Chapter 24

24-100. Jim Sherraden, Hatch Show Print, “Triple Elvis,” blind embossed wood type, photoplate, original woodblock

24-101. Jim Sherraden, Hatch Show Print, “Acuff Red,” combination of original Grand Ole Opry wood blocks

24-102. Jim Sherraden, Hatch Show Print, “Eyes of Hatch,” contemporary carved features from original woodblocks

24-103. Jim Sherraden, Hatch Show Print, “Abstract Alphabet, “gothic typeface printed on paper, mounted on various heights of wood

24–1. Susan Kare, screen fonts for the Macintosh computer

24–2. Sumner Stone, digitized data for Stone Medium b

24–3. April Greiman, poster for the Los Angeles Institute of Contemporary Art

24–4. April Greiman, graphic imagery for Design Quarterly, no. 133

24–5. Rudy VanderLans, cover for Emigre, no. 11

24–6. Glenn A. Suokko (designer) and Emigre Graphics, cover for Emigre, no. 10

24–7. Zuzana Licko, digital typefaces

24–8. Katherine McCoy, Cranbrook recruiting poster

24–9. Edward Fella, mailer for Detroit Focus Gallery

24–10. Edward Fella, announcement for a lecture

24–11. David Carson (art director) and Pat Blashill (photographer), “Hanging at Carmine Street,” Beach Culture, a magazine focusing on West Coast watersports

24–12. David Carson (art director) and John Ritter (photographer), “Is Techno Dead?,” Ray Gun

24–13. David Carson (art director) and Chris Cuffaro (photographer), “Morrissey: The Loneliest Monk,” Ray Gun

24–14. Fred Woodward (art director and designer) and Andrew Macpherson (photographer), “Sinead O’Connor…,” Rolling Stone

24–15. Fred Woodward (art director), Gail Anderson (designer), and Matt Mahurin (photographer), “The Making of the Soviet Bomb,” Rolling Stone

24–16. Erik Adigard/MAD (designer), John Plunkett, Barbara Kuhr (art directors), Wired magazine contents spread with publishing mission, premiere issue, March 1994

24–17. John Plunkett, Barbara Kuhr (designers and art directors), Wired magazine, front-of-book spread.

24–18. John Plunkett, Barbara Kuhr (designers and art directors), Wired magazine feature spread, July 1994

24–19. Kit Hinrichs (Pentagram), @issue magazine, c.1997–2003

24–19. Kit Hinrichs (Pentagram), @issue magazine, c.1997–2003

24–19. Kit Hinrichs (Pentagram), @issue magazine, c.1997–2003

24–20. Abbott Miller, “How to Pass, Kick, Fall and Run,” 2wice magazine

24–20. Abbott Miller, “How to Pass, Kick, Fall and Run,” 2wice magazine

24–20. Abbott Miller, “How to Pass, Kick, Fall and Run,” 2wice magazine

24–21. Martin Venezky/Appetite Engineers, cover of the Sundance Film Festival Identity and Film Guide

24–22. Martin Venezky/Appetite Engineers, spread from the Sundance Film Festival program

24–23. Sumner Stone, the Stone type family

24–25. Robert Slimbach, typefaces

24–26. Robert Slimbach and Carol Twombly, Myriad, a two-axis multiple-master font

