000 | 02070cam a2200409 i 4500 | ||
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001 | 765813057 | ||
003 | OCoLC | ||
005 | 20190729105026.0 | ||
008 | 111130t20122012gw a 000 0 eng d | ||
020 | _a9783942597234 | ||
020 | _a3942597233 | ||
035 | _a.b72668805 | ||
040 |
_aERASA _beng _erda _cERASA _dOCLCQ _dBTCTA _dDEBSZ _dOSU _dUtOrBLW |
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041 | 0 |
_aeng _ager |
|
049 | _aEY8Z | ||
050 | 4 |
_aZ246 _b.B754 2012 |
|
082 | 0 | 4 | _a745.4 |
245 | 0 | 0 |
_aBright! : _b[typography between illustration and art] / _c[edited by Slanted ; translations, Karin Dufner, Michael Hulse] |
246 | 3 | 0 | _aTypography between illustration and art. |
264 | 1 |
_aCologne, Germany : _bDAAB MEDIA GMBH _c[2012] |
|
264 | 4 | _c©2012. | |
300 |
_a420 pages : _billustrations (chiefly color) ; _c30 cm. |
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336 |
_atext _2rdacontent. |
||
337 |
_aunmediated _2rdamedia. |
||
338 |
_avolume _2rdacarrier. |
||
546 | _aEnglish and German. | ||
520 | 8 | _aTypography for many artists is loaded with creative potential. How much power of expression is contained in a letter, a word, or a sentence, when these entities, which are very communicative in character to begin with, are put on stage as images and objects? How does typographical information respond to its environment, to graphic complements, abstraction, or visual reversal? Under the curatorship of Slanted, this title presents a collection of pictorial typo-art, focusing on moving ahead. The differentiated spectrum, ranging from culturally rooted to revolutionary and innovative positions, does not leave out any sphere of interest: handpainted signs, tape-art, woodtype, letter objects, typographic sculptures, graffiti, tattoo art, generative performances, experimental type, and much more. | |
650 | 0 | _aGraphic design (Typography) | |
650 | 0 | _aPrinting. | |
700 | 1 | _aDufner, Karin, | |
700 | 1 |
_aHulse, Michael, _d1955- |
|
710 | 2 | _aSlanted, | |
948 | _au365823 | ||
949 |
_aZ246 .B754 2012 _wLC _c1 _hEY8Z _i33039001271724 |
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596 | _a1 | ||
903 | _a24612 | ||
999 |
_c24612 _d24612 |