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The author throws in good typographical small talk, such as letting us know that Aldus Manutius was one of the first printers to punctuate text. He puts in humorous comments, too, such as saying that the art department is low on work when graphic designers put together character or word pictures to create, for example, that famous image of President Lincoln's face. Finally, he sets good typographic standards, such as avoiding back slanting type because it goes against reading flow; making quotes a size smaller than text; restricting vertical setting to a short line with otherwise horizontal type and vertical stacking to printing down book backbones; and using evocative typography and special effects in moderation. All this and more make for easy reviewing of typography as well as good reading along with Lewis Blackwell's TWENTIETH CENTURY TYPE REMIX, Robert Bringhurst's THE ELEMENTS OF TYPOGRAPHIC STYLE, and Jan Tschichold's TREASURY OF ALPHABETS AND LETTERING.
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The story is told from a young boy's point of view. When Uncle Frank shows up one day, he overstays his welcome. Why is he there? What is he looking for? When the boy and his family finally find out, everyone is in for a surprise...and I mean everyone!
Matthew McElligott combines clever and colorful illustrations with a "what-will-he-do-next" storyline. The little details hidden in the background of his illustrations made me laugh out loud! But don't believe me; read it for yourself!
by the advances of lusty women and a suspected pythoness. How could he retain his virginity when the octopus peddler seduces him on the isle where Sirens were reputed to entice young men.Poor Mark!In the end a shipload of frozen pizza is scorched by the scirocco, billows into a yeasty tidal wave which almost engulfs the parting ship., On board with the MBA, Mark signals a farewell kiss to bella Napoli.Addio! Bello!
Three cheers to the author/illustrator, Elaine Franks -
Whitford uses traditional pictures we all appreciate and understand to provide a strong starting point for the journey into the abstract.
Whitford's writing style is at once clear, erudite, educated, not without humor and irony, and always entertaining. He is never cynical or sarcastic, no matter how much this subject would seem to set up easy targets. Abstract art is serious business for those in the know, and this book gives us lay readers a chance to count ourselves in that group.
It performs a valuable service.
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