It was a 23-year-old graphic designer who invented the illustrated album cover for phonograph records in 1939: before that they came in plain wrappers. For The Record documents the life and work of Alex Steinweiss, gathering over a hundred of his original graphics and providing a lavish color display of his works along with a history of his involvements in the music industry.

This book does credit to a great man. Steinweiss was a true artist and a pioneer. The man created the concept of album cover as art. McKnight-Trontz does a masterful job of celebrating the artist through dazzling illustrations and informative, entertaining narrative. The casual reader will enjoy this book, as will the academic: it's all there between the brilliant covers (Steinweiss design - of course); it is the individual reader's choice as to how deep he or she wants to delve into this fascinating subject of a true twentieth-century art form.

This is another first-rate collection of deco commercial art that you wouldn't see elsewhere, and it proves that graphic design was in a kind of golden age at the time. The work here is rich and appealing, as in all the books of the series, and if you're a designer, you'll find it very inspiring as well, and a handy reference tool.

The book itself is a fairly small paperback, though very nicely printed on glossy paper. The work inside this and other volumes in the series certainly justifies a larger, hardcover treatment.

Chronicle's Art Deco Design Series, is one of the best series of design history books on the market. Steven Heller, one of the world's most prominent design writers, has created a masterpiece in this series. There are three which I believe stand out among the rest, and French Modern is one of them. Perhaps this is due to a personal interest in the material, but nevertheless, this book is fabulous. The images are beautiful, the design is good, and the text is informative, accurate, and interesting.

For almost a decade, New York Times art director Steven Heller has contributed a column to PRINT magazine called "Separated at Birth," inwhich he features twin-like pairs of otherwise unrelated designs. In 1993, he and Julie Lasky wrote an entire book on "appropriation" in design, titled Borrowed Design: Use and Abuse of Historical Form (Van Nostrand Reinhold). This book is in part an extension of that, in the sense that it unearths and juxtaposes examples of graphic design that seem to be indebted to earlier efforts in art and design. It is shown convincingly, for example, that the abstract crosses in the work of the Russian Constructivists were probably inspired by the clerical garb of Russian Orthodox priests in the 15th century; or that the famous pointing hand in James Montgomery Flagg's "I Want You For the U.S. Army" poster (1917) was anticipated by a ubiquitous advertising display for a drink called Moxie (1911) and a World War I recruiting poster (1914) in which Lord Kitchener (in a pose identical to that of Uncle Sam) "points a finger" at unenlisted British males. For good or bad, this book has very little text: Other than a brief paragraph that introduces each icon, its only commentary is a well-written opening essay. But it offers an almost unparalleled wealth of more than 500 full-color illustrations of historic examples of graphic design. -Roy Behrens, Ballast

This book illustrates the recurring ideas, themes, styles, and forms that graphic designers have used over the past century. It shows me that nothing is really new, but it takes a talented designer to make the old seem like never before.

Schwab is the master at communicating so much with so little. His work is unmistakable and inspiring. His command of light and shadow is brilliant. This book is without a doubt the definitive collection of his work, though just a mere sampling I'm sure. One thing I love about the book is the fact that the body exhibits beautiful, large reproductions of his graphic work with no text, almost as if you were in a gallery looking at Schwab's work. The art is presented without interruption. Whether designer or illustrator you will find this book an invaluable and cherished resource for your library. Graphis has created a masterpiece with this one. It's big, beautiful, and worth every penny or more. BTW, the book was designed by Schwab himself. Simply inspiring! Bravo.

There is a timeless and simplistic quality to Michael Schwab's work. He makes this stuff look easy when anyone who's ever done design work knows it is clearly not so. His logo designs are a pefect blend of color and form. That helps to make the product easily identifiable. I'm really not doing any justice to his work with my ranting... but if you're interested in art and design then I strongly recommend this book.

I stole my copy from a friend and never returned it! This is one of the best reference books for historical graphic design styles. The book is very well organized, and contains quite a few color illustrations. It has given me hours of inspiration when I have an assignemnt to do for a client. They have examples of everything from Victorian packaging to Psychedelic poster art. This book would make an ideal gift for a student just learning the field, or an old pro that has been around for years.

This book is essential reading for anyone remotely interested in graphic design. I use it as a reference for my students in graphic design classes. It's a beautifully concise summary of the history of graphic design styles - and gives visual examples as well as background information connected to the social forces that shaped the trends examined. If you are a student - it's a great first taste of the styles and movements that influence current graphic designers. If you are currently working in the field - it's a must have reference book.

An excellent text survey, Looking Closer 3 provides an anthology of classic writings on graphic design. This is a 'must' for any who would study the foundations of graphic design theory: it's the first to gather early critical writings from the turn of the century to modern times, grouping rare essays under one cover.

This is the latest in a series of books that consist of collections of essays about the theory and practice of graphic design. The essays in the first two volumes were mostly from contemporary sources, particularly the AIGA Journal of Graphic Design. This third, retrospective volume is of even greater value in the sense that it gathers under one cover some of the most important historic writings on design from the late 19th century to the early 1980s, arranged chronologically. It contains over fifty hard-to-find articles by prominent figures in graphic design, among them William Morris, W.A. Dwiggins, El Lissitzky, Varvara Stepanova, Gyorgy Kepes, Alexander Rodchenko, Ladislav Sutnar, Beatrice Warde and Wolfgang Weingart. Graphic designers need to know where they came from, in order to better decide where to go. A substantial contribution to that effort, undoubtedly this is a book that should be on the reading lists of all designers, design students and teachers. (Copyright by Roy R. Behrens from Ballast Quarterly Review, Vol. 15, No. 1, Autumn 1999.)

