
Design Literacy: Understanding Graphic Design

The most significant change in Vogue from the 1960s to the 1980s was its shift from bold elegance to striking sensationalism. Reversed type and other strong typographic devices (such as torn edges and screaming headlines) borrowed from the sensationalist press were used to accentuate motion, catch the eye, and communicate the message.
Steven Heller • Design Literacy: Understanding Graphic Design
“Some wars are necessary evils,” he once wrote, “but Vietnam was stupid.”
Steven Heller • Design Literacy: Understanding Graphic Design
Lubalin’s was not design for design, but design for communication.
Steven Heller • Design Literacy: Understanding Graphic Design
Lustig imposed his formal preconceptions and designed the magazine as he would a book.
Steven Heller • Design Literacy: Understanding Graphic Design
Berlin dada group,
Steven Heller • Design Literacy: Understanding Graphic Design
white and black militants were threats to a movement that most liberals of the day were unwilling to criticize.
Steven Heller • Design Literacy: Understanding Graphic Design
it was not only wrong but also “uneconomical from the aesthetic point of view” merely to borrow or separate from context without understanding the factors that brought an original into being.
Steven Heller • Design Literacy: Understanding Graphic Design
Brodovitch, the acclaimed art director for Harper’s Bazaar,
Steven Heller • Design Literacy: Understanding Graphic Design
Fabian Society