Content includes:
Mallarmé: The Transcendence of Language and the Aesthetics of the Book, Gerald L. Bruns
0 or 0? Dirk Wendt
A Proposed Fontstyle for the Graphic Representation of the Oh and Zero, Allen G. Vartabedian
Use of Type Damage as Evidence in
Bibliographical Description, G. Thomas Tanselle
A Report Generator Approach to Automated Page Composition, J. R. Burns
Comment: Marshall McLuhan and Italic Handwriting, Lloyd J. Reynolds
Comment: Publishing by Computer, R. J. Wakefield
Letterforms in the Arts, Jack Smith and Rudolf Franke
Excerpt: Typography That Makes the Reader Work, Joel A Roth
From the graphic design archive:
From the graphic design archive:
From the graphic design archive:
From the graphic design archive:
Design Archive Feature, Members Only Content, Poster Design, Regional Histories
Gebrauchsgraphik 06, 1956 features a selection of the German Posters entered into the 1956 awards. It is unknown how many entries were submitted to the 1956 awards but a total of 21 posters were awarded.
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Design Archive Feature, Designer Profiles, Members Only Content, Regional Histories
Katayama worked in several art and design disciplines from graphic design and sculpture to environmental works and sculpture. His design work features rhythms and patterns and has a resemblance to modern jazz and the studies of Josef Albers.
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Design Archive Feature, Designer Profiles, Members Only Content, Regional Histories
Kohei Sugiura’s work spans an impressive range of mediums, including record jackets, publication covers, posters, exhibition catalogues, and stamps. He perfectly merged functionality and data visualisation with aesthetics. Drawing on his background in architecture, Sugiura applied a systematic, programmatic methodology to graphic design, similar to the approach of Swiss designer Karl Gerstner.
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