Six printed samples publicizing "A Bag of Bags." -- Source of annotation: Marvin or Ruth Sackner.

In the introduction, Lars Muller writes that Muller-Brockmann "consistently pursues the formal reduction and condensation of statements until he has an objective message. His demand for neutral, functional and objective design became Swiss Graphic Design in the 50s and 60s, where he was a major influence...But the rules and constants of graphic design that it formulated are still valid. They will acquire greater significance in the upcoming debate, which is long overdue, about the complexity of the simple." Muller-Brockmann designed posters for the world of art and music, and approached graphic design as an artist who emphasised typographic rather than pictorial solutions.The book is divided into two main sections. The first provides a biography of Muller-Brockman and a review of Swiss graphic design in the pre-WWII years. The second section depicts examples of his graphic designs. -- Source of annotation: Marvin or Ruth Sackner.

An unusal typeface ws used in this poster. -- Source of annotation: Marvin or Ruth Sackner.

To welcome D.J. Stout as a partner in the Austin office of Pentagram, The partners published this portfolio of his work. It consists mainly of covers for Texas magazines. -- Source of annotation: Marvin or Ruth Sackner.

This book also includes examples of industrial design by the firm. -- Source of annotation: Marvin or Ruth Sackner.

The 74 typographic prints by international designers are from the collection of Felix Beltran who also contributed a work. The prints were originally exhibited in Europe in the 1970's and were shown for the first time in North America at the New World School of the Arts in Miami, Florida. -- Source of annotation: Marvin or Ruth Sackner.

Diane Crandall's book "Violent Crime," held by the Sackner Archive, is illustrated as a design award winner. Includes an essay by Juanita Dugdale on contemporary graphic design in religious art that utilized concrete and visual poetic themes. The computer generated brochures and books in this issue bear a close resemblence to artist books. -- Source of annotation: Marvin or Ruth Sackner.

Emily King contributes an essay on avant garde typography entitled m"Different Strokes." Roanne Bell writes about Arabic word/images created by Mouneer El Shaarani. Caleb Neelon describes the letter collages and visual poems of Greg Lamarche. -- Source of annotation: Marvin or Ruth Sackner.

Rick Poynor contributes an essay "Right Stuff" about ethical design. Martin Fox describes Print's environmental outlook in two early issues. A book review by Sumner Stone traces the publication U&lc edited by John D. Berry, Dan Nadel reviews "Steinberg at The New Yorker." -- Source of annotation: Marvin or Ruth Sackner.

Steven Heller contributes an essay "Szyk Transit: The greatest work of a once-famous anti-fascist illustrator has been beautifully restored, but not without some conflict along the way," the work of the Polish artist Arthur Szyk. Rick Poynor questions how graphic designers will shape the discourse about climate change in his essay "Warm Regards." Jennifer Ehrenberg describes contemporary artists' books made in Cuba in her essay "Cuba Libros!" -- Source of annotation: Marvin or Ruth Sackner.

Richard Doubleday contributes an essay "Bird in Hand" about the designer Jan Tschichold. Rick Pynor writes on globalization of graphic design. Rudy VandeLans, cofounder of Emigre who is interviewed by Steven Heller indicates that he plans to cease publication of Emigre. Peter Bilak reviews "Willem Sandberg, Designer and Director of the Stedelijk." -- Source of annotation: Marvin or Ruth Sackner.

On page 111, a map of the world is depicted solely with the names of countries placed horizontally or vertically with varies sized fonts. It was designed by George Brockmann for an annual report of a business. -- Source of annotation: Marvin or Ruth Sackner.