eBooks please use eISBN.

A–B

023 018–019 020–021 028–029 074–075 076–077 076–077 058–059

Animated Performance
ISBN 978 2 940373 81 9
eISBN 978 2 940439 68 3
£29.95/$49.95
208 pages
200 color images
300 x 220mm/81/2 x 12 inches
September 2010
Basics Animation 01: Basics Animation 04: Basics Architecture 03: Basics Design 02: Basics Design 05: Colour Basics Design 08: Basics Fashion Design 03:
Scriptwriting Stop-motion Architectural Design Layout ISBN 978 2 940373 31 4 Design Thinking Construction
ISBN 978 2 940373 16 1 ISBN 978 2 940373 73 4 ISBN 978 2 940411 26 9 ISBN 978 2 940373 34 5 eISBN 978 2 940439 11 9 ISBN 978 2 940411 17 7 ISBN 978 2 940373 75 8
eISBN 978 2 940439 82 9 eISBN 978 2 940439 51 5 eISBN 978 2 940439 45 4 eISBN 978 2 940439 09 6 £17.95/$29.95 eISBN 978 2 940439 38 6 eISBN 978 2 940439 07 2
£17.95/$29.95 £19.95/$29.95 £19.95/$32.95 £17.95/$29.95 176 pages £17.95/$29.95 £19.95/$29.95
184 pages 184 pages 184 pages 176 pages 200 color images 200 pages 192 pages
200 color images 200 color images 200 color images 200 color images 230 x 160mm/6 x 9 inches 200 color images 200 color images
230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches October 2005 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches
August 2007 April 2010 June 2010 May 2005 December 2009 November 2008

010–011 018–019 028–029 040–041 074–075 076–077 058–059 058–059

Basics Advertising 01:
Copywriting
ISBN 978 2 940373 68 0
eISBN 978 2 940439 53 9
£17.95/$29.95
176 pages
175 color images
230 x 160mm/6 x 9 inches
May 2008
Basics Animation 02: Basics Architecture 01: Basics Creative Basics Design 03: Basics Design 06: Basics Fashion Design 01: Basics Fashion Design 04:
Digital Animation Representational Techniques Photography 01: Typography Print & Finish Research and Design Developing a Collection
ISBN 978 2 940373 56 7 ISBN 978 2 940373 62 8 Design Principles ISBN 978 2 940373 35 2 ISBN 978 2 940373 42 0 ISBN 978 2 940373 41 3 ISBN 978 2 940373 95 6
eISBN 978 2 940439 54 6 eISBN 978 2 940439 83 6 ISBN 978 2 940411 36 8 eISBN 978 2 940439 02 7 eISBN 978 2 940439 12 6 eISBN 978 2 940439 05 8 eISBN 978 2 940439 25 6
£17.95/$29.95 £17.95/$29.95 eISBN 978 2 940439 71 3 £17.95/$29.95 £17.95/$29.95 £19.95/$29.95 £17.95/$29.95
176 pages 176 pages £19.95/$32.95 176 pages 176 pages 176 pages 184 pages
200 color images 200 color images 184 pages 200 color images 200 color images 200 color images 200 color images
230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 200 color images 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches
June 2008 November 2007 230 x 160mm/6 x 9 inches June 2005 October 2006 October 2007 October 2009
December 2010

010–011 020–021 028–029 074–075 074–075 076–077 058–059 060–061

Basics Advertising 02:
Art Direction
ISBN 978 2 940411 21 4
eISBN 978 2 940439 44 7
£19.95/$32.95
184 pages
200 color images
230 x 160mm/6 x 9 inches
June 2010
Basics Animation 03: Basics Architecture 02: Basics Design 01: Basics Design 04: Basics Design 07: Basics Fashion Design 02: Basics Fashion Design 05:
Drawing for Animation Construction + Materiality Format Image Grids Textiles and Fashion Fashion Drawing
ISBN 978 2 940373 70 3 ISBN 978 2 940373 83 3 ISBN 978 2 940373 28 4 ISBN 978 2 940373 30 7 ISBN 978 2 940373 77 2 ISBN 978 2 940373 64 2 ISBN 978 2 940411 15 3
eISBN 978 2 940439 55 3 eISBN 978 2 940439 57 7 eISBN 978 2 940439 08 9 eISBN 978 2 940439 10 2 eISBN 978 2 940439 13 3 eISBN 978 2 940439 06 5 eISBN 978 2 940439 37 9
£17.95/$29.95 £17.95/$29.95 £17.95/$29.95 £17.95/$29.95 £17.95/$29.95 £19.95/$29.95 £19.95/$29.95
192 pages 176 pages 176 pages 176 pages 176 pages 176 pages 176 pages
200 color images 200 color images 200 color images 200 color images 200 color images 200 color images 200 color images
230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches
October 2008 November 2008 November 2004 September 2005 May 2008 June 2008 December 2009

