Trump infects the body politic's mind to such a degree that now we even have a typeface in his image. Meet Trump Grotesk by John Foster & Gary Cunliffe.
Excelsior was originally a popular movie magazine that published in Milan in Madrid from 1927 to 1937. Heller takes a look at a special issue that broke…
If you saw a swastika on a book, magazine or flyer what would you do? What about the images here? What comes to mind? How do you respond?
The techniques of disruption are not new to the Putin and Trump regimes. Soviet propaganda of the postwar years turned its media towards the war weary German’s to persuade the majority in the Western sector to favor the East in the hot-cold war that was simmering between Western and Soviet powers. “Their main purpose...
Rob Rogers has created editorial cartoons for the Pittsburgh Post-Gazette for quite some time. But that may be changing due political differences within…
The weeks following the 2016 Presidential election saw an unprecedented rise in hate speech, hate crimes, vandalism and violence against minorities and people of color. Vicki Meloney, an Associate Professor at Kutztown University, took notice and decided to make a change, thus Replace-the-Hate was born.
The American Edwin Hooper Denby (1873/74–1957) was an architect and member of the architectural firm, Denby and Nute, where he designed typefaces as well as structures. The pages HERE represent his "symposium" on the importance of his all cap typeface for monumental statements.
When the marketing of the counter-culture was hot, a "subterranean" magazine in paperback form was published by none less than Signet Books (NAL), then under the ownership of the LA Times. The book reflected the turbulent 1960s and featured articles on The Black Panthers, the Vietnam War, and more.
Former Secretary of State Madeleine Albright has sounded a cautious alarm in a New York Times Op Ed essay and prelude to her current book, Fascism: A Warning. Here's how some designers, graphic artists and filmmakers have mobilized their talents to remind their communities of the dangers of symbols of hatred.
When Steven Heller was 16 years old, he did everything imaginable to get his drawings printed in Evergreen Review, which already published Robert Grossman, Brad Holland, Tomi Ungerer, Edward Sorel and others. By the time he was 19, he was briefly its art director.