This exhibition displayed examples of international graphic design with emphasis on French designers. -- Source of annotation: Marvin or Ruth Sackner.

The poster depicts a cross which contains the words, 'Jesus Saves,' in bold, deconstructed, energetic typography. The latter is an example of the "new typography of the nineties." -- Source of annotation: Marvin or Ruth Sackner.

This advertising prospectus was designed by Erwin Harris and Co. -- Source of annotation: Marvin or Ruth Sackner.

This is a brochure of Jan Baker designed textiles created in collaboration with Lori Weitzner for an award winning upholstery fabic collection. -- Source of annotation: Marvin or Ruth Sackner.

These are samples of Jan Baker designed textiles created in collaboration with Lori Weitzner for an award winning upholstery fabric collection. -- Source of annotation: Marvin or Ruth Sackner.

These are samples of Jan Baker designed textiles created in collaboration with Lori Weitzner for an award winning upholstery fabric collection. -- Source of annotation: Marvin or Ruth Sackner.

This issue focuses mainly on Japanese graphic design. -- Source of annotation: Marvin or Ruth Sackner.

This issue includes an illustrated article on the American magazine, "Wired." -- Source of annotation: Marvin or Ruth Sackner.

This book edited by Eric Dluhosch and Rostislav Svacha serves as the catalogue for an exhibition at the Wolfsonian-FIU in 2000. The critical essays include the following chapters: "Karel Teige in the Twenties: The Moment of Sweet Ejaculation," "Poetism," "Typography," "Before and After the Mundaneum: Teige as Theoretician of the Architectural Avant-Garde," "Karel Teige during the Thirties: Projecting Dialectics," and "Karel Teige's Collages, 1935-1951: The Erotic Object, the Social Object, and Surrealistic Landscape Art." The appendix includes a chronological overview of Teige's life. -- Source of annotation: Marvin or Ruth Sackner.

Kay Rosen contributes an introductory essay in which she writes that "In the 1970's, I had made the transition from an academic approach to languages to a visual one because to me the most interesting things about language were not what was included in its formal rules, but rather what I stumbled upon accidentally...These most mundane and undervalued bits of speech were distinguished not only by their rejection of normal doctrine, but also by their potential to convey meaning non-linguistically. They needed to be expressed visually to be realized." -- Source of annotation: Marvin or Ruth Sackner.

This collection of wedding documents reproduced from the original Ketubot designed adn drawn by David Moss are bound in three volumes. The first is titled Traditon: Ten Ketubot Inspired by the Illuminated Manuscript Tradition. The second volume is titled Transition: Portals of Passage: Ten Ketubot in the Form of Gates. The third volume is titled Transformation: Innovation: Ten Ketubot in Non-Traditional Styles. -- Source of annotation: Marvin or Ruth Sackner.

Collage elements make up this cover for the May 9, 1988 cover of Time Magazine. -- Source of annotation: Marvin or Ruth Sackner.

This book is concerned with applications of the triangular image in design. -- Source of annotation: Marvin or Ruth Sackner.

Concerns Chopin's design for the postcard, "I Refuse." -- Source of annotation: Marvin or Ruth Sackner.

The authors write that stationery for the avant garde 20th century movements served as typographic manifestos and reflected the artists' and designers' ambitions to merge art into life and to create visual identities for themselves. This book contains an international avant-garde net-work time line that diagrams the interaction of the major movements and artists. The reproductions of the poster, "Kleine Dada Soiree" by Schwitters and Van Doesburg and the brochure, "Reklame Mechano" by Henryk Berlewi in this book are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.