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,...

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

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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 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,...

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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.

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

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Heller includes the book "Art and Text" in his review article. In this book, Tom Phillips is described as"a pioneer of text art." His painting Here We Exemplify, held by the Sackner Archive, is depicted in this book as are pages from "A Humument." -- Source of annotation: Marvin or Ruth Sackner.

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This book features more than 40 essays from top experts and educators in typography today. These essays run from introducing the themes of type and typography to various complex and rare strategies for learning. Jared Ash contributed an essay "The Letter as Such: Aleksei Kyuchenykh as Closet Typographer" in which he describes Mikhail Tarkanov as a lesser known artist-designer of the 1920's and 1930's who was "considered more involved in typographic artistry than [his] more widely recognized colleagues." -- Source of annotation: Marvin or Ruth Sackner.

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Steven Heller contributed an essay titled "Advertising Arts: America Becomes Modern(istic)." He traces the history of the advertising magazine first published in 1930. -- Source of annotation: Marvin or Ruth Sackner.

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Steven Heller contributed an essay, "Feliks Topolski: Memoir of the Century." -- Source of annotation: Marvin or Ruth Sackner.

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Steven Heller contributed an essay "Deco Espana" in which he explores Spain's contribution to this elegant era of design. -- Source of annotation: Marvin or Ruth Sackner.

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Steven Heller contributed an essay "Simplicissimus," that described the late nineteenth century German magazine. -- Source of annotation: Marvin or Ruth Sackner.

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Steven Heller contributed an essay on "Das Plakat," German poster design. -- Source of annotation: Marvin or Ruth Sackner.

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This issue includes an illustrated essay on the evolution of the letter "S." Steven Heller contributed an essay "Censorship Unbound." -- Source of annotation: Marvin or Ruth Sackner.