research about hand made graphic design

student: Pritychenko Elizaveta professor: Claude Marzotto

contents

contents 3 intro 4 Lascaux caves The Voynich Manuscript Art Nouveau Dada 13 Willem Sandberg Polish School of Poster Psychedelic Posters Punk Design Ed Fella 37 David Carson Stefan Sagmeister Physical Typography sources 59

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intro Graphic design is everywhere. It surrounds us at any place and any time, on special events and in everyday life, good and bad, visible and invisible. I want to talk about the opposite of invisible design, which theory and philosophy were enlighted in “Crystal Goblet” essay of Beatrice Warde. I want to talk about hand made graphic design. Hand-made cannot be invisible a priori. It always keeps and reveals the unique imprint of it’s creators personality, style, skills and etc., everything. Hand made graphic designs may differ one from each other: it can be a part of aggressive, underground counterculture or it may be sweet, soft and very well sold, it can be a natural result of it’s time tendencies, techniques and materials, or it can be a reaction on digitalization, it may be created on the dawn of graphic design or nowadays, but the one thing that these designs have in common - is that the general part of them is made without using machines.

Machines don’t play the main part in creation of this kind of graphic design, or are even refuted. So it’s not a transparent window to look through, it becomes a mirror with a reach decoration, that reflects exactly content and designer, and the decoration changes depending a person, that is looking in the mirror. For me, some ideas of hand made graphic design are very well enlighted in “warm printing” of Willem Sandberg and DIY philosophy: 1. Design should show that it was made by a human.

2. You can do everything by yourself.

Hand made graphic design is always born in curiosity and experiments. Experiments are very important in creation, because best ideas come alive as a result of trying and invention of new techniques, materials and ways of graphic communication. Graphic design was actually born being handmade - in ancient caves, when human discovered the colours.

The general treat of most part of hand made graphic design is imperfection. Human itself is imperfect, it is not a machine and cannot control everything, so everything that is created directly by hands generally has got some flaw, human cannot draw a perfectly straight line for example. So hand made graphic design 4

is humane in some degree.

The main goal of my research is to investigate the phenomenon of graphic design through different times, beginning with ancient times and finishing nowadays.

Thank you for attention!

So let’s start.

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Lascaux caves France

15,000 - 10,000 BC

To understand, when hand-made graphic design started, we need to know when graphic design started, and to understand when graphic design started, we need to find out what graphic design is.

Dictionary.com defines graphic design as “the art or profession of visual communication that combines images, words, and ideas to convey information to an audience.�

In other words, it is creating the message by means of graphics. So it would be logical to assume that graphic design appeared when human discovered tools of visual communication such as paints/pigments, the ways of stone engraving and etc.

The first known visual communication, with pictographs and symbols is the Lascaux caves in southern France, in 15,000 - 10,000 BC. It is recognized as milestone of history of art in general and of graphic design particularly. The cave contains nearly 2,000 figures, which can be grouped into three main categories — animals, human figures and abstract signs. Notably, the paintings contain no images of the surrounding landscape or the vegetation of the time. Most of the major images have been painted onto the walls using mineral pigments, although some designs have also been incised into the stone. Many images are too faint to discern, and others have deteriorated entirely.

So This can be considered as the first known appearing of iconograms in history. Obviously, all the paintings of Lascaux caves are made by hand, because that time no machines, typographical or other else existed. The pigments used to paint Lascaux and other caves were derived from readily available minerals and include red, yellow, black, brown, and violet. No brushes have been found, so in all probability the broad black outlines were applied using mats of moss or hair, or even with chunks of raw color. The surfaces appear to have been covered by paint blown directly from the mouth or through a tube; color-stained, hollowed-out bones have been found in the caves.

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The Voynich Manuscript Europe

between 1408 and 1438

The Voynich manuscript, described as “the world’s most mysterious manuscript”, is a work which dates to the early 15th century, possibly from northern Italy. It is named after the book dealer Wilfrid Voynich, who purchased it in 1912.

Some pages are missing, but the current version comprises about 240 vellum pages, most with illustrations. Much of the manuscript resembles herbal manuscripts of the time period, seeming to present illustrations and information about plants and their possible uses for medical purposes. However, most of the plants do not match known species, and the manuscript’s script and language remain unknown and unreadable.

