A Graphic Design Primer Resources for Educators
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On Seeing and Being Seen
ON SEEING AND BEING SEEN BY MEG MILLER As one designer goes blind, another emerges from under his shadow EyeOnDesign_#01_Mag-6.5x9in_160pgs_PRINT.indd 52 2/13/18 2:49 PM ALVIN LUSTIG AND ELAINE LUSTIG COHEN. COURTESY: THE ESTATE OF ELAINE LUSTIG COHEN BY MEG MILLER As one designer goes blind, another emerges from under his shadow Pages 52 and 53 EyeOnDesign_#01_Mag-6.5x9in_160pgs_PRINT.indd 53 2/13/18 2:49 PM On Amazon, you can buy a new, because he no longer saw them. hardbound copy of Tennessee Instead, he would verbally dictate Williams’ Cat on a Hot Tin Roof for what he imagined in his mind’s $1,788.01. The play is one of Williams’ eye to Elaine and the assistants most famous, and allegedly his working at his design office. personal favorite. But the reason “He would tell us go down a behind the price tag is more likely pica and over three picas, and how the cover than its contents; a milky high the type should be, and what galaxy wraps around the spine, the color should be,” said Elaine. and the monosyllabic words of Sometimes his reference points the title stack up the center like a were past projects—“the beige that chimney. At a talk in 2013, Elaine we used on such and such”—or the Lustig Cohen, who was widowed by colors of furniture he’d picked out the book’s famous designer, Alvin for interior jobs. In one particularly Lustig, turned to Steven Heller, her poetic instance, he described the interviewer on stage. -
Writing Communities: Aesthetics, Politics, and Late Modernist Literary Consolidation
WRITING COMMUNITIES: AESTHETICS, POLITICS, AND LATE MODERNIST LITERARY CONSOLIDATION by Elspeth Egerton Healey A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2008 Doctoral Committee: Associate Professor John A. Whittier-Ferguson, Chair Associate Professor Kali A. K. Israel Associate Professor Joshua L. Miller Assistant Professor Andrea Patricia Zemgulys © Elspeth Egerton Healey _____________________________________________________________________________ 2008 Acknowledgements I have been incredibly fortunate throughout my graduate career to work closely with the amazing faculty of the University of Michigan Department of English. I am grateful to Marjorie Levinson, Martha Vicinus, and George Bornstein for their inspiring courses and probing questions, all of which were integral in setting this project in motion. The members of my dissertation committee have been phenomenal in their willingness to give of their time and advice. Kali Israel’s expertise in the constructed representations of (auto)biographical genres has proven an invaluable asset, as has her enthusiasm and her historian’s eye for detail. Beginning with her early mentorship in the Modernisms Reading Group, Andrea Zemgulys has offered a compelling model of both nuanced scholarship and intellectual generosity. Joshua Miller’s amazing ability to extract the radiant gist from still inchoate thought has meant that I always left our meetings with a renewed sense of purpose. I owe the greatest debt of gratitude to my dissertation chair, John Whittier-Ferguson. His incisive readings, astute guidance, and ready laugh have helped to sustain this project from beginning to end. The life of a graduate student can sometimes be measured by bowls of ramen noodles and hours of grading. -
The “Objectivists”: a Website Dedicated to the “Objectivist” Poets by Steel Wagstaff a Dissertation Submitted in Partial
The “Objectivists”: A Website Dedicated to the “Objectivist” Poets By Steel Wagstaff A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English) at the UNIVERSITY OF WISCONSIN‐MADISON 2018 Date of final oral examination: 5/4/2018 The dissertation is approved by the following members of the Final Oral Committee: Lynn Keller, Professor, English Tim Yu, Associate Professor, English Mark Vareschi, Assistant Professor, English David Pavelich, Director of Special Collections, UW-Madison Libraries © Copyright by Steel Wagstaff 2018 Original portions of this project licensed under a CC BY-SA 4.0 license. All Louis Zukofsky materials copyright © Musical Observations, Inc. Used by permission. i TABLE OF CONTENTS Acknowledgements ..................................................................................... vi Abstract ................................................................................................... vii Introduction ............................................................................................... 1 The Lives ................................................................................................ 31 Who were the “Objectivists”? .............................................................................................................................. 31 Core “Objectivists” .............................................................................................................................................. 31 The Formation of the “Objectivist” -
20 Designers 100 Record Covers May 2Nd – ‑‑—— July 18Th, 2019
