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Like potato chips, it's hard to be satisfied with with just one. This first, 1993, volume features artists from New England. Subsequent volumes feature artists from Mid-Atlantic, Southern, Midwestern, Western and Pacific Coast states; and then start again in the Northeast. Differences and similarities of artists around the country are fascinating to follow.
As of December, 1997, at least two competitions will have been held in each region of the country. For a list of volume numbers by region, e-mail your request to us.
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Steven Heller also says that good newsletters are the creations of graphic designers in the post World War II tradition of Lester Beall, Brownjohn, Chermayeff & Geismar, and Paul Rand. Emphasizing that point, the author has the many striking examples in NEWSLETTERS NOW indexed in the closing pages by art designer and director, client, design firm, illustrator, and photographer. My favorite newsletter example is in fact "Alternatives," a two-color tabloid for which the full-time designer creates a different design with each issue.
The samples are good illustrations of what you can learn from Thomas Bivins and William E. Ryan's HOW TO PRODUCE CREATIVE PUBLICATIONS and Allen Hurlburt's THE GRID. They also work well with Chuck Green's THE DESKTOP PUBLISHER'S IDEA BOOK and Rita and Roberta Street's CREATIVE NEWSLETTERS & ANNUAL REPORTS. And it also is interesting to compare them with THE BEST OF NEWSPAPER DESIGN and Harold Darling's FROM MOTHER GOOSE TO DR SEUSS: CHILDREN'S BOOK COVERS 1860-1960.
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for every time I read a phrase or line, Chambers steals away a breath.
His expertise and brilliance is amoung the best upon the shelf...reading his book it seems that you are receiving a private acting lesson in reality from Mr. Stevens himself.