Possibly some form of encrypted ciphertext, the Voynich manuscript has been studied by many professional and amateur cryptographers, including American and British codebreakers from both World War I and World War II. As yet, it has defied all decipherment attempts, becoming a cause célèbre of historical cryptology. The mystery surrounding it has excited the popular imagination, making the manuscript a subject of both fanciful theories and novels. None of the many speculative solutions proposed over the last hundred years has yet been independently verified.

All the text in the book is written by hand, probably ink on the paper, and so are drawn the illustrations.

The Voynich manuscript is written in an unknown script.

Through radiocarbon dating, the researchers (2009, University of Arizona) were able to confirm that the Voynich dates back to sometime between 1408 and 1438, making it older than the Gutenberg Bible, that was printed in 1450s. So it means, that this book was made just a couple of decades before the printing press was invented. It is one of examples, how books were looking like before the idea of typography and graphic design appeared.

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Art Nouveau Europe

1890–1910

Art Nouveau was an innovative international style of modern art that became fashionable from about 1890 to the First World War. Arising as a reaction to 19th-century designs dominated by historicism in general and neoclassicism in particular, it promulgated the idea of art and design as part of everyday life. Artists should not overlook any everyday object, no matter how functional it might be.

This aesthetic was considered to be quite revolutionary and new, hence its name - New Art - or Art Nouveau.

Hence also the fact that it was applied to a host of different forms including architecture, fine art, applied art, and decorative art.

Rooted partly in the Industrial Revolution, and the Arts and Crafts Movement, but also influenced by Japonism (especially Ukiyo-e prints by artists like Hokusai and his younger contemporary Hiroshige) and Celtic designs, Art Nouveau was given a major boost by the 1900 Exposition Universelle in Paris. After this, it spread across Europe and as far as the United States and Australia, under local names like Jugendstil (Germany), Stile Liberty (Italy), Sezessionstil (Austria) and Tiffany style (America).

A highly decorative idiom, Art Nouveau typically employed intricate curvilinear patterns of sinuous asymmetrical lines, often based on plant-forms (sometimes derived from La Tene forms of Celtic art).

Floral and other plant-inspired motifs are popular Art Nouveau designs, as are female silhouettes and forms.

Employing a variety of materials, the style was used in architecture, interior design, glassware, jewellery, poster art and illustration, as well as painting and sculpture.

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Dada Switzerland — Germany

1916-1923

Dada or Dadaism was an art movement of the European avant-garde in the early twentieth century.

Dada is famous by it’s position of “anti-art” movement, it’s philosophy of nonsense, welcoming chaos and irrationality, rejection of logic and destruction of cultural and intellectual conformity. It had a strong social and political reason – dadaist believed that all the things that they were against of, caused IWW. Though this movement existed only for 4 years, It’s hard to overestimate it’s influence on visual arts, literature, music, theatre, and, especially, graphic design.

Two milestones and most significant treats of Dada graphic design are their innovative typography and layouts and using of photo collage and montage.

Though Dadaist typography was pretty experimental, the general aspects of it they adopted from italian futurists.

“Every page should explode, either because of its deep seriousness, or because of its vortex, vertigo, newness, timelessness, crushing humor, enthusiasm of its principles, or the way it is printed.”

Tristan Tzara, Dadaist manifesto

Like futurists, Dada artists were working in a very dynamic way: using extra-expressive letters, which were represented with bold, thick, and some times san serif typefaces, that did not carry the legibility but required the attention to themselves. They were also experimenting a lot with line and letter spacing, and setting typefaces vertically, horizontally and diagonally, that created an effect of a huge mess.

The main difference from futurists in this case was that futurists were using such methods to express the dynamics, speed, and sounds through letters, so they were doing it on purpose, visual part was connected with meaning; dadaists, however, did not put any meaning in their layouts. Typography was completely independent

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from content, the text was made just for being an imagery itself. Dada did not want the reader to look “through” words to decipher the meaning of the text, it wanted to compel the readers to look “at” the shape of typeface in its explosive layout.

Hand made played a significant role in Dada experiments, revealing through their photo collages.

The dadaists further developed the collage technique recently discovered by Pablo Picasso and Georges Braques in Paris. Like the cubists, the dadaists pasted papers, fabric and other two-dimensional materials to their works, breaking down the barrier between art and everyday life. An interesting fact is that they were using outer sources of media: ready-printed books, pictures from magazines and etc., the collages of Hannover dadaist Kurt Schwitters, for example, included such items as transportation tickets, calendars, candy wrappers, lace, printed pamphlets, maps, and other disposable ephemera collected in the course of the artist’s daily outings. Collaged together, they formed a chaotic visual diary of modern life.

