This book consists of examples of Ovcacek's typewriter, letraset, and stencilled letter works done between 1962-1993 along with critical essays in the Czech language. Jiri Valoch contributed an introductory essay. Ovacek's typewriter poetry marks him as one of the foremost contributors to this style of concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

Taken from pete spence's Archive 1998. -- Source of annotation: Marvin or Ruth Sackner.

The number 84 was typed repetitively to achieve the desired visual effect. -- Source of annotation: Marvin or Ruth Sackner.

This poem was first composed in 1962. -- Source of annotation: Marvin or Ruth Sackner.

The author varies typography and adds images to enhance the meanings of words. He also provides brief dictionary definitions underneath each of the word-images. The word poem serves as the image and the definition as the caption for these picture poems. The poems resemble those composed by Peignot in "Le Petit Peignot" (1996) & "Toutes les Pommes se Croqent" (1996). However, Gruenoun's poems differ from Peignot's poems in that line drawings are often added and more varied fonts are employed. -- Source of annotation: Marvin or Ruth Sackner.

The author varies typography and adds images to enhance the meanings of words. He also provides brief dictionary definitions above each of the word-images. The word poem serves as the image and the definition as the caption for these picture poems. The poems resemble those composed by Peignot in "Le Petit Peignot" (1996) & "Toutes les Pommes se Croqent" (1996). However, Guenoun's poems differ from Peignot's poems in that line drawings are often added and more varied fonts are employed. -- Source of annotation: Marvin or Ruth Sackner.

The author varies typography and adds images to enhance the meanings of words. He also provides brief dictionary definitions underneath each of the word-images. The word poem serves as the image and the definition as the caption for these picture poems. The poems resemble those composed by Peignot in "Le Petit Peignot" (1996) & "Toutes les Pommes se Croqent" (1996). However, Guenoun's poems differ from Peignot's poems in that line drawings are often added and more varied fonts are employed. -- Source of annotation: Marvin or Ruth Sackner.

The book design and illustrations were done by Karl Gerstner. -- Source of annotation: Marvin or Ruth Sackner.

This publication depicts Beaulieu's letraset collages including Untitled (2010), a work held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This anthology, with text by Massin, is divided into three main sections. The first section is a discussion of the letter itself, the letter as symbol and the history of letters. The next section contains figurative verse and calligrams, shaped poetry and prose throughout history. The final section of the book examines the use of letters in fine art and how the letter form has grown in importance throughout the history of art. The diverse illustrations are international in scope and range from early Christian prayer books and Gothic alphabets to contemporary works.The English edition of this book has not printed the appendices present in the original French edition. -- Source of annotation: Marvin or Ruth Sackner.

Carl Kurtz received a first prize in the annual calligraphy competition. -- Source of annotation: Marvin or Ruth Sackner.

A single large letter is collaged onto one of the six surfaces of the cube, e.g., L,W, E , F, U, and R but they do not form a word in any adjacent sequence. -- Source of annotation: Marvin or Ruth Sackner.

The drawing, written in shades of green ink, repeats the text, willow/weep/pillow, in a horizontal, rectangular grid. -- Source of annotation: Marvin or Ruth Sackner.