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Title index Barcodes shown are for printed books only. For eBooks please use eISBN.

060–061 066–067 078–079 094–095 102–103 108–109 120–121 126–127

Basics Fashion Design 06: Basics Film-Making 02: Basics Graphic Design 01: Basics Illustration 03: Basics Interior Basics Interior Design 01: Basics Marketing 01: Basics Photography 02:
Knitwear Screenwriting Approach and Language Text and Image Architecture 02: Retail Design Consumer Behaviour Lighting
ISBN 978 2 940411 16 0 ISBN 978 2 940373 89 5 ISBN 978 2 940411 35 1 ISBN 978 2 940373 50 5 Context + Environment ISBN 978 2 940411 22 1 ISBN 978 2 940373 84 0 ISBN 978 2 940373 03 1
eISBN 978 2 940439 47 8 eISBN 978 2 940439 26 3 eISBN 978 2 940439 73 7 eISBN 978 2 940439 60 7 ISBN 978 2 940373 71 0 eISBN 978 2 940439 49 2 eISBN 978 2 940439 24 9 eISBN 978 2 940439 14 0
£19.95/$32.95 £17.95/$29.95 £19.95/$32.95 £17.95/$29.95 eISBN 978 2 940439 62 1 £19.95/$32.95 £17.95/$29.95 £17.95/$29.95
184 pages 208 pages 184 pages 176 pages £17.95/$29.95 184 pages 176 pages 176 pages
200 color images 200 color images 200 color images 200 color images 176 pages 200 color images 150 color images 200 color images
230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 200 color images 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches
July 2010 May 2009 November 2010 June 2008 230 x 160mm/6 x 9 inches May 2010 August 2009 April 2007
August 2008

060–061 066–067 094–095 094–095 102–103 108–109 120–121 126–127

Basics Fashion Design 07: Basics Film-Making 03: Basics Illustration 01: Basics Illustration 04: Basics Interior Basics Interior Design 02: Basics Marketing 02: Basics Photography 03:
Designing Accessories Directing Fiction Thinking Visually Global Contexts Architecture 03: Exhibition Design Online Marketing Capturing Colour
ISBN 978 2 940411 31 3 ISBN 978 2 940411 00 9 ISBN 978 2 940373 15 4 ISBN 978 2 940373 94 9 Drawing out the Interior ISBN 978 2 940411 38 2 ISBN 978 2 940411 33 7 ISBN 978 2 940373 06 2
eISBN 978 2 940439 72 0 eISBN 978 2 940439 39 3 eISBN 978 2 940439 84 3 eISBN 978 2 940439 36 2 ISBN 978 2 940373 88 8 eISBN 978 2 940439 74 4 eISBN 978 2 940439 75 1 eISBN 978 2 940439 16 4
£19.95/$32.95 £17.95/$29.95 £19.95/$29.95 £17.95/$29.95 eISBN 978 2 940439 27 0 £19.95/$32.95 £19.95/$32.95 £17.95/$29.95
184 pages 184 pages 176 pages 184 pages £17.95/$29.95 184 pages 192 pages 176 pages
200 color images 200 color images 200 color images 200 color images 176 pages 200 color images 50 color images 200 color images
230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 200 color images 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches
December 2010 November 2009 September 2006 September 2009 230 x 160mm/6 x 9 inches December 2010 September 2010 September 2007
May 2009