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Willem Sandberg Holland

1940s — 1950s

No graphic design history is complete without the inclusion of Jonkheer Willem Jacob Henri Berend Sandberg (1897-1984). With a career that started in prewar Holland, Will Sandberg provides a link between Piet Zwart and H. N. Werkman before him and Wim Crouwel, Jan Bons, Otto Treumann and Benno Wissing who followed.

His most renowned work, more than 270 posters and 250 catalogues, was produced in his spare time after 1945, when at the age of 48 he was appointed director of the Stedelijk Museum in Amsterdam. It was in this role that he introduced contemporary art to postwar Holland and helped to build up one of the best collections of modern art in Europe.

As a designer, he produced work that is characterised by bold type (described by Jan Bons in terms of their ‘cheerful simplicity’) and vivid colours; and his use of recycled and kraft paper, and signature torn paper forms was innovative and influential. Some synthesis of the opposition of hand against machine, and rough against smooth, appeared in his work - Sandberg had a similar do-it-yourself, intentionally direct, even confrontational, attitude to accepted commercial methods.

One of the most important factors in his work is his choice of raw materials, the great care taken in sleeting things such as tracing paper, the Kraft paper, textile swatches and rough sugar paper for their feel, as well as for their visual peculiarities of texture and colour. His use of these sensual elements creates a sense of the accidental and makes each catalogue exquisitely individual and unique.

From 1943 to 1945, while hiding from the Germans and working for the underground resistance, Sandberg produced the basis for Experimenta typographica, a series of print experiments in form, space, and tone presented in eighteen short, mostly handmade, books that were finally published in the 1950s and subsequently inspired his later work. These experiments included unjustified text settings and sentence fragments composed freely, with varying type weights and styles

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for visual interest or emphasis. They are void of symmetry and use bright colors, strong contrasts, and subtle tones for rhythm and pacing. Crisp sans serif typography is combined with large-scale, torn-paper, collaged letterforms with rough, irregular edges.

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Polish School of Poster Poland

1950s — 1980s

Posters are very important in the Polish culture.

During the Communist regime they were probably the only colorful things one would see in the streets. By the Mid-Fifities, the fierce Stalinist approach was somewhat relaxed, and some artistic expression were tolerated.

There were two main institutions responsible for commissioning poster designs: Film Polski (Polish Film) and Centrala Wynajmu Filmow – CWF (Movie Rentals Central). They commissioned not graphic designers but artists and as such each one of them brought an individual voice to the designs. Three important remarks must be made.

First, at the time the poster was basically the only allowed form of individual artistic expression.

Second, the state wasn’t concerned much with how the posters looked.

Third, the fact that the industry was state-controlled turned out to be a blessing in disguise: working outside the commercial constraints of a capitalist economy, the artists could fully express their potential. They had no other choice but to become professional poster designers and that’s why they devoted themselves so thoroughly to this art.

The Polish film poster is artist-driven, not studiodriven. It is more akin to fine art than commercial art. It is painterly rather than graphic. What sets the Polish poster apart from what we’re used to see in the West is a general disregard for the demands of the big studios. The artists requested and received complete artistic freedom and created powerful imagery inspired by the movies without actually showing them: no star headshots, no movie stills, no necessary direct connection to the title.

In the 1960s, one of the trademark features of the

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celebrated Polish poster was the use of handwriting.

This was, in part, a matter of necessity: Polish designers had no access to the letterforms being issued for phototypesetting. At the same time, lettering in the posters and designs by figures such as Henryk Tomaszewski carried an implied critique of communist authority. In a bureaucratic world filled with forms, dockets and regulations, type was an ally of illegitimate power; whereas the spontaneous, uncertain, even shaky, hand-lettering accompanying Tomaszewski’s quick-fire drawings seemed to side with the ordinary man. During the 1980s, his calligraphic aesthetic became the house style of Solidarity, the anti-communist trade union in Poland.

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Psychedelic Posters California, USA

1960s

“Poster mania” took place in the 1960s as an American poster craze that embraced the social activist spirit of the young nation. Its grassroots beginnings came from self-trained designers and artists who gathered inspiration from art nouveau, comic book, and pop art, among other art movements. These posters used flowing curves, recycled images from popular culture, intense colors, swirling imagery and warped letterforms.

The posters related “anti-establishment values” and commented on social movements like civil rights, the Vietnam War, the women’s liberation and the search for alternate lifestyles. Artist Peter Max (with his “Love” poster), and David Lane (with his symmetrical, contour, simple lined posters) were two of the influential poster designers of the psychedelic poster mania.

