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.

“Some wars are necessary evils,” he once wrote, “but Vietnam was stupid.”

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

Lustig imposed his formal preconceptions and designed the magazine as he would a book.

Berlin dada group,

white and black militants were threats to a movement that most liberals of the day were unwilling to criticize.

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.

Brodovitch, the acclaimed art director for Harper’s Bazaar,

Fabian Society