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Rick Poyner contributes an essay "Cover Me" in which he writes that the current effusion of attention to book jackets confirms their allure as havens of graphic design. Steven Heller interviews social historian Stephen Duncombe and contributes a photo essay "Trash, Transferred." James Gaddy contributes an essay "Shadow Boxer" that describes the relation between James Harvey, a second generation abstract expressionist painter, who designed the Brillo Box and Andy Warhol who appropriated it for his first Pop Art exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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This book was first printed in 1996 and reprinted in 1997 (present copy). This 2nd printed copy includes coverage of over 35 years of works by the award-winning Dutch graphic designer, including his essay "What Design Means For Me" (in addition to his partly autobiographical essay). Additional essays by Kinross, Triest, Koosje Sierman and Hugues C. Boekraad; includes bibliography. "Reprinted 1997" (colophon; originally published in 1996). -- Source of annotation: Marvin or Ruth Sackner.

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Profile celebrates the individual designers who are partners of the international design studios of Pentagram. Nineteen partners are profiled by nineteen distinguished authors alongside explorations into Pentagram's strong collective ethos, uniquely succcessful organizational structure, and place in design history. Karrie Jacobs contributed an essay on Paula Scher titled 'Three Letters: e.V.O.' Concrete or shaped poetic layouts for graphic design projects are depicted for the folowing Pentagram partners: John Mcconnell, Angus Hyland, Paula Scher, Michael Bierut, Woody Pirtle, and Kit Hinrichs. -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Robert K. Brown. -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Robert K. Brown. This issue deals with American posters of the 19th century taken from a collection assembled by Leonard Lauder. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This print is taken from a suite of seven prints. Moss comments: "Soon after I began painting on pottery in this style, I developed a Hebrew alphabet based on the way in which pueblo artists divide and fill space. In this piece I have written out Psalm 117, which seemed especially appropriate for this work of merging Hebraic ideas with a particular, very regional, non-Jewish artistic style. Let every nation praise God! Let every people exalt Him! For His graciousness towards us has been abundant, And the truthfulness of His universal message is eternal. Written by a poet of a tiny people in a remote corner of the Middle East, it is remarkable how clear the vision of the universality of this message was. That our Psalms continue to be sung daily in a thousand different languages in every corner of the globe bears witness to the power of this message. It seemed appropriate to write out this psalm in the language in which it was written and right in the place in which it was written,...

Scope and Contents This print is taken from a suite of seven prints. Moss comments: "This piece incorporates the fourth verse of Psalm 105 with the Hebrew lettering formed by the negative (light) spaces left between the dark geometric patterns: Seek the Lord and His strength; Yearn for His presence constantly. The acts of seeking and yearning both imply a constant, never-ending, lifelong process. The Midrash Tanchumah quotes this verse and states: "Sometimes He appears; sometimes He does not. Sometimes He hears; sometimes He does not. Sometimes He answers; sometimes He does not-sometimes He is close; sometimes He is not." The circular form in which I have made this piece reflects this fundamental truth of the religious life. The verse reads over and over again just as the acts of seeking and yearning never end. Each Hebrew personal name has a Biblical verse associated with it. This is a verse that incorporates the name itself or begins and ends with the same letters as the name. Many people add this...

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Makela was a leading figure in the creation of a new 90's electronic esthetic. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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The profusely illustrated book consists of biographical essays and examples of work by the graphic designers selected by the author. -- Source of annotation: Marvin or Ruth Sackner.

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The authors comment that "In four short but inspired years, Ray Gun has captured the imagination of American alternative culture as a forum for debate and as an arbiter of credibility on music, graphic design, culture, and style." This book presents new design on the cutting edge of typography, writing, photography, illustration, fashion. The compact disc is formatted for the MacIntosh. -- Source of annotation: Marvin or Ruth Sackner.

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The card depicts sculpturesque, three dimensional, red letterforms floating in a swirling red atmosphere. -- Source of annotation: Marvin or Ruth Sackner.

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Eckersley was one of the most important book designers of the avant garde in the 20th century. -- Source of annotation: Marvin or Ruth Sackner.

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The pages of this issue are cut out of the corner near the lower spine to form a booklet within the book. -- Source of annotation: Marvin or Ruth Sackner.

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Revised and enlarged edition. Edited, translated and with an introduction by J. Bowlt. Originally published in 1976. -- Source of annotation: Marvin or Ruth Sackner.

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The pages of the book consist of the verbal score for the recording. These reproduce highly varied typefaces and layouts achieved with a digital computer. The recording itself is not held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.