20 Designers 100 Record Covers Curated by May 2 n d – ‑‑—— Scott Lindberg July 18th, 2019 When I first began working as a graphic designer, I would often find myself in need of inspiration. The internet was in its infancy, and the few websites featuring design material were just getting their start. Of course there were design periodicals, but they only provided a small snapshot of the current state of our industry. And that is when I began to seek out examples of design to keep in my studio, both to serve as inspiration for my own work and to be a reminder of who came before me. My collection is primarily consumer-level design objects — things intended for the public masses, and widely available on the resale market. Book covers were most easily accessible given their prominence in American homes. Posters, while accessible, seemed an extravagance since only very few designers are ever given that much space to fill with images. So the 144 square inches of design on the front of record sleeves became my go-to object for reference. The 1950s were a pivotal time for record art. The music industry was just beginning to establish rules for how the LP format could (and should) be merchandised, which left quite a bit of room for experimentation with cover graphics. Most were designed to appeal to Middle America, with a simple masthead across the top detailing the artist and title and, more often than not, a photograph of that artist to fill the space. But in some places — mainly Jazz releases, but also some Classical titles — a Modernist approach was able to seep into the lexicon. -
A+D Article Pp10-22
Alvin Lustig, American Modernist 1915–1955 Doug Clouse and Rita Jules Curators Loan Exhibition at The International Art + Design Fair 2007 An accomplished designer of books, furniture, and interiors, Alvin Lustig was one of the first American graphic During his lifetime, Lustig’s designs for interiors, textiles, furniture, and architecture received as much atten- designers to enrich his work with the attitudes and experiments of modern art. Influenced by European tion as his graphic design, if not more so. From an early age, Lustig was sensitive to his physical environment modernism through friends and teachers such as Richard Neutra, Galka Scheyer, and Kem Weber, Lustig began and its possibilities for transformation, beginning with the bedroom he repainted, when he was a teenager, in his professional life designing books and magazines in a modern idiom.1 He did not limit himself to graphic tones of black, tan, and rust, much to the curiosity of his neighbors.3 Sadly, most of his interiors have been design for long, however, as his ideological ambitions and intellectual restlessness led him to try his hand at dismantled and his furniture is now rare. This exhibition of photographs and surviving objects enables us to designing everything from textiles to a helicopter. He earned widespread attention and respect for his confident examine the range of Lustig’s three-dimensional work and, in combination with examples of his graphic design, expression of contemporary artistic and intellectual concerns. to explore the full extent of his modern vision. Lustig was deliberate about his strategy of mining painting and sculpture for form and meaning, and he •ºº• was very clear about the relationship he wanted to establish between art and design. -
The Early Years of Graphic Design at Yale University Rob Roy Kelly 1989
The Early Years of Graphic Design at Yale University Rob Roy Kelly An expanded and revised version of the Yale University was the first in this country to establish a degree keynote address presented at the Graphic program in graphic design.1 The term “graphic design” had been Design Education Association Conference, used earlier by professionals including William Dwiggins, Alvin Chicago, Illinois, June 23, 1989. Lustig, Herbert Bayer, Ladislav Sutnar, Lester Beale, and William Golden. During the 1930s, there was a high school program in graphic design at Brooklyn taught by Leon Friend who also co- authored a book titled Graphic Design.2 Alvin Lustig taught a summer course at Black Mountain college called graphic design prior to coming to Yale. Institutions such as Cooper Union, Cranbrook, and the Institute of Design offered courses in graphic design, but not a degree. The Yale pro- gram was unique at the time, and its graduates were instrumental to establishing the profession of graphic design in the United States 1 Yale did not invent graphic design. Its during the 1960s. The origins and early years of graphic design at origins are European and date back to the Yale University are therefore of historic importance. turn of the century. Before the 1960s in The defining years were between 1950 and 1955, when the America, graphic design perhaps was program was established, took shape, and set a course. Between more of a label than a profession, but by 1955 and 1965, it matured, and the majority of graduates moved the 1960s, graphic design was clearly a profession. -
Thomas A. Goldwasser Rare Books T Catalogue 24
