The typographic compositions revolve around images familiar to children. -- Source of annotation: Marvin or Ruth Sackner.

In the introduction, Studley writes, "...each designer chose a short passage from Cage's selected writings containing the composer's views on music. Each selection was then studied for possibilities of wordplay, subrosa meaning, graphic and musical n visual and aural texture, white spaces as examples of tacit in music, intonation and cacophony of sound. Solutions are based on the individual's 'reading' of the text but shaped as a typographer would arrange letters, words, spaces on a page..." -- Source of annotation: Marvin or Ruth Sackner.

The question posed in this project was whether there could be a crossing over between Fax images and fine printing making images from Joyce's Ulysses. To respond, each designer selected a brief fragment taken from Ulysses, produced a typographic composition of the chosen text and Fax copied it. The Fax copy was converted to a polymer plate to be printed by letterpress. Each Fax printed image is preceded by a letterpress typographic composition on translucent handmade paper. -- Source of annotation: Marvin or Ruth Sackner.

This book was done by 46 graphic design, advertising, and photography students to produce typographical interpretations of the writings of Henry David Thoreau. A portion of the receipts was allocated for the Walden Woods Project. -- Source of annotation: Marvin or Ruth Sackner.

Studley writes in his introduction that Wittgenstein 1899-1951 published only one philosophical work in his lifetime, Tractatus Logico-Philosophicus, written while a Prisoner of War in 1918. The text for this book was written during the last 18 month of his life. The student designer selected a remark or fragment of a remark to interpret as a typographic composition within the constraints of the type collection of the press. This book was selected by The American Institute of Graphic Arts as one of the 50 best designed books of 1995 (Rethinking Design No.3). -- Source of annotation: Marvin or Ruth Sackner.

On each page, the student has rendered a typographic composition within a rectangle, 10.2 cm x 7.2 cm (and sometimes overflowing outside these limits). -- Source of annotation: Marvin or Ruth Sackner.

This collection of prints, done in black, printed, typefaces of varied dimensions, was a student project. The instructor for the class was Vance Studley. The writings were excerpted from Ray Bradbury's stories. A chronologic numbering system for this publication has been adopted by the Sackner Archive; no numbering system has been used by the Archetype Press. Alice Vaughn made the bookbindings for the issues through 2009. -- Source of annotation: Marvin or Ruth Sackner.

According to Studley, this project is based upon the notion of the imaginary sizes, shapes, and forms of typography using lyrics of music as a basis for literature. Upon a selective listening of a chosen composition, each designer conceived of a typographic setting or framework into which the lyrics (or their fragmentary sound) would be displayed. The object was to portray typography as an extension of the spoken and sung word. Songs by the following are depicted in typographic presentations: 1) Eurhythmics: Sweet Dreams, 2) America, 3) Eddie Brickell: I quit, I give up, 4) Like a candle in the wind and 5) Pink Floyd: We're just 2 lost souls. -- Source of annotation: Marvin or Ruth Sackner.

Studley writes in his introduction, "For the theme of this book, each designer selected a recording of purely nonverbal music and attempted to fuse the musician's or author's commentary into a weaving of purely typographic and colored notation. The music includes Holst's The Planets and Handel's Messiah. -- Source of annotation: Marvin or Ruth Sackner.