This large and heavy book is full of inspiration from our founding fathers in the design world. I had the opportunity to hear Mervyn Kurlansky speak at a design conference a few months ago, and he described how long design took before computers made things nice and easy. This book is full of work by designers who had to use "old-fashioned" ways to get their results.

I can appreciate the creative forces of those who paved the way for modern graphic design, just by turing the pages. ..., I demand quality in the content of the book itself. Master's of the 20th Century is worth every penny.

Because graphic design didn't really come of age until this past century, you will experience it's history though the full-color samples in this book.

I recommed this book to all graphic design professionals and to people who like to collect great coffee table books. Anyone who enjoys books with more pictures than words, will appreciate the beauty of this one!

A fantastic record of 100 of the best designers of this century. All in one book, great illustrations (done only by the best) all full color and best of all a superb interactive CD rom, a big bonus for those of us who's technical skills are better than our reading ones. Highly recomended for all students of design. Suitable for professors as well as interrested readers. A must for all artists; Great and Small.

This is a wonderful, large & colorful volume full of interesting and often unusual photos. There are pictures and text of everything about the fair from the greatest, most popular exhibits and events to the smallest details. Included are color photos of posters, collectibles, toys, souvenirs, postcards & etc. Trylon & Perisphere is an authoritative and definitive book recommended for anyone with an interest in the subject matter of the 1939/40 world's fair. If you can find a copy, let me know; I would love to own it myself! Thank you for this great work.

This beautiful book met nearly every expectation and desire I had for it when I first heard of it and requested it. I was looking for authoritative and definitive text and photos of this wondrous event, the 1939 New York World's Fair, and this great, big colorful book has it all. There are many unusual views of the various exhibits, buildings, details and paraphernalia (collectibles) from the fair. It is an absolutely fascinating reference for anyone interested in this slice of cultural history. Thank you for it!

This is a kick-a** little book which is sadly now out of print. The 90+ pages are a sampling of some of the many political protest posters of the Reagan/Bush era, covering issues from local city politics, to police brutality, abortion rights, gay rights, US involvement in El Salvador, the Gulf War, nuclear disarmament and more. Some of the posters were commissioned works, but most were "sniped" (illegally wheatpasted in the dead of night) in city streets. The bulk of the selections come from New York and San Francisco, and some of them will be readily identifiable or familiar to people of leftish persuasion. Barbara Kruger for example, Keith Haring, David Goines (who is more widely famous for his restaurant and wine identity work), Artfux, Guerilla Girls, and Robbie Conal (sadly his "Meese Is A Pig" piece is not included). Graphic design guru Heller contributes a nice little condensed history of graphic political protest, and Jacobs offers a few pages on the culture of protest postering. It's a wonderful book that should inspire the activist and graphic designer that lurks in all of us.

Doctor Steven Heller has written a fascinating book based on something that looks to be a passion. It's not that he is completely skeptical of any form of hypnosis, but he takes a hard look at the ritual and unnecessary dramatics of the professional "hypnotist." The word is in quotes, because you will see it that way all through the book. He was a clinical hypnotist for years. You should know that this title is not "Reader's Digest-level reading," it is intense and academic in approach. Steven Heller does believe in hypnosis, but under a different definition than most are used to. Monsters and Magical Sticks is filled with metaphors, imagery, and amazing success stories of his own case sessions. Learn about the "magic" behind Ericksonian techniques and Neuro-Linguistic Programming. This book will show you how hypnotism really works.

Not only did I find this book instructive, but very entertaining to read. I highly appreciate the fact that this book treats hypnosis as a natural aspect of daily life and yes it can be used intentionally and covertly as in this story from the book:

"One evening, a group of friends and I were having dinner at a local restaurant. Our waiter was very distracted and he appeared to be agitated and depressed. He was abrupt, slow and unfriendly. As a result, our service left a great deal to be desired. Since I wanted to have an enjoyable evening, I decided to "talk funny" to him in order to help him feel better.

As he walked by our table holding a coffee pot, I touched his arm and said, "I'm sorry that you forgot that special night ... with that special person ... those exciting things that happened ... those very warm feelings that would embarrass you to talk about ... since we are all strangers."

For a moment his face went blank; he looked up to his left; his face then lift up and he said, "How do you know about that?" He then smiled and began to laugh, and his whole attitude changed as if by magic. He said, "Wow. that was some night. I don't know how you know about it."

The next time he came to our table, I said to him, "Wasn't it simply amazing that when you remember those happy, warm feelings, your attitude continues to change, and you continue to feel even better?"

We received a delightful service throughout the rest of the evening. What was even nicer, was that as we left he told us that we were one of the nicest parties he had ever waited on. He also asked us to be sure and ask for him whenever we returned.

Now, I have absolutely no idea as to what he hallucinated, but my communication resulted in his going back into his own history. He then found an experience that filled in the blanks, and that memory helped him to change his whole attitude in a matter of seconds. Of course, there's no such thing as hypnosis, and if there is, he should have gone deeper and deeper into a trance."

Several years ago a friend loaned me his copy of Monsters and Magical Sticks. Within a few pages I knew that I was reading the work of geniuses. For months after I searched for a copy to call my own. Finally I found one. Both my training and therapeutic style have been fantastically improved! I am thrilled that this jewel is now more readily accessible. IT'S A MUST READ FOR EVERYONE WHO CONDUCTS TRAININGS AND/OR THERAPY. My hope is to one day talk with Dr. Heller or Ms. Steele and/or to attend one of their trainings. ...