066–067 066–067 094–095 102–103 102–103 114–115 126–127 126–127

Basics Film-Making 01: Basics Film-Making 04: Basics Illustration 02: Basics Interior Basics Interior Basics Landscape Basics Photography 01: Basics Photography 04:
Producing The Language of Film Sequential Images Architecture 01: Architecture 04: Architecture 01: Composition Post-Production
ISBN 978 2 940373 57 4 ISBN 978 2 940411 27 6 ISBN 978 2 940373 60 4 Form + Structure Elements/Objects Urban Design ISBN 978 2 940373 04 8 Black & White
eISBN 978 2 940439 58 4 eISBN 978 2 940439 48 5 eISBN 978 2 940439 85 0 ISBN 978 2 940373 40 6 ISBN 978 2 940411 10 8 ISBN 978 2 940411 12 2 eISBN 978 2 940439 15 7 ISBN 978 2 940373 05 5
£17.95/$29.95 £19.95/$29.95 £17.95/$29.95 eISBN 978 2 940439 86 7 eISBN 978 2 940439 40 9 eISBN 978 2 940439 41 6 £19.95/$29.95 eISBN 978 2 940439 17 1
176 pages 192 pages 176 pages £17.95/$29.95 £17.95/$29.95 £17.95/$29.95 176 pages £17.95/$29.95
200 color images 200 color images 200 color images 176 pages 184 pages 184 pages 200 color images 176 pages
230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 200 color images 200 color images 200 color images 230 x 160mm/6 x 9 inches 200 color images
November 2008 May 2010 October 2007 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches September 2006 230 x 160mm/6 x 9 inches
October 2007 October 2009 November 2009 November 2007

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Title index Barcodes shown are for printed books only. For eBooks please use eISBN.

B–F

126–127 134–135 142–143 008 033 039 057

Basics Photography 05: Basics Product Design 01: Basics Typography 01: Designing for Small Screens Epica 23 Fundamentals of Fundamentals of Fundamentals of
Post-Production Colour Idea Searching Virtual Typography ISBN 978 2 940373 07 9 ISBN 978 2 88479 108 3 Branding, The Creative Photography, The Fashion Design, The
ISBN 978 2 940373 59 8 ISBN 978 2 940373 76 5 ISBN 978 2 940373 99 4 eISBN 978 2 940447 10 7 eISBN 978 2 940447 09 1 ISBN 978 2 940373 98 7 ISBN 978 2 940411 13 9 ISBN 978 2 940373 39 0
eISBN 978 2 940439 18 8 eISBN 978 2 940439 63 8 eISBN 978 2 940439 29 4 £17.95/$29.95 £39.95/$65.00 eISBN 978 2 9404439 32 4 eISBN 978 2 940439 50 8 eISBN 978 2 940439 04 1
£17.95/$29.95 £17.95/$29.95 £17.95/$29.95 176 pages 400 pages £19.95/$34.95 £22.50/$36.95 £22.50/$34.95
176 pages 176 pages 184 pages 100 color images 1,000 color images 184 pages 208 pages 176 pages
200 color images 200 color images 200 color images 230 x 200mm / 8 x 9 inches 300 x 200mm/9 x 12 inches 200 color images 200 color images 150 color images
230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches October 2005 August 2010 230 x 200mm/8 x 9 inches 230 x 200mm/8 x 9 inches 230 x 200mm/8 x 9 inches
November 2007 September 2008 May 2009 October 2009 June 2010 October 2006

126–127 134–135 048 046 017 009 045 065

Basics Photography 06: Basics Product Design 02: Brand-driven Innovation Design Management Fundamentals of Fundamentals of Fundamentals of Fundamentals of
Working in Black & White Material Thoughts ISBN 978 2 940411 28 3 ISBN 978 2 940373 12 3 Animation, The Creative Advertising, The Design Management, The Film-Making, The
ISBN 978 2 940373 85 7 ISBN 978 2 940373 87 1 eISBN 978 2 940439 76 8 eISBN 978 2 940439 78 2 ISBN 978 2 940373 02 4 ISBN 978 2 940373 18 5 ISBN 978 2 940411 07 8 ISBN 978 2 940373 19 2
eISBN 978 2 940439 19 5 eISBN 978 2 940439 28 7 £29.95/$49.95 £29.95/$49.95 eISBN 978 2 940439 89 8 eISBN 978 2 940439 91 1 eISBN 978 2 940439 33 1 eISBN 978 2 940439 01 0
£17.95/$29.95 £17.95/$29.95 192 pages 216 pages £19.95/$29.95 £22.50/$34.95 £22.50/$36.95 £22.95/$39.95
176 pages 184 pages 100 color images 300 color images 196 pages 176 pages 184 pages 208 pages
200 color images 200 color images 300 x 220mm/81/2 x 12 inches 300 x 220mm/81/2 x 12 inches 300 color images 200 color images 200 color images 200 color images
230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches October 2010 December 2006 230 x 200mm/8 x 9 inches 230 x 200mm/8 x 9 inches 230 x 200mm/8 x 9 inches 230 x 200mm/8 x 9 inches
September 2008 May 2009 June 2006 November 2006 May 2010 July 2008