Thomas A. Goldwasser Rare Books T Catalogue 24 Index Artist Books, Fine Press, Illustration, Photography: See items: 1,2,4,5,8,9,11,14,16,18-21,27,32,39,51,52,63, 78, 82, 88-90,98-117,128-9,158,167,185, 108-9,218-223, 234-5,239, 241-2 Letters and manuscripts: See items 3, 44, 56, 76, 11-116, 123, 130, 149, 194, 213, 216, 228, 230, 236-7, 247, 250. Also see our catalogue 23 "Autographs, Manuscripts, documents" 156 items, available on request, and published on our website. Music: See items 39, 279 natural History: See items 62, 77, 158, 181, 184 TERMS OF SALE: Sales tax added for California residents. Libraries may be billed to suit their budgets. Mastercard, Visa, and American express accepted THomas A. GoLdwasser Rare BookS 5 Third Street, Suite 530 San Francisco, CA 94103 Tel. (415) 292-4698 Fax (415) 292-4782 www.goldwasserbooks.com [email protected] Acconci, Vito. Double Bubble. Poems by Vito Hannibal Acconci [and] e. Lagomarsino. [new York: e. Lagomarsino, 1966]. First edition. orig- inal wrappers, fine. Acconci’s scarce first book. He had studied with Mark Strand at the Iowa writers workshop and began his career as an experimental poet, before becoming a performance artist, sculptor, 1 and architect. $3,000.00 Adam, Helen. Ballads. Illustrated by Jess. Preface by robert duncan. new York: Acadia Press (1964). original wrappers, fine copy. First edi- tion, one of 50 copies, numbered and signed by the author and artist “restoring cover design and two drawings from the illustrator’s original book plan”. -
The Book As Object and Concept in American Poetry After Modernism
The Book as Object and Concept in American Poetry after Modernism Chelsea Jennings A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Jessica Burstein, Chair Thomas Lockwood Brian Reed Program Authorized to Offer Degree: Department of English © Copyright 2014 Chelsea Jennings University of Washington Abstract The Book as Object and Concept in American Poetry after Modernism Chelsea Jennings Chair of the Supervisory Committee: Associate Professor Jessica Burstein Department of English This dissertation argues that the printed book—as a unit of meaning, a sculptural and visual object, and a consumer good—has been important to American poetry after modernism, and in particular to writers who directly engage the materiality of language in their poetry. In postwar poetry criticism, the “material text” is much discussed but often remains abstract: an emphasis on language as a medium tends to eclipse the literal sense in which texts are made of matter. This dissertation contends that in American poetry a self-consciousness about the materiality of language has been intimately related to experiments with the physical features of the book. It focuses on the work of four poets—Ezra Pound, Jack Spicer, Susan Howe, and Anne Carson— who exemplify this dual interest in materiality, and who, because they move beyond the isolated lyric toward book-length compositions, also implicate the conceptual force of “the book” in their poetry. The dissertation’s first section, “Production,” is situated in the small press printing revolution of the 1950s and 1960s. Its chapters on Pound and Spicer demonstrate how the material features of book-objects (including paper, binding, typography, and images) point to production and distribution contexts and, in so doing, to larger systems of literary and economic value that become an interpretive framework for reading the poetry these books contain. -
Recovering the History of Graphic Design: the Voice & Vision of Elaine Lustig Cohen
Rochester Institute of Technology RIT Scholar Works Theses 6-2014 Recovering the History of Graphic Design: The Voice & Vision of Elaine Lustig Cohen Megan Moltrup [email protected] Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Moltrup, Megan, "Recovering the History of Graphic Design: The Voice & Vision of Elaine Lustig Cohen" (2014). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. The Rochester Institute of Technology ! College of Liberal Arts ! ! ! ! ! ! ! ! ! ! Recovering the History of Graphic Design: ! The Voice & Vision of Elaine Lustig Cohen ! ! ! ! ! ! ! ! ! ! A Thesis Submitted in Partial Fulfillment ! of the Bachelor of Science Degree ! In Museum Studies ! ! ! ! Performing Arts and Visual Culture Department ! ! ! ! ! ! ! ! By Megan Moltrup ! ! ! ! June, 2014! ! !Table of Contents: ! ! I. Introduction ! II. Graphic Design History ! III. Women in Archives ! IV. Elaine Lustig Cohen ! V. Rationale for Inclusion ! VI. Archives and Exhibitions ! VII. Elaine Lustig Cohen Archive and Exhibitions ! VIII. Exhibition – Elaine Lustig Cohen: Her Voice & Vision ! IX. Conclusion! X. Works Cited ! XI. Appendix ! !A. Exhibition Journal ! !B. Exhibition Photos ! !C. Labels ! ! ! ! ! ! ! ! "2 I.! Introduction ! !Archives contain records and documentation of people who are considered to be of importance in their fields. If deemed irrelevant or unimportant to the historical development of a discipline, a person’s body of work may not be collected by an archive. For this reason, many women have been excluded from the history of graphic design.