Published by HEAD–Publishing, the book explores the significance of historical knowledge in art and design schools, and more specifically in graphic design courses.

"‘Why teach graphic design students the history of graphic design?’
Clémence Imbert's Manifesto opens with this question. Using European and American examples of innovative teaching projects from the 20th and 21st centuries, Imbert questions the foundations of her own teaching practice as a graphic design his-torian at HEAD–Genève, and defends the importance of teaching the history of graphic design to art and design school students. Beyond the mere acquisition of academic skills, her teaching allows for a nurturing of the eye and sensibility of future graphic designers.

Above and beyond training graphic designers in technical skills, project methods and academic skills (reading, writing, research), the affective and emotional benefits of exploring graphic design history need to be  recognized and defended.’ p. 76. Accessible in language and synthetic in format, this manifesto acts as a reflec-tive guide for teachers, students, and anyone interested in graphic design and graphic design history.The history of graphic design as a discipline was only institutionalised about forty years ago. As in Art History, the writing of a linear history that highlights ‘great’ figures—often white males—is now being challenged. According to Imbert, the biographical approach is nonetheless relevant in that it allows discussion of the social, political and technical conditions of the profession and the issues running through it. For students, history then becomes a breeding ground for experiment- ation with the know-how of other eras, which proves useful for developing their creativity and understanding of the evolution of their future profession.