Scope and Contents The first five pages feature a large heavy black printed "T" surrounded by or incorporated with letters or parts of words printed in black. The large letter completes the word. This is followed by pages that use one large black printed letter on subsequent pages to spell out the title of the book. In turn, these letters are surrounded by or incorporate letters or words printed in black or red ink. The smaller black letters have varied typefaces and dimensions while the red letters are printed with the same uppercase typeface. The typography is a modern day version of the style used by Ilia Zdanevich when in lived in Tiflis, Russia in the teens and twenties. In his books of that time, he printed two letters in a vertical row adjacent to one larger letter repetitively to indicate multiple words. Drucker has written a biography on Iliazd as Zdanevich was known when he migrated to Paris and appears to have been influenced by this distinctive typography. -- Source of annotation: Marvin...

Scope and Contents

This book includes a complete isting of Campbell's books together with his comments on how and why each book was produced. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Part of the series Interpretations in Art, this book is subtitled "Visual Art and the Critical Tradition." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The typography becomes more complex and varied as the story unfolds and is reminiscent of the early typography of Iliazd. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Consists of commentary on each page of the completed book. -- Source of annotation: Marvin or Ruth Sackner.

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The typography and spatial arrangement of text is highly experimental. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Jane Willams, Curator of The Arts of the Book Collection at Yale University Library, wrote an introduction to the catalogue and included a personal note to the Sackners for their support. Johanna Drucker contributed an essay "Theatrical Spaces: The Books of Artist John Eric Broaddus." Renee Riese Hubert and Judd D. Hubert wrote "John Eric Broaddhus as a Fashioner of Books." A separate check list and letter from Arthur J. Williams are included. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was curated by Kate Rawlinson and Wallace Harper with works from the Sackner Archive. It was structured into four groups of visual/verbal works: ideograms, alphabets, words and stories. Drucker provided an outstanding introductory critical essay to the works in the exhibition despite being able to work with photographic reproductions only. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This section of the Review considers new publications relating to design in graphics, typography, travel literature, religious illumination, design history, British modernism and California "cool" in art, culture and film. "Graphic Design History: A Critical Guide by Johanna Drucker and Emily McVarish is reviewed. It is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Cotter reviews "The Next Word" at the Neuberger Museum of Art to which the Sackner Archive lent 25 books and pictures. Several of the works from the Archive are specifically described in the article including a manuscript by Jack Hirschman, a drawing by Anne Wolf, Emily McVarish's pasted-up words locked inside a metal frame, Paula Scher's "Opinionated Map: Central and South America" in which every inch on the Southern Hemisphere that is jammed with critical annotationt. "Elsewhere, the printed text, often taking a cue from advertising, comes to the fore. Blair Seagram's 'U Temp est Us' uses a sleek sans-serif type, offbeat spacing and shifting character sizes to hide phrases within other phrases." -- Source of annotation: Marvin or Ruth Sackner.