Letraset: The DIY Typography Revolution, edited by Adrian Shaughnessy and Tony Brook of Unit Editions, is the first comprehensive history of Letraset, the rubdown lettering system "that revolutionized typographic expression." Hellers talks with Shaughnessy about what was at the bottom and top of that revolution.
English cartoonist/illustrator Arthur Wragg (1903–1976) produced books on Christian Socialist themes, primarily between the two World Wars. The pieces in his book Jesus Wept are attacks on politicians and warmongers who claim that God is on their side.
These days when we think Russia, we think election tampering, Putin authoritarianism and the future of peace and well-being. As a respite from the tension, there is a certain irony in the admiration for Russian post-revolutionary posters, especially those representing the triumph of the working class designed by Gustav Klutsis. This month !Productive Arts!...
Do we really need another book-length history of manga? Especially so soon on the heels of John Lent’s excellent Asian Comics, published just a few years ago? Turns out, yes. Mangasia: The Definitive Guide to Asian Comics, by comics expert Paul Gravett, is a very important addition, with a great deal to recommend it.
Heller shares a selection of work by Arthur Wragg, an illustrator who is perhaps best known for his books with religious themes published by Selwyn & Blount—such as Jesus Wept (1935).
One of the most controversial subway posters to hang in NYC was a famously searing portrait of Che Guevara. Starting this week, it will hang in the space that will contain Poster House, a new museum on West 23rd Street in Manhattan, devoted to the art of the poster.
Obsessed with dots? You're in luck. From 1950s-era Harvey Comics' Little Dot to shows by avant-garde art’s latest superstar, Yayoi Kusama, the concept of dots in endless, relentless repetition is alive and prospering.
William M. Patton's Paper and Press Illustrated Monthly provided its audience of printers, binders and affiliated commercial artists a vivid view of the fashionable styles of the day through its editorial and advertising pages.
Girder was among the genre of geometric square serif faces frequently found in advertisements of the 1930s. The specimens here highlight that streamlined, early modernistic style.
During its heyday, the Malik-Verlag—a left-wing publishing house in Berlin—was a powerful influence on the development of satire in writing and graphic design in layout.