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This study aims to explore visual artists’ image needs and the obstacles they face in meeting them.

The visual artists, participating in the study, included painters, graphic designers, textile designers, architects and sculptors who were faculty members in two oldest art institutions of Pakistan. A total of 20 face-to-face interviews representing four participants from each visual artists group were conducted. The textual data were analyzed thematically, using NVIVO 12 software.

Results showed that under-study visual artists need images mainly for academic purposes (teaching, assignments, etc.) and for professional and research purposes. However, they require images quite often, as a majority of the respondents told that they need images on daily basis.

The study findings provide an insight for information science professionals, system designers and image librarians regarding visual artists’ image using behavior.

As the researchers could not find any such study in local context, and a very few globally, therefore, this study may serve as a baseline for further research in this area.

This paper investigates the specialist learning undertaken in graphic design classrooms and its relationship to industry practices. It considers how well students are prepared for work and the nature of this vocational preparation.

The paper is based on an empirical study using a qualitative, case study approach. A situated perspective on design learning and knowledge was adopted, and a strong focus on studio discourse developed. An analytical method based on respondents' use of metaphor in practice‐oriented discourse evolved, providing an interpretive framework for the study.

The paper describes the difficulties involved in undertaking research into design classrooms, outlining how these were resolved to allow the unique learning activities of the design practicum to be identified. It discusses the lack of recognition of design pedagogies, and considers their characteristic strengths and weaknesses. Key metaphorical discourses structuring design learning, teaching and practice are identified. Shared discourses in use across graphic design education and industry suggest the alignment of these contexts, providing a perspective on them as overlapping “circles of practice”. Conclusions are drawn about the effectiveness of graphic design vocational education.

The study suggests a means of researching practice‐oriented discourses and activities across a range of settings. It offers ways of considering the alignment of educational and professional contexts by using a modified “situated” perspective on learning. This perspective allows for recognition of types of learning that do not meet traditional, “academic” criteria and of the vocationally‐referenced pedagogies that promote them.

This paper presents a comparative analysis of artwork produced in the context of social movements waged by Mexicans and Chicanos (U.S. inhabitants of Mexican descent) during the two decades between the mid-1960s and the mid-1980s. Despite the fact that activists in these movements shared many elements of Mexican culture and history, were part of the same generation of radical social movements born in the 1960s, and experienced some significant interchange among movement participants from each side of the U.S.-Mexico border, an examination of movement art reveals significant differences in key elements of the movements’ collective identity and expression of political citizenship. Analysis of the artwork also highlights different aesthetic choices made by movement artists, particularly with regard to the deployment of formal elements associated with the “Mexican School” of art made famous by artists associated with the Mexican Revolution of the early 20th century. Variations in the representational strategies developed by movement artists reflect the distinct relationship of movement constituents in Mexico and the U.S. to each nation's prevailing regimes of accumulation and modes of regulation. The analysis is based on an examination of 374 pieces of art.

While the spread of mass media culture in the United States has often been measured in terms of the number of television sets in each home, the camera and the photograph have been almost as pervasive. Once the province of the professional photograher or the special studio, cameras of the same type are found today in all but a very few homes in the United States. Even rarer would be a home without its collection of photographs to record the family's events, joys, triumphs and tragedies as well as the everyday mundane record of events.

Art publishing this year has been as bountiful as ever, and the scholars who provide art reference sources have been even more creative than usual. While art librarians have at times been swamped by an embarrassment of riches, certain sources and some art publishers have been conspicuously consistent in providing the most systematic, most current reference works.

The purpose of this paper is to encourage and assist collection of adult‐level, graphic novels and book‐length comics by women, and to demonstrate the breadth and depth of such work.

This paper provides a brief history of women and independent comics, tracing the medium's development from the 1970s underground comix movement to the present day. Individual creators and their works are discussed.

In the early years of independent comics, many of the women creating them were consciously reacting to an overwhelmingly male‐dominated profession. There was a high degree of shock value in these early works. As time went on the comics still tended towards the autobiographical, but storytelling gained importance. Most of the women creating comics today are still doing so from a woman's point of view, but their target audience seems more universal.

Graphic novels are in increasing demand, both for scholarly and leisure reading. Guides to collecting graphic novels exist; however, the vast majority of the artists included in these guides are men. This paper fills a gap by introducing librarians to several women graphic novelists who have been overlooked thus far.

Graduate unemployment is widely reported not only in Ghana but also across the globe. The purpose of this study is to examine the relevance of the HND Commercial Art Programme, Graphic Design (CAPGD) option, to the graphic art industry and to determine the work readiness of graduates of HND CAPGD at the world of work.

A qualitative, evaluative case study research design was adopted to examine the perspectives of stakeholders of CAPGD. It was a multiple case study, which involved faculty members, graduates and industry-based supervisors. The study was conducted using in-depth semi-structured interviews and focus group discussions to obtain in-depth interpretations and conclusions that reflected the perceptions of the stakeholders.

The qualitative results indicate that the existing curriculum, based on the old polytechnic educational system, does not provide adequate practical approach to teaching and learning processes. Hence the majority of graduates lack competencies to meet industry's expectations.

The key limitation is lack of database on the HND Graphic Design graduates at Takoradi Technical University. This affected the data collection process as the HND Graphic Design graduate participants were not easily accessible, and, as such, much effort and risk were required to contact them. Considering the implication for education policy, the findings propose stakeholders' collaboration to ensure cross fertilization of ideas (Nwajiuba et al., 2020). Hence, a compilation of database could engender further study in this area and thus form the bases of a mixed method approach resulting in in-depth analysis for fresh insights into the study.

The findings provide unique insights into work readiness of Commercial Art graduates, specifically in Ghana, as it seeks to bridge a gap in literature.

The purpose of this paper is to focus on the Americanization of European advertising in the post‐war years as a phenomenon of cultural transfer and it aims to explore the interaction between the USA and Italian advertising traditions during the 1950s and the 1960s.

The analysis is in two parts. First, the role of those cross‐cultural mediators who contributed to changing marketing communication strategies of many Italian companies during the 1950s and the 1960s is studied. Second, the ways in which US advertising rules and patterns are combined with the local tradition in order to fit the Italian context of the post‐war years are looked at. The research is based on a study of the main USA and Italian marketing and advertising literature of the post‐war years, and on an analysis of press campaigns and TV commercials.

This research shows that during the 1950s and the 1960s, the conflict between the American approach and the Italian approach to advertising did not prevent interaction and negotiation. In the post‐war years, the USA know‐how and practices, are re‐interpreted through the process of transfer to Italy, creating original, and unexpected solutions.

Although some research has been conducted on the Italian advertising scene during the post‐World War II years, the few existing contributions did not focus on the interaction between the imported American model and the local traditions. This paper provides a good overview of the ways in which notions, methodologies, and strategies coming from the USA are implemented.

IN all probability it will not cheer the heart of the librarian to know that 1912 has been a record year in British publishing. Nevertheless the “Analysis of books published in 1912,” appearing in The Publishers' Circular, gives many facts that are both interesting and informative. During the year 12,067 books were published, an increase of 1,153 on the figure for 1911 (the previous highest). The totals for the various classes of literature are set forth in a table arranged according to the recommendations of the International Congress of Librarians at Brussels in 1910, and each class is sub‐divided into “new books,” “translations,” pamphlets,” and “new editions.” The totals for the various classes are as follows:—