24–27. Emigre fonts

24–28. Matthew Carter, typeface designs

24–29. Matthew Carter, Walker typeface

24–30. Matthew Carter, Yale Design, roman and italic

24–31. Matthew Carter, Yale Administrative, roman and italic

24–32. Matthew Carter, Yale Street

24–33. Gerard Unger, Capitolium type family

24–33. Gerard Unger, Capitolium type family

24–34. Frank Blokland, DTL Haarlemmer

24–35. Petr van Blokland, Proforma

24–36. Erik Spiekermann, Erik van Blokland, Ralph Oliver du Carrois, Axel family

24–37. Jonathan Hoefler and Tobias Frere-Jones, Gotham typeface

24–38. Nadine Chahine, Koufiya typeface

24–39. Nadine Chahine, Frutiger Arabic

24–40. Nadine Chahine, Neue Helvetica Arabic

24–41. Pat Gorman of Manhattan Design, MTV press kit cover

24–42. Woody Pirtle, digital illustration for Mead Paper Company

24–42. Woody Pirtle, digital illustration for Mead Paper Company

24–42. Woody Pirtle, digital illustration for Mead Paper Company

24–43. April Greiman, “Shaping the Future of Health Care” poster

24–44. Bill Hill and Terry Irwin (creative directors) and Jeff Zwerner (designer), MetaDesign San Francisco (design firm), VizAbility interactive CD-ROM screen design

24–45. Jessica Helfand (creative director), Melissa Tardiff (art director), Jessica Helfand Studio; Interactive Bureau (agency); John Lyle Sanford (Discovery Channel design director), Discovery Channel website

24–46. Clement Mok and Brian Forst (designers), Scott Peterson (photographer), and Studio Archetype (design studio), iQVC main categories screen for Internet shopping

24–47. Bob Aufuldish, fontBoy interactive catalogue website title page

24–48. April Greiman, RoTo Architects website

24–49. RenderMonkey, home page, Color Chart: Reinventing Color, 1950 to Today

24–50. RenderMonkey, inside page, Color Chart: Reinventing Color, 1950 to Today

24–51. Erik Adigard, “Money Is Just a Type of Information,” Wired, July 1994

24–52. Erik Adigard, HotBot logo

24–53. Aaron Koblin, dynamic visualizations for flight patterns

24–53. Aaron Koblin, dynamic visualizations for flight patterns

24–54. Thomson Reuters, story layout from the Wider Image iPad application

24–55. Thomson Reuters, information graphic from the Wider Image iPad application

24–56. Danny Yount, main title design for Kiss Kiss Bang Bang

24–56. Danny Yount, main title design for Kiss Kiss Bang Bang

24–56. Danny Yount, main title design for Kiss Kiss Bang Bang

24–56. Danny Yount, main title design for Kiss Kiss Bang Bang

24–56. Danny Yount, main title design for Kiss Kiss Bang Bang

24–56. Danny Yount, main title design for Kiss Kiss Bang Bang

24–56. Danny Yount, main title design for Kiss Kiss Bang Bang

24–56. Danny Yount, main title design for Kiss Kiss Bang Bang

24–56. Danny Yount, main title design for Kiss Kiss Bang Bang

24–56. Danny Yount, main title design for Kiss Kiss Bang Bang

24–57. Pentagram (Lisa Strausfeld), dynamic display of financial information for the Bloomberg LP headquarters in New York

24–57. Pentagram (Lisa Strausfeld), dynamic display of financial information for the Bloomberg LP headquarters in New York

24–57. Pentagram (Lisa Strausfeld), dynamic display of financial information for the Bloomberg LP headquarters in New York

24–58. Pentagram (Paula Scher), environmental graphics for Bloomberg LP corporate headquarters

24–58. Pentagram (Paula Scher), environmental graphics for Bloomberg LP corporate headquarters

24–58. Pentagram (Paula Scher), environmental graphics for Bloomberg LP corporate headquarters

24–59. Pentagram (Paula Scher), environmental graphics for the New 42nd Street Studios

24–59. Pentagram (Paula Scher), environmental graphics for the New 42nd Street Studios

24–59. Pentagram (Paula Scher), environmental graphics for the New 42nd Street Studios

24–60. Pentagram (Paula Scher), painted exterior of the Lucent Technologies Center for Arts Education, a school affiliated with the New Jersey Performing Arts Center in Newark

24–60. Pentagram (Paula Scher), painted exterior of the Lucent Technologies Center for Arts Education, a school affiliated with the New Jersey Performing Arts Center in Newark