126–127 134–135 128 087 027 072 052 073

Basics Photography 07: Basics Product Design 03: Creative Vision Drip-dry Shirts Fundamentals of Fundamentals of Fundamentals of Fundamentals of
Exposure Visual Conversations ISBN 978 2 884790 72 7 ISBN 978 2 940373 08 6 Architecture, The Creative Design, The Digital Art, The Graphic Design, The
ISBN 978 2 940411 05 4 ISBN 978 2 940411 09 2 eISBN 978 2 940439 87 4 eISBN 978 2 940439 88 1 ISBN 978 2 940373 48 2 ISBN 978 2 940373 47 5 ISBN 978 2 940373 58 1 ISBN 978 2 940373 82 6
eISBN 978 2 940439 42 3 eISBN 978 2 940439 43 0 £24.95/$39.95 £24.95/$39.95 eISBN 978 2 940439 90 4 eISBN 978 2 940439 64 5 eISBN 978 2 940439 92 8 eISBN 978 2 940439 03 4
£17.95/$29.95 £19.95/$29.95 192 pages 192 pages £19.95/$34.95 £19.95/$29.95 £22.95/$39.95 £19.95/$34.95
176 pages 184 pages 175 color images 200 color images 176 pages 176 pages 176 pages 192 pages
200 color images 200 color images 280 x 228mm/9 x 11 inches 300 x 220mm/81/2 x 12 inches 250 color images 200 color images 150 color images 200 color images
230 x 160mm/6 x 9 inches 230 x 160mm/6 x 9 inches October 2005 October 2005 230 x 200mm/8 x 9 inches 230 x 200mm/8 x 9 inches 230 x 200mm/8 x 9 inches 230 x 200mm/8 x 9 inches
November 2009 February 2010 ISBN-13: 978-2-884790-72-7
August 2007 October 2003 October 2007 September 2008

