This study is a fascinating inside look at digital type design, the rather mysterious career of one of its most important practitioners, and the history and culture of Adobe Type, with additional insight into other type designers of the digital era. It is difficult to imagine a graphic designer in the last quarter century who is not familiar with at least some of Carol Twombly's typefaces. Yet many of those who use her fonts today would be hard pressed to name their designer. Twombly studied at the Rhode Island School of Design under professor Charles Bigelow, and she also studied at the Bigelow & Holmes studio. She joined Adobe Systems in 1988, when the company was hiring young designers for the newly launched type department. During her ten years at Adobe, she designed some of the most recognizable and popular typefaces on the market today, including Trajan (1989), Charlemagne (1989), Lithos (1989), Adobe Caslon (1990), Myriad (1991, with Robert Slimbach), Viva (1993), Nueva (1994), and Chaparral (1997). In 1994, Twombly won the Prix Charles Peignot, given by the Association Typographique Internationale (ATypI) the first woman, and second American, to receive the award. Having achieved international recognition, Twombly was uncomfortable being in the public eye at conferences and in Adobe marketing materials. She also grew dissatisfied with changes at Adobe and with her evolving role at the company. In 1999 she left both Adobe and her career to pursue other artistic interests. Nancy Stock-Allen is a graphic designer and a blogger on subjects related to design, type, and women in design history. She was formerly Professor of Graphic Design and department chair at the Moore College of Art and Design. She interviewed and corresponded extensively with Carol Twombly and many of her associates and colleagues in writing this profile of a woman who rose to the top of a field historically dominated by men, at a time of barrier-breaking and technological revolution.

A visual celebration of one of the most renowned artists of our time, along with the extraordinary Gallery he helped to create to showcase his work American artist Cy Twombly (1928-2011) created paintings and sculptures that defied conventional classification. In his works, Twombly incorporated a wide variety of elements, from scrawls and calligraphic marks to text from poetry and mythology. Opening in 1995, the Cy Twombly Gallery at the Menil Collection was designed by