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The "Art of Typewriting" is listed and illustrated (page 31). It contains illustrated works and descriptions from the Sackner Achive. Four of the uniquely designed book covers are shown. On the back covers the works of Leandro Katz (Word Column IV) and Steve McCaffery (Carnival - second column) are illustrated. The smaller soft cover book contains children's publications. -- Source of annotation: Marvin or Ruth Sackner.

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El Lissitzky's poster "Beat the Whites with the Red Wedge" pictured on page 11 is same design as the poster held in the Sackner Archive. The poster reproduced but not displayed in the exhibition, is from the Stedelijk Van Abbemuseum in Eindhoven, The Netherlands. The core of this exhibition of posters originates from the collection of Merrill C. Berman who also provides an interview with Alma Law on collecting such works. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents David Moss Introduction in book accompanying prints: "Among the many Hebrew letter forms which have now largely become defunct, there is a group of strange alphabets which were used exclusively for Kabbalah Maasit-practical Kabbalah, i.e. magic. These bear no apparent relationship to the common Hebrew letters. They were known by various names: angelic alphabets, characters, seals. They appear on ancient Greek magic papyri and on Aramaic incantation bowls; they continued to be used for centuries on amulets and were, until quite recent times, even written on mezuzot. When I chanced upon the first publication of The Midrash on The Alphabet of Metatron, these strange letters were not unfamiliar to me. I recognized in them the characteristic forms of all of these magical alphabets: simple, straight and curved lines always ending with tiny circles. I had seen such letters in Sefer Raziel-probably the most popular book of Jewish magic. But the discovery of this charming midrash based...

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The is a business card for a lighting designer - the verso is black. -- Source of annotation: Marvin or Ruth Sackner.

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The poster depicts fragmented, overlapping, vividly colored, distorted letterforms. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Booklist reviewed this book. "Kidd is a pioneer in book cover art, but this novel marks his first attempt to write the words between his magnificent covers. It tells the story of one boy's discovery of graphic design in college and his talented and cruel professor. The "novel in two semesters" follows our narrator through his first year at the ubiquitous "State U." In the first semester, he meets Himillsy Dodd, a precociously brilliant fellow art major with a great disdain for art, and takes "Introduction to Drawing," which includes such inane exercises as drawing a still life of a large, brown, and dead bird named Renaldo. Then they take graphic design with the enigmatic William Sorbeck, and life changes forever. Sorbeck shines in three dimensions on the page, a living representation of the larger-than-life professor that luckier college students have a chance to know. This is a fascinating, funny, and wonderfully written novel of graphic design that manages to deepen the...

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Text by Arthur A. Cohen. -- Source of annotation: Marvin or Ruth Sackner.

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David Byrne of the rock group, The Talking Heads, wrote the introduction. Carson has been considered by some to be the most innovative and influencial graphic designer of the 1990's. -- Source of annotation: Marvin or Ruth Sackner.

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This poster has a more experimental design than usually distributed by the Getty. -- Source of annotation: Marvin or Ruth Sackner.

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Born in 1957 and educated at the London College of Printing, the early influences on Brody were Brion Gysin, William Burroughs, Punk Rock, Moly Nagy, Rodchenko, El Lissitzky and Malevich. Brody has designed record covers, magazines book covers, logos most recently digitized images and alphabets. Brody was a founder of Fuse, a digital disc accompanied by posters of experimental typography. Jon Wozencroft provided the text and captions for these books which are reprinted from the 1988 & 1994 editions. -- Source of annotation: Marvin or Ruth Sackner.

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This profusely illustrated book dealing with the power of the media, written over 32 years ago at the time of writing this annotation still is current in thought today. Thus, McLuhan writes on page 67, "The new interdependence recreates the world in the image of a global village." -- Source of annotation: Marvin or Ruth Sackner.

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This profusely illustrated book dealing with the power of the media, written over 32 years ago at the time of writing this annotation still is current in thought today. Thus, McLuhan writes on page 67, "The new interdependence recreates the world in the image of a global village." -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue demonstrates typographic and graphic designs on various weights and shades of Mohawk Superfine papers. The theme of the book is the country store. -- Source of annotation: Marvin or Ruth Sackner.

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This publication consists of the design material for three seasons of theater presentations in an "evolving graphic language developed and produced by Paula Scher and her design team at Pentagram." -- Source of annotation: Marvin or Ruth Sackner.

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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.

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This catalogue features the entire collection of Emigre typefaces to 2002. The quotes presented by known typographic designers and scholars are from articles and interviews published in Emigre magazine issues 12 through 53. -- Source of annotation: Marvin or Ruth Sackner.

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From the back cover as described by The QWERTY Fanciers Association: A graphic expose on the secret life of letters between the covers. Inside The QUERTY Institute you will find typefaces at their most lascivious - consonants consorting with vowels, flagrant fonts shamelessly embossing in plain sight, linguistically nimble labials and gutturals given to licentious acts of graphology....It must be seen to be belived! -- Source of annotation: Marvin or Ruth Sackner.