New Yorker cartoonist R. Sikoryak launches his latest graphic novel, Terms and Conditions. For this project, Sikoryak tackles an infamously dense legal document, the iTunes Terms and Conditions. In a word for word 94-page adaptation, Sikoryak hilariously turns the agreement on its head – each page features an avatar of Apple cofounder Steve Jobs juxtaposed with a different classic strip such as Mort Walker’s Beetle Bailey, or a contemporary graphic novel such as Craig Thompson’s Blankets, Marjane Satrapi’s Persepolis, or Kate Beaton’s Hark! A Vagrant.
The Concert Register of Carlo Maria Giulini (1914-2005) is printed (starting on page 7) with every concert featuring the music of Anton Bruckner (1824-1896) printed in the color of red (the frontispiece on page 2 is a reference to this idea). The inspiration for printing the words of Jesus in red comes from Luke 22:20 – “This cup is the new testament in my blood, which I shed for you”. On June 19, 1899, Louis Klopsch (1852-1910) conceived the idea while working on an editorial. Klopsch asked his mentor Rev. T. De Witt Talmage what he thought of a testament with the words spoken by Jesus printed in red ink and Dr. Talmage replied, “It could do no harm and it most certainly could do much good.”
Dictionary of non-notable Artists : Gregor Weichbrodt
2001: A Space Odyssey – Stanley Kubrick’s 1968 sci-fi masterpiece – seems an appropriate place to start a blog about typography in sci-fi. Amongst other delights, it offers a zero-gravity toilet, emergency resuscitations, exploding bolts, and product placement aplenty. It’s also the Ur Example of Eurostile Bold Extended’s regular appearance in spacecraft user interfaces.
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“After studying Alien in intimate detail, it’s time to look at the typography and design of Ridley Scott’s other classic sci-fi movie,Blade Runner. Based on Philip K. Dick’s novel Do Androids Dream of Electric Sheep?, Blade Runnercements Scott’s reputation for beautiful, gritty, tech noir science fiction.”
[French, English] — Monoskop Log
Pour la forme was one of the first projects of the newly formed Situationist International. The publication collected texts of Asger Jorn from the immediately preceding period. As Jorn explained in his introductory “Notice,” the texts collected in that book reflected the evolution of his experiments and encounters among radical avant-garde currents following the dissolution of the Cobra group (1948-1951) and leading up to the formation of the SI in 1957.
One 258, 226 word sentence passes through three novels. A trilogy (from Greek τρι- tri-, “three” and -λογία -logia, “discourse”) is a set of three works of art that are connected, and that can be seen either as a single work or as three individual works. They are commonly found in literature, film, or video games. Three-part works that are considered components of a larger work also exist, such as the triptych or the three-movement sonata, but they are not commonly referred to with the term “trilogy.”
Van Buskirk was attracted to the ‘three novel’ book format through Samuel Beckett’s The Trilogy, consisting of three novels, Molloy, Malone Dies, and The Unnamable. Taken together, these three novels represent the high-water mark of the literary movement we call Modernism. Within their linguistic terrain, where stories are taken up, broken off, and taken up again, where voices rise and crumble and are resurrected, we can discern the essential lineaments of our modern condition, and encounter an awesome vision, tragic yet always compelling and always mysteriously invigorating, of consciousness trapped and struggling inside the boundaries of nature.