The word ‘psychedelic’ means mind manifesting, thus, artistic efforts to depict the inner world of the psyche may be considered psychedelic. However Psychedelia refers above all to the art movement of the 1960s counterculture. Psychedelic arts were a counterpart to psychedelic rock music, and were initially used in concert poster design before quickly being applied to album covers, murals, comic books, fashion, and underground newspapers.

The 1960s brought the advent of fluorescent paints, which were used to achieve dazzling color effects; all of which introduced a new visual language of extreme color and kaleidoscopic space into contemporary culture.

Breaking long-established conventions of graphic design with their twisting, melting and distorted forms, Psychedelia reflected not only the kaleidoscopically swirling patterns of LSD hallucinations, but also revolutionary political, social and spiritual sentiments inspired by insights derived from these psychedelic states of consciousness.

One of the characteristics of poster design in the Psychedelic era is that the lettering was often manipulated and distorted from its base forms. Fonts by their nature work most practically when they have

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a simple, horizontal base and characters have regular size and positioning. Richly saturated colors in glaring contrast, elaborately ornate lettering, strongly symmetrical composition, collage elements, and bizarre iconography are all hallmarks of the San Francisco psychedelic poster art style.

By the end of the decade, one did not have to consume drugs to encounter a “trip�; the psychedelic aesthetic was soon to be experienced in the mainstream via stage design for TV shows such as The Ed Sullivan Show, and advertisers began to use the basics of psychedelic art to promote their products. These bright colors and swirling forms were considered appropriate for packaging various products.

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Punk Design UK, USA

late 1970s

“Dada has been against art; Punk was anti-design.�

The punk phenomenon (London, c. 1976) expressed a rejection of prevailing values in ways that extended beyond the music. British punk fashion deliberately outraged propriety with the highly theatrical use of cosmetics and hairstyles, clothing typically adapted or mutilated existing objects for artistic effect: pants and shirts were cut, torn, or wrapped with tape, and written on with marker or defaced with paint; safety pins and razor blades were used as jewellery.

Punk included elements of irony, absurdist humor and genuine suspicion of mainstream culture and values.

The DIY (Do it Yourself) aesthetic of punk created a thriving underground press.

The origins of Punk in the mid-1970s lay in the realities of disaffected working-class urban youth with little hope of employment, housing, and a meaningful future. The music, fashion and graphic design that emerged during this time was often concerned with political issues such as social injustice and economic disparity.

Usually straightforward, with clear messages, punk graphic design was often in black and white and often homemade using production techniques of cut-n-paste letterforms, photocopied and collaged images, handscrawled text. In the punk subculture, the DIY ethic is tied to punk ideology and anticonsumerism, as a rejection of the need to purchase items or use existing systems or processes. According to the punk aesthetic, one can express oneself and produce moving and serious works with limited means. This DIY aesthetic was applied to posters, album covers and low-tech fanzines such as Sniffin Glue, which contained crudely designed pages, graffiti-like insertions and typographic errors, as well as torn-out letters from other sources.

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Ed Fella USA

1980s — ...

Ed Fella is an artist, educator and graphic designer whose work has had an important influence on contemporary typography. He is best known for "deconstructing" type, messing it up, sometimes literally destroying it. His work contains a gridless typography. Fellas technique is outstanding due to the fact that he does everything by hand, a true artist, in every sense of the word. He was the first graphic designer to push the envelope and in a way go against what everyone was used to seeing from the Swiss typography. Fellas work is gridless, its freelance, its expression in a non-structured way. He has built a career of over 30 years in his profession of design still using pencils, ballpoint pens, crayons, knives, etc., refusing to use the computer, as a way of still capturing the purity and natural settings of our society.

Describing Fella as “vanguard master to a new generation of graphic designers,” critic Vince Carducci wrote in 2007 that, “Fella has created a body of work that’s as compelling as it is unique. Prodigiously mashing up low-culture sources with high-culture erudition, Fella’s work—perhaps more than that of any other contemporary designer—makes visible the postmodern concept of deconstruction, which recognizes that behind every articulated meaning is a host of other, usually repressed meanings, some antithetical. By battering and mixing fonts, engaging in visual puns and generally violating the tenets of ‘good design,’ Fella lets a thousand flowers bloom. His designs don’t cut through the clutter—they revel in it.”