9 7 8 2 8 8 4 7 9 0 7 2 7

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Title index Barcodes shown are for printed books only. For eBooks please use eISBN.
F–R
093 113
Fundamentals of Fundamentals of
Illustration, The Landscape Architecture, The
ISBN 978 2 940373 33 8 ISBN 978 2 940373 91 8
eISBN 978 2 940439 93 5 eISBN 978 2 940439 23 2
£19.95/$34.95 £19.95/$34.95
176 pages 200 pages
200 color images 200 color images
230 x 200mm/8 x 9 inches 230 x 200mm/8 x 9 inches
September 2005 June 2009
101 119
Fundamentals of Fundamentals of
Interior Architecture, The Marketing, The
ISBN 978 2 940373 38 3 ISBN 978 2 940373 72 7
eISBN 978 2 940439 94 2 eISBN 978 2 940439 34 8
£19.95/$34.95 £19.95/$34.95
176 pages 192 pages
200 color images 100 color images
230 x 200mm/8 x 9 inches 230 x 200mm/8 x 9 inches
October 2007 November 2009
107 125
Fundamentals of Fundamentals of
Interior Design, The Photography, The
ISBN 978 2 940373 92 5 ISBN 978 2 884790 50 5
eISBN 978 2 940439 20 1 eISBN 978 2 940439 95 9
£19.95/$34.95 £17.95/$29.95
184 pages 192 pages
200 color images 200 color images
230 x 200mm/8 x 9 inches 230 x 200mm/8 x 9 inches
June 2009 September 2005
ISBN-13: 978-2-884790-50-5
9 7 8 2 8 8 4 7 9 0 5 0 5
133 082 013 035 080
Fundamentals of Good Kiss & Sell: More Than a Name Photography FAQs: Production Manual, The
Product Design, The ISBN 978 2 940373 14 7 Writing for Advertising ISBN 978 2 940373 00 0 Exposure ISBN 978 2 940373 63 5
ISBN 978 2 940373 17 8 eISBN 978 2 940439 98 0 ISBN 978 2 940373 46 8 eISBN 978 2 940447 02 2 ISBN 978 2 884790 98 7 eISBN 978 2 940439 59 1
eISBN 978 2 940439 21 8 £24.95/$39.95 eISBN 978 2 940447 08 4 £24.95/$39.95 £8.95/$9.95 £24.95/$45.00
£22.95/$34.95 200 pages North America only 240 pages 144 pages 192 pages
208 pages 200 color images $39.95 200 color images 150 color images 200 color images
200 color images 300 x 220mm/81/2 x 12 inches 192 pages 300 x 220mm/81/2 x 12 inches 210 x 150mm/6 x 8 inches 300 x 220mm/81/2 x 12 inches
230 x 200mm/ 8 x 9 inches November 2006 250 color images October 2005 October 2006 April 2008
June 2009 305 x 228mm/9 x 11 inches
September 2004
053 097 081 089 022
Fundamentals of Sonic Illustration Layout Book, The Packaging Design Photography FAQs: Re-Imagining Animation
Art & Sound Design, The ISBN 978 2 940373 51 2 ISBN 978 2 940373 53 6 ISBN 978 2 940411 41 2 Lighting ISBN 978 2 940373 69 7
ISBN 978 2 940373 49 9 eISBN 978 2 940439 99 7 eISBN 978 2 940439 69 0 eISBN 978 2 940439 79 9 ISBN 978 2 884791 01 4 eISBN 978 2 940439 56 0
eISBN 978 2 940439 96 6 £24.95/$39.95 £24.95/$45.00 £29.95/$49.95 £8.95/$9.95 £27.50/$49.95
£22.95/$35.00 216 pages 192 pages 192 pages 144 pages 192 pages
176 pages 200 color images 200 color images 200 color images 150 color images 200 color images
200 color images 300 x 220mm/81/2 x 12 inches 300 x 220mm/81/2 x 12 inches 300 x 220mm/81/2 x 12 inches 210 x 150mm/6 x 8 inches 300 x 220mm/81/2 x 12 inches
230 x 200mm/8 x 9 inches May 2007 July 2007 December 2010 September 2007 July 2008
May 2007
141 013 085 047
Fundamentals of Kiss & Sell: Left to Right Photography FAQs: Photography FAQs: Research Methods in
Typography, The Writing for Advertising ISBN 978 2 940373 36 9 Black and White Portraits Design Management
ISBN 978 2 940373 45 1 ISBN 978 2 884790 33 8 eISBN 978 2 940447 01 5 ISBN 978 2 884791 05 2 ISBN 978 2 884791 04 5 ISBN 978 2 940411 08 5
eISBN 978 2 940439 97 3 eISBN 978 2 940447 00 8 £24.95/$39.95 £8.95/$9.95 £8.95/$9.95 eISBN 978 2 940439 67 6
£22.50/$34.95 Except North America 192 pages 144 pages 144 pages £29.95/$49.95
176 pages £24.50 250 color images 150 color images 150 color images 208 pages
200 color images 192 pages 300 x 220mm/81/2 x 12 inches 210 x 150mm/6 x 8 inches 210 x 150mm/6 x 8 inches 300 x 220mm/81/2 x 12 inches
230 x 200mm/8 x 9 inches 250 color images October 2006 November 2008 November 2008 September 2010
November 2006 305 x 228mm/9 x 11 inches
September 2004
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Title index Barcodes shown are for printed books only. For eBooks please use eISBN. eBook vendors

Gavin Ambrose, Paul Harris & Sally Stone

This book is a guide to the many and varied terms

used frequently within architecture. From Abacus to
Ziggurat, Column to Cornice, via Ha-ha and Skyscraper,
AVA eBooks All details were correct at the time
of printing. AVA Publishing reserves the
this book will prove an invaluable resource to anyone

are available from:

interested in architecture. Each term is explained and
contextualised, giving the reader an enhanced

T–V understanding of architectural terminology. More than

250 common architectural terms are distilled and
illustrated. From practical terms such as Belfry,
Cladding and Rotunda to movements and styles such
as Deconstructivism, Functionalism and Modernism,
from modern terminology and concepts such as
Blobitecture and McMansion to many of the right to change details without notice.
www.myilibrary.com
traditional terms still in current usage.