24–61. Ruedi Baur, design of the façade and signage for the Esisar school

24–62. Karel Martens, façade design for the Veenman Printers building, Ede, the Netherlands

24–63. Shuichi Nogami, poster for the architectural firm Shiki

24–64. Shinnoske Sugisaki, poster for the exhibition Mackintosh and the Glasgow Style

24–65. Ralph Schraivogel, “Henry van de Velde,” poster

24–66. Melchior Imboden, poster for the Swiss exhibition 30 Jahre Chäslager Stans

24–67. Pentagram (Paula Scher), poster for the 1995–96 season of the Public Theater, New York

24–68. Pentagram (Paula Scher), poster for the Public Theater’s productions of Hamlet and Hair

24–69. Pentagram (Paula Scher), poster for the Public Theater’s productions of Twelfth Night and The Bacchae

24–70. Jennifer Morla, poster for AIGA/Landor Associates

24–71. Jennifer Morla, El Museo Mexicano promotional poster

24–72. Skolos, Wedell + Raynor, posters for Berkeley Typographers

24–72. Skolos, Wedell + Raynor, posters for Berkeley Typographers

24–72. Skolos, Wedell + Raynor, posters for Berkeley Typographers

24–73. Skolos, Wedell + Raynor, poster for Delphax Fonts

24–74. Skolos-Wedell, poster for the Lyceum Fellowship competition

24–75. Skolos-Wedell, poster honoring Matthew Carter as a AIGA Boston fellow

24–76. Skolos-Wedell, poster for Public Bike

24–77. Skolos-Wedell, poster commemorating Frederic Chopin’s two hundredth birthday

24–78. Catherine Zask, poster for the Orchestre philharmonique de Strasbourg

24–79. Catherine Zask, poster for Les Étoiles de la Scam

24–80. Catherine Zask, Hearth, poster

24–81. Peter Bankov, poster for the exhibition Jan Kounelis, in Perm, Russia

24–82. Peter Bankov, “Tuluze,” poster for a campaign in honor of Henri de Toulouse-Lautrec, Nizhny Novgorod, Russia

24–83. Peter Bankov, “NY SVbanksA,” poster for the retrospective exhibition Underground Images: School of Visual Arts, New York City Subway Posters 1947–2014, Moscow, Russia

24–84. Hans Dieter Reichert. Cover and jacket for baseline magazine

24–84. Hans Dieter Reichert. Cover and jacket for baseline magazine

24–85. John Warwicker, poster for Tokyo Type Director’s Club

24–86. Mirko Ilic, shaped text spread for Elvis + Marilyn 2X Immortal

24–87. Władysław Pluta, poster for the exhibition Pollnische Plakate des 21. Jahrhunderts (Polish Posters of the Twenty-First Century)

24–88. Michael Bierut and Marian Bantjes (b. 1963), poster for the Seduction Symposium

24–89. Helmut Schmid, poster for the exhibition On Typography, at Kobu Design University, Japan

24–90. Koeweiden-Postma, visual identity and posters for Marhaba

24–90. Koeweiden-Postma, visual identity and posters for Marhaba

24–91. Max Kisman, poster celebrating a century of Henri de Toulouse-Lautrec

24–92. Thonik, “n8,” poster

24–93. Niessen & de Vries, poster celebrating the seventieth anniversary of the French railway SNCF

24–94. Alan Kitching, “Hamlet I,” letterpress edition print

24–95. Alan Kitching, “Blood, Toil, Tears, and Sweat,” letterpress edition print

24–96. Hammerpress (Brady Vest), concert poster for the band Yo La Tengo

24–97. Hammerpress (Robert Howsare and Brady Vest), poster for the band Explosions in the Sky

24–98. Jim Sherraden, Hatch Show Print, “Type,” combination of four letters from 1885 era wood type, opaque and transparent ink

24–99. Jim Sherraden, Hatch Show Print, “Quilted One Sheet,” printed sections from original woodblocks