Scope and Contents In his opening essay, Steven Heller states that Herb Lubalin, a devout typophile, built upon the ideas of earlier twentieth-century type/image makers, such as Kurt Schwitters and Lazar El Lissitzky, and blurred the distinction between type and image. In the late 1940's Bradbury Thomas, a pioneer of American typography, encouraged designers to occasionally release type from its moorings and play with it as if it were a toy. His idea, inspired by the Futurists, Dadaists and Surrealists of the 1920's was that smart typographic puns could enhance a reading by providing an additional level of meaning. Thompson made puns with letterforms that released specific sounds, not unlike the onomatopoeic type poems of the Italian Futurists. A decade later, Herb Lubalin took the idea even further by combining photographs and drawings with expressive letters that underscored or amplified the meaning of a headline. This was serious typeplay!Chapters in this well designed book include Cutting Edge,...

Scope and Contents

Steven Heller contributed an essay "Transfiguring the Swastika from Benign to Infamous." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Steven Heller contributed an essay on the graphic design work of Leo Lionni. The concrete poem on page 23 depicts fragmented letters of the word, "Napoli," to indicate the disintegrating ancient buildings in that city. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book documents a 100 year history of graphic design, one from each year of the 20th century in 100 categories e.g. Expressive Hands, circles and Wedges, Protest Symbols and Visualizing Music. The Sackner Archive holds several of the books and posters that are depicted in this book. -- 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 Dust jacket description: Hand-drawn graphics mark a return to the creator's immediacy and craft. Increasingly, advertising campaigns, CD covers, and branding are adopting the rough-hewn style of manually created typography. Notable recent examples can be seen in the Calvin Klein campaign designed by M/M, Paris, the self-inflicted body marks of Stefan Sagmeister, and the painstaking illustrations of Pentagram partner Paula Scher. This is the first publication to offer a complete overview of handwritten typographics, drawing on an extensive array of examples from around the world. At the heart of the book are hundreds of graphics, presented in creative themes: "Scrawl" (letterforms that are raw, splotchy, untidy); "Scratch" (scraped, cut, gouged fonts); "Script" (type that is sinuous, curlicued, ornate); "Simulate" (typefaces that have been redrawn or copied); "Shadow" (dimensional, voluminous, and monumental letterforms); "Suggestive" (forms that suggest the metaphorical, surreal,...

Scope and Contents

The exhibition was curated by Barbara Glauber. The topics covered in this experimentally designed catalogue, with varied typefaces and layout approaches, include "The Anonymous Profession" by Steven Heller, "Roadside Culture" by George LaRou and "Anarch-Graffiti in New York City's Lower East Side" by John Dale and Margaret Morton. The themes mainly deal with the influence of outdoor sign designs, logographs, and advertisements of graphic designs as a whole. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is the second printing of the book. An essay by Dom Sylvester Houedard, Concrete Poetry (1963) is reprinted from its first publication in Typographic new series No.8, 1963. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book is a compilation of essays dealing with graphic design. J. Abbott Miller and Ellen lupton contribute an essay titled "A Natural History of Typography" in the section Looking Closer: Modernism and its Malcontents. Steven Heller writes of typographic nostalgia in his essay, "The Time Machine." Other sections of the book include Language and Dialects; Surface and Style; Form Follows Function; Sex Lies and Stereotypes; In the End, It's Education. Michael Dooley traces the development of Emigre by Rudy VanderLans and Zuzana Licko in his essay "Kicking up a Little Dust." The essays contained in this volume were previously published in Print, Eye, Emigre, I.D. Magazine, AIGA Journal and other graphic design publications, -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

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

Scope and Contents

Felipe Taborda contributes an essay, "Parador Found" that describes the work of the Brazilian designer, Heloisa Faria. She created a whole new country, Parador, for the 1987 film, "Moon Over Parador," starring Richard Dreyfuss, Raul Julia, and Sonia Brage. This issue also includes several articles related to graphic design in India . -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Steven Heller contributes an essay "Saturday Evening Past and Future" at the Norman Rockwell Museum. Rick Poyner writes "Does Graphic Design History Have a Future?" -- Source of annotation: Marvin or Ruth Sackner.