Design Literacy: Understanding Graphic Design

“com-mix,” a combination of a conventional visual language (that is, the panel and balloon motif that dates back to the late nineteenth century) and scabrous story- and gag-lines heretofore banned from mainstream comic books.

weekly pasteup night at the East Village Other (EVO) as “a dada experience.”

“We printed subway and wall posters showing covers of the magazine with the tagline, ‘Join the Underground,’” recalled Jordan.

Ramparts was the voice of the political left and Evergreen was the voice of the cultural left.

would develop a graphic style that challenged the prevailing ethic of functionalism imported from Europe (during the Bauhaus immigration), practiced by some leading American corporate and advertising designers, and manifest in work by exponents of the Swiss International Style.

Lubalin’s was not design for design, but design for communication.

Herb Lubalin (1918–1981). From the late 1950s to the early 1970s he was American typography.

George Lois’s Esquire covers produced from 1962 to 1971 are icons of graphic art, publishing, and American history.

Preoccupation with the graphic communication of scientific phenomenon and theory dominated Burtin’s practice.