Scope and Contents

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.

Scope and Contents

Helmut Schmid contributes an essay about Kurt Hauert, "the line the form the sound." Mike Daines writes about "Latino vernacular in East Los Angeles." Steven Heller describes Rudolph de Harak in "A Playful Modernist." Mike Daines contributes "Learning from relationships - the typography e-Lexicon." Caroline Archer's essay is " St Bride and the Watford connection." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book "addresses how and why elements of Arts and Crafts, Jugendstil, Constructivism, Expressionism, and the other significant methodologies became conventions used by printers, layout artists, and advertising designers for commercial and business purposes." Tracing the roots and development of style, the authors show how graphic design has interacted with the material culture, how it has served both as an adjunct to and as the vanguard in the development of broader period styles. Included is a time line of graphic design from 1820 to 1980.El Lissitzky's poster, "Beat the Whites with the Red Wedge," is depicted on page 99; the imagery is completely identical to the Sackner copy of this poster. The photograph was furnished by Szymon Bojko. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This article is a review of Paula Scher's first gallery exhibition of her maps at Maya Stendal Gallery in New York, an interview on her methods of work and illustrations of her loft space. It mentions that all of the paintings in the show were sold. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This booklet was given to visitors at the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book served as the catalogue for the exhibition at the Cooper-Hewitt National Design Museum, Smithsonian Institution. The exhibition was organized around questions of form, function, and medium and focused on designers beginning their careers in the 1980s and 1990s. The first section dealt with messages on the street, graphic design competing for public attention. Next, typography was analyzed, the art of creating letters for reproduction and organizing them in space. The third section of the book considered the chief social function of design: to visualize the identity of institutions and audiences. The last chapter looked at publishing including books, magazines and computers. Selected interviews with noted graphic designers appear in the final section of the book. Pages of the following items, which are held by the Sackner Archive, "Through Light and the Alphabet" by Johanna Drucker, the 1989 Time Warner Annual Report, and the Independent Project Press are reproduced. In...

Scope and Contents

Steven Heller contributed an introduction, "Newsletters - No Excuse for Bad Design." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue was published on the occasion of the exhibition of works by Push Pin Studio artists at the Louvre's Musee des Arts Decoratifs in 1970 as a special issue of Communication Arts Magazine, Palo Alto, California. The graphic design studio was founded by Milton Glaser and Seymour Chwast and was the most innovative graphic design firm of the 1960's producing concert and event posters, book jackets, album covers, Pepsi ads, Bob Dylan posters, magazine covers and advertisements that were Pop cultural icons. The cover of the book has a rainbow design that shows through the corresponding cut-out on the slipcase. Illustration No.170 depicts the ee cummings poem, Grasshopper. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Steven Heller and Martin Venezky edited this book of "The Push Pin Monthly Graphics" (March 1957 - 1980: 86 issues) and Milton Glaser contributed an introductory essay. Liz Gutowski contributed a map-like image of sexual intercourse in Issue No.83. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Sixty graphic designers contributed works reinterpreting Norman Rockwell's "Four Freedoms" posters based on freedom of speech, freedom of worship, freedom from want and freedom from fear. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This outstanding book traces the history of typographic design through major art movements to a description of new technologies for print design using computers. The chapters include: The Many Faces of Typographic Design; Order out of Chaos-the Russian Avant Garde; The New Typography Crosses the Ocean; The Influence of the Private Presses; Typefaces; Bits, Bytes and Typographic Design. Typefaces are alphabetically listed and their features described as an excellent reference source.This copy is the first edition whereas the duplicate is a first edition, second printing in 1991.Editorial review: Suddenly, the universe of people making typographical decisions has expanded. Effective visual communication through the informed manipulation of the size and style of type, its placement on a two dimensional surface, its integration with graphic material, and the quality of its reproduction is within reach of anyone who has a computer. Typographic Communications Todayplaces this phenomenon...