The Visual Dictionary

137
Thinking: Objects
ISBN 978 2 940373 74 1
eISBN 978 2 940439 31 7
£27.50/$49.95
192 pages
200 color images
300 x 220mm/81/2 x 12 inches
July 2009
of Architecture
www.ebrary.com
www.netlibrary.com
084 026 092 071
Visible Signs (Second Edition) Visual Dictionary of Visual Dictionary of Visual Dictionary of
ISBN 978 2 940411 42 9 Architecture, The Illustration, The Pre-Press & Production, The
eISBN 978 2 940439 80 5 ISBN 978 2 940373 54 3 ISBN 978 2 940373 90 1 ISBN 978 2 940411 29 0
£29.95/$49.95 eISBN 978 2 940447 06 0 eISBN 978 2 940439 22 5 eISBN 978 2 940439 81 2
192 pages £14.95/$24.95 £14.95/$24.95 £14.95/$24.95
200 color images 288 pages 288 pages 288 pages
300 x 220mm/81/2 x 12 inches 250 color images 250 color images 250 color images
September 2010 160 x 120mm/41/2 x 61/2 inches 160 x 120mm/41/2 x 61/2 inches 160 x 120mm/41/2 x 61/2 inches
December 2007 May 2009 July 2010

129 049 056 100 140

Train Your Gaze
ISBN 978 2 940373 37 6
eISBN 978 2 940447 03 9
£29.95/$49.95
216 pages
250 color images
300 x 220mm/81/2 x 12 inches
May 2007
Vision and Values
in Design Management
ISBN 978 2 940373 79 6
eISBN 978 2 940439 30 0
£27.50/$49.95
192 pages
200 color images
300 x 220mm/81/2 x 12 inches
August 2009
Visual Dictionary of Visual Dictionary of Interior Visual Dictionary of
Fashion Design, The Architecture and Design, The Typography, The
ISBN 978 2 940373 61 1 ISBN 978 2 940373 80 2 ISBN 978 2 940411 18 4
eISBN 978 2 940439 66 9 eISBN 978 2 940439 61 4 eISBN 978 2 940439 52 2
£14.95/$24.95 £14.95/$24.95 £14.95/$24.95
288 pages 288 pages 288 pages
250 color images 250 color images 250 color images
160 x 120mm/41/2 x 61/2 inches 160 x 120mm/41/2 x 61/2 inches 160 x 120mm/41/2 x 61/2 inches
December 2007 October 2008 July 2010

086 088 070 124 083

Verbalising the Visual
ISBN 978 2 940373 01 7
eISBN 978 2 940447 04 6
£27.50/$49.95
208 pages
250 color images
300 x 220mm/81/2 x 12 inches
October 2007
Visual Communication Visual Dictionary of Visual Dictionary of Visual Research
ISBN 978 2 940373 09 3 Graphic Design, The Photography, The ISBN 978 2 940373 20 8
eISBN 978 2 940447 05 3 ISBN 978 2 940373 43 7 ISBN 978 2 940411 04 7 eISBN 978 2 940447 07 7
£24.95/$39.95 eISBN 978 2 940439 65 2 eISBN 978 2 940439 35 5 £27.50/$45.00
192 pages £14.95/$24.95 £14.95/$24.95 192 pages
175 color images 288 pages 288 pages 250 color images
300 x 220mm/81/2 x 12 inches 250 color images 250 color images 300 x 220mm/81/2 x 12 inches
April 2006 160 x 120mm/41/2 x 61/2 inches 160 x 120mm/41/2 x 61/2 inches November 2004
December 2007 December 2009

http://blog.avabooks.com www.avabooks.com 158/159

Notes

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