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, Distorted Faces, Handwriting, Jumbled Words, New Faces, Puns, Type & Image, Typewriter Type and The Word. Included in Jumbled Words (chapter 6) is the brochure from "Reading & the Arts of the Book," a symposium sponsored by the Getty Center for Art and the Humanities in which the Sackners participated. -- Source of annotation: Marvin or Ruth Sackner.