One of his greatest works - Letters on America - is Ed Fella’s first published book. This book contains photographs, shot with a Polaroid camera, depicting decades of images Fella shot of “vernacular” (not made by people with formal design degrees) typography, during his annual car-trips across America. Photographs of highways, street-signs, random lettering, basically street culture, which have been set on a grid, nine to a page, to create one cohesive image. To create the pages, his wife, Lucy Bates searched through thousands

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of images to edit each page. The book illuminates a connection between one category of Fella’s influences and the rich body of hand-lettered art he has created.

Some pages in this book contain hand-drawn lettering in pen, which further demonstrates Fellas unique style and creativity. Early in his career, colleagues began to call Fella “The King of Zing” because of his facile hand and his free-style illustrations.

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David Carson USA

1990s — ...

David Carson is a graphic designer best known for his innovative magazine design and use of experimental typography. He was the art director for the magazine Ray Gun and Transworld Skateboarding magazine. Carson was perhaps the most influential graphic designer of the nineties.

By the late eighties he had developed his signature style, using “dirty” type and non-mainstream photographic techniques. He would later be dubbed the “father of grunge.”

"It’s not about knowing all the gimmicks and photo tricks. If you haven’t got the eye, no program will give it to you."

His unique style has been called illegible. Rules of design are constantly and consistently broken in Carson’s work. He would let typed lines run into each other, cross gutters, or be upside-down. He would layer type and image until neither was distinguishable on the page and even continued an article on the front cover of a magazine.

Carson has never believed that one must first know the rules in order to break them. With only a single class as training, he became art director for Transworld Skateboarding. He immediately found praise and a sort of cult following; however, advertisers were not willing to support his radical approach. Beach Culture was under the direction of Carson for three years until it ceased publication due to a lack of advertising.

Under his direction, Beach Culture won over 150 awards, including “Best Overall Design”. Carson is most well known for his work art directing the magazine Ray Gun. His design ideas were incorporated completely with the magazine.

The publication had no consistent typefaces or layouts; even the masthead was recreated for each issue. The result was a magazine that was strikingly fresh looking

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with every issue.

To Carson, image and type are the medium of expression.

His designs do not start out with the intention of being illegible or hard to read. The design begins as an expression to communicate the feeling or message of the article to the reader upon contact.

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Stefan Sagmeister 1990s — ...

USA

Stefan Sagmeister is a New York-based graphic designer and typographer currently living in Bali, Indonesia.

He has his own design firm—Sagmeister Inc.—in New York City. He has designed album covers for Lou Reed, OK Go, The Rolling Stones, David Byrne, Aerosmith and Pat Metheny.

“ In the early 90s, when the modernism revival started and many designers opted for cold, slick design, it seemed a natural reaction for us to go the other way. My feeling was that so many viewers are left untouched by the machine-like visuals out there that a more human approach seemed a smart alternative.”

When Stefan Sagmeister was invited to design the poster for an AIGA lecture he was giving on the campus at Cranbrook near Detroit, he asked his assistant to carve the details on to his torso with an X-acto knife and photographed the result. Sunning himself on a beach the following summer, Sagmeister noticed traces of the poster text rising in pink as his flesh tanned.

Now a graphic icon of the 1990s, that 1999 AIGA Detroit poster typifies Stefan Sagmeister’s style. Striking to the point of sensationalism and humorous but in such an unsettling way that it’s nearly, but not quite unacceptable, his work mixes sexuality with wit and a whiff of the sinister. Sagmeister’s technique is often simple to the point of banality: from slashing D-I-Y text into his own skin for the AIGA Detroit poster, to spelling out words with roughly cut strips of white cloth for a 1999 brochure for his girlfriend, the fashion designer, Anni Kuan. The strength of his work lies in his ability to conceptualise: to come up with potent, original, stunningly appropriate ideas.

Much of Sagmeister’s work has featured creative use of typography and his own handwriting has appeared so often that some have remarked it has almost become a typeface of its own.

When asked about the overall “style” of his firm,

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Sagmeister responded, “For a long time we prided ourselves not to have a style which to uphold became impossible. This is because if you really switch your stylistic approach from project to project, it is impossible to come up with a new one on a weekly or monthly basis, without ripping-off either historical styles or a particular designers’ style. Although it would not cover all of our work, I would say we are probably best known for our hand-made quality.”

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Physical Typography 1920s — ...

everywhere

In this modern technological age, it’s easy to disregard traditional methods of graphic design in favour of clean, quick software solutions. Yet software doesn’t allow much experimentation as accidents that could spark a new idea are quickly undone via a simple keyboard shortcut.

