This keepsake was designed by students of graphic design and produced for the Historical Society of Pennsylvania Annual Founders' Celebration, held in collaboration with the Universtiy of Pennsylvania Library. The aphorisms were written by Benjamin Franklin. -- Source of annotation: Marvin or Ruth Sackner.

The New York launch of this book was held at Andrew Roth Gallery. The press release states that Jonathan Elley and his studio Browns "have forged an enviable reputation in both design and publishing: the book and exhibition...examines the influences that have informed and defined their graphic work. Reproduced are images and objects that have been culled from Ellery's or his colleague's idisosyncratic collections." Lawrence Weiner contributed a poster to the book. -- Source of annotation: Marvin or Ruth Sackner.

This book presents 90 artist and graphic design books, each one on facing pages with varying colored papers and interesting typography. The dust jacket unfolds to a poster and lists the books by year of publication. -- Source of annotation: Marvin or Ruth Sackner.

When opened the pop-up letters W and P emerge for the press name. When the card is turned upside down, the letters become J and M for Jadwiga and Mike. -- Source of annotation: Marvin or Ruth Sackner.

This is the 2003 calendar designed by Emily Carroll for Chase Marketing Group. -- Source of annotation: Marvin or Ruth Sackner.

Fabrica is a communication research and development center founded in 1994 by the Benetton Group. At Fabrica young artists and experimenters under 25 gather and develop their creativity and concrete communication pojects in fields that range from cinema, graphic design, industrial design, music, illustration, photography, new media and editorial production...2398 gr. is the title of a book interpreting food - a fundamental cultural and anthropological stimulus. Exploring our relationship with food, the techniques of contemporary art; food as fetish, ritual, dependence, festivity, emotion, pleasure, obsession, chemistry, relation or fear. Or food as landscape, design, a metaphor, a sign, dance and architecture. -- Source of annotation: Marvin or Ruth Sackner.

This publication provides a description of prior Emigre magazines, publications, and typefaces. -- Source of annotation: Marvin or Ruth Sackner.

This book was edited by Steven Heller, Georgette Ballance and Nathan Garland and published on the occasion of the Paul Rand Symposium. -- Source of annotation: Marvin or Ruth Sackner.

Philip Meggs has written the most throughly illustrated, definitive history of graphic communications. In the epilogue, Meggs notes the following: "At the time of this writing human affairs are undergoing a new revolution comparable to the industrial revolution that launched the machine age. Electronic circuitry, microprocessors, and computer-generated imagery threaten to radically alter our culture's images, communications processes,and the very nature of the work itself. Graphic design, like many other sources of human activity, is undergoing profound changes." -- Source of annotation: Marvin or Ruth Sackner.

This second edition attempts to provide a conceptual and pictorial overview of significant graphic-design accomplishments. The book is organized into five general chronological sections: The Prologue to Graphic Design; A Graphic Renaissance; The Industrial Revolution; The Modernist Era; The Information Age. Each section is then divided thematically into chapters. This edition has expanded content, revised format and typography, timelines for each section and an expanded bibliography. In keeping with the Epilogue in the first edition, Meggs designed the dust jacket of this second edition using computer generated graphics. Although the number of pages in the second edition is slightly smaller than the first edition, this is because the font size is smaller; actually, the text has been expanded to cover recent contemporary trends in graphic design. -- Source of annotation: Marvin or Ruth Sackner.

This third edition provides hundreds of new full-color illustrations and new material in areas such as alphabets, Japanese and Dutch graphics, and the computer revolution. The book is organized into five sections: The Prologue to Graphic Design; A Graphic Renaissance; The Industrial Revolution; The Modernist Era; The Age of Information. Each section is then divided thematically into chapters. This edition has expanded content, revised format and typography, timelines for each section and an expanded bibliography. In keeping with the Epilogue in the first and second editions, Meggs designed the dust jacket of this second edition using computer generated graphics. The expansion in this revision relates mainly to th edigital revolution in typography and the new "dirty" typography. -- Source of annotation: Marvin or Ruth Sackner.

This highly illustrated book analyzes and demonstrates the best examples of graphic wit in the past thirty years. The text and examples illustrate that ideas that happen in the mind stay in the mind whether the graphic designs are found in annual reports, technical literature, arts, advertising or product design. A section of the book carrys interviews of designers, Alan Fletcher, Milton Glaser, etc., with regard to how they get their ideas. It is an insight into the creative process using text and image. Included are an index of design groups, types of wit, items that use wit, businesses that use wit, and sources. Most of the work in this book draws from British and American graphic designers. Includes a political poster employing an American flag attributed to an unknown designer in the 1960's on page 44. This poster was designed by George Maciunas, and an example is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Reprinted from Der Druckspiegel, a graphic arts magazine, Stuttgart. -- Source of annotation: Marvin or Ruth Sackner.

The making of this calendar inspired Scher to design cyrillic alphabetical furniture, vases, candlesticks, clothing and dishes. She also designed a merged alphabet from Roman and Cyrillic characters. One component of the dos a dos has 121 pages, the other 73 pages. Illustrations of representative pages of prior calendars are provided. -- Source of annotation: Marvin or Ruth Sackner.