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"The majority of the work shown in this book comes from the years 1973 through to 1982. As Lance Wyman explains elsewhere in these pages, he only started to seriously 'log' his daily output when he returned from Mexico to New York in 1973. However, prior to this date, he maintained his diaries on an occasional basis. Pages from his pre-73 diaries are included in this section."--[chapter 1].
Letraset: The DIY Typography Revolution is the first comprehensive history of Letraset, the rubdown lettering system that revolutionised typographic expression. The book tells the Letraset story from its early days as a difficult-to-use wet system, to its glory years as the first truly democratic alternative to professional typesetting. The book also looks at Letraset's present-day revival amongst a new set of admirers who recognise the typographic excellence of the system's typefaces. The book comes with a gatefold Letraset timeline. It has an introduction by Malcolm Garrett, and features in-depth interviews with Mr Bingo, Erik Brandt, Aaron Marcus, David Quay, Dan Rhatigan, Freda Sack, Andy Stevens and Jon Wozencroft. Essays by Colin Brignall, Dave Farey and Mike Daines - all key members of the Letraset team - provide expert insight into the rise of Letraset as a typographic and commercial powerhouse. A central essay by Adrian Shaughnessy examines the typographic and cultural impact of the system. The book's design is by the Spin team of Tony Brook and Claudia Klat. It uses many rare specimens from Letraset's past - catalogues, press ads, mailers, storage units, and of course, sheets of classic Letraset typefaces.
Our critically acclaimed smash hit Cartographies of Time is now available in paperback. In this first comprehensive history of graphic representations of time, authors Daniel Rosenberg and Anthony Grafton have crafted a lively history featuring fanciful characters and unexpected twists and turns. From medieval manuscripts to websites, Cartographies of Time features a wide variety of timelines that in their own unique ways, curving, crossing, branching, defy conventional thinking about the form. A fifty-four-foot-long timeline from 1753 is mounted on a scroll and encased in a protective box. Another timeline uses the different parts of the human body to show the genealogies of Jesus Christ and the rulers of Saxony. Ladders created by missionaries in eighteenth-century Oregon illustrate Bible stories in a vertical format to convert Native Americans. Also included is the April 1912 Marconi North Atlantic Communication chart, which tracked ships, including the Titanic, at points in time rather than by their geographic location, alongside little-known works by famous figures, including a historical chronology by the mapmaker Gerardus Mercator and a chronological board game patented by Mark Twain. Presented in a lavishly illustrated edition, Cartographies of Time is a revelation to anyone interested in the role visual forms have played in our evolving conception of history
DIVAnatomy of Design dissects fifty examples of graphic design piece by piece, revealing an array of influences and inspirations. These pieces represent contemporary artifacts that are well conceived, finely crafted, and filled with hidden treasures. Some are overtly complex. Others are so simple that it is hard to believe there’s a storehouse of inspiration hidden underneath. The selections include all kinds of design work including posters, packages, and more. Each exhibit is selected for its ubiquity, thematic import, and aesthetic significance, and every page shows howgreat work is derived from various inspirational and physical sources, some well-known, some unknown./div
This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the conceptual art movement. Compared to other avant-garde movements that emerged in the 1960s, conceptual art has received relatively little serious attention by art historians and critics of the past twenty-five years—in part because of the difficult, intellectual nature of the art. This lack of attention is particularly striking given the tremendous influence of conceptual art on the art of the last fifteen years, on critical discussion surrounding postmodernism, and on the use of theory by artists, curators, critics, and historians. This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the movement. It also contains more recent memoirs by participants, as well as critical histories of the period by some of today's leading artists and art historians. Many of the essays and artists' statements have been translated into English specifically for this volume. A good portion of the exchange between artists, critics, and theorists took place in difficult-to-find limited-edition catalogs, small journals, and private correspondence. These influential documents are gathered here for the first time, along with a number of previously unpublished essays and interviews. Contributors Alexander Alberro, Art & Language, Terry Atkinson, Michael Baldwin, Robert Barry, Gregory Battcock, Mel Bochner, Sigmund Bode, Georges Boudaille, Marcel Broodthaers, Benjamin Buchloh, Daniel Buren, Victor Burgin, Ian Burn, Jack Burnham, Luis Camnitzer, John Chandler, Sarah Charlesworth, Michel Claura, Jean Clay, Michael Corris, Eduardo Costa, Thomas Crow, Hanne Darboven, Raúl Escari, Piero Gilardi, Dan Graham, Maria Teresa Gramuglio, Hans Haacke, Charles Harrison, Roberto Jacoby, Mary Kelly, Joseph Kosuth, Max Kozloff, Christine Kozlov, Sol LeWitt, Lucy Lippard, Lee Lozano, Kynaston McShine, Cildo Meireles, Catherine Millet, Olivier Mosset, John Murphy, Hélio Oiticica, Michel Parmentier, Adrian Piper, Yvonne Rainer, Mari Carmen Ramirez, Nicolas Rosa, Harold Rosenberg, Martha Rosler, Allan Sekula, Jeanne Siegel, Seth Siegelaub, Terry Smith, Robert Smithson, Athena Tacha Spear, Blake Stimson, Niele Toroni, Mierle Ukeles, Jeff Wall, Rolf Wedewer, Ian Wilson
Logotype is the definitive modern collection of logotypes, monograms and other text-based corporate marks. Featuring more than 1,300 international typographic identities, by around 250 design studios, this is an indispensable handbook for every design studio, providing a valuable resource to draw on in branding and corporate identity projects. Logotype is truly international, and features the world’s outstanding identity designers. Examples are drawn not just from Western Europe and North America but also Australia, South Africa, the Far East, Israel, Iran, South America and Eastern Europe. Contributing design firms include giants such as Pentagram, Vignelli Associates, Chermayeff & Geismar, Wolff Olins, Landor, Total Identity and Ken Miki & Associates as well as dozens of highly creative, emerging studios. Retaining the striking black-and-white aesthetic and structure of Logo (also by Michael Evamy) and Symbol, Logotype is an important and essential companion volume.