Nowadays, as the reaction on digitalization, purity and perfection of computer graphic form, there are are born lots of alternative ways to communicate visually.

Most famous is the postmodern movement, such artists as David Carson, Ed Fella and others were celebrating messy, chaotic, dirty graphic design, but still there is another field in which experiments are possible, and the direction to move. This is physical typography. It is experimental kind of typography, where the letters are not created on the computer, typed on typewriter machine or are even drawn. Physical typography consists of PHYSICAL shapes. It can be constructed from paper and cardboard in a model way or it can be made from already existing objects. It can be everything - fruits and vegetables, drawing tools like brushes and pencils, stripes, that airplanes leave in the sky, or even human bodies. The limit is only the person's imagination. In this case the letters leave the paper or the screen and start to breathe in a third, physical dimension. The limits of typography are totally pushed.

Let me introduce you some examples.

Rhett Dashwood did something many of us probably wish we had thought of first – or had the tenacity to pursue so thoroughly and complete so well. It took months to assemble each of these unique letters searching mile by mile on Google Maps throughout Victoria, Australia, to find significantly crisp, unique and varied land formations and built objects shaped like letters for this collection. Best of all, the list comes complete with the actual locations so you can see these spots for yourself using Google.

Hijack Your Life created casual-but-compelling real-life human font in a single photo shoot on an overcast beach

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in the Netherlands . Against the washed-out backdrop of water, beach and sky, the dark-clad figures stand out boldly to create a very legible typeface. Each letter requires at most two individuals, though some also utilize pieces of cloth (often caught up in the wind) to complete the picture.

As Amandine Alessandra points out on her portfolio website, “Ferdinand de Saussure only acknowledged two forms of writing: Alphabetic (letter form and phonetic based) and ideographic (based on pictorial symbols).

This ideographico-alphabetic type is only to be used to talk about the very specific chair the letter form is based on. ” In curious ways, Amandine plays at the intersection of printed, spoken and symbolized word – designing typographies using books filled worth words and selectively-hidden chairs that conceal and reveal letters.

Also Sagmeister, who I have mentioned before, is widely famous for his "hand-made quality" - working in physical dimension.

Though physical typography is common as an experimental design movement against machines, first example we can see in far-away twenties - in Lazslo MoholyNagy's Bauhaus book advert. It is a photograph if cast letterpress letters, that are composed into words "14 Bauhausbücher" (14 Bauhaus Books). The image is mirrored because cast type is always backward.

In such kind of work the most important part is played by photography. Even on the rise of photomontage, for example in El Lissitzky's designs, the photography was not the queen, it was only an additional part to letters that could exist without it. In physical typography there's no image without photography, because it is the only way to transfer the image from third to second dimension, on the paper. Or in the video in some cases.

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Hollis, Richard. Graphic Design: A Concise History (World of Art) [Paperback]. Thames & Hudson; 2nd Revised edition edition (20 Aug 2001) Kinross, Robert. Modern Typography, 2nd Edition [Paperback]. Hyphen Press; 2 edition (February 2004).

Eye Magazine issue #61, "Shock tactics" article.

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Eye Magazine issue #25, "Willem Sandberg: Warm printing" article.

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Poulin, Richard. The Language of Graphic Design: An Illustrated Handbook for Understanding Fundamental Design Principles [Hardcover]. Rockport Publishers (April 1, 2011). http://glimpsejournal.wordpress.com/. Nonko, Allison.

The Undecipherable Voynich Manuscript. February 21, 2011.

Brophy, Philip. Post Punk Graphics — The Displaced Present, Perfectly Placed. Stuffing No.3, Melbourne, 1990. http://www.typotheque.com/. Heller, Steven. Edward Fella: Letters on America. 29 March 2004. http://www.smashingmagazine.com/. Austoni, Andrea. The Legacy Of Polish Poster Design. January 17th, 2010. http://freedomonthefence.com/ http://guity-novin.blogspot.it/. Novin, Guity. Chapter 37 - the Polish School and the Polish Art of Opera, Film and Circus Posters. June, 2011. http://guity-novin.blogspot.it/. Novin, Guity. Chapter 45; Dadaism; The meeting point of all contradictions. August, 2011. http://www.designhistory.org/ http://www.visual-arts-cork.com/. Art Nouveau.

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copiright Š Pritychenko Elizaveta 2012 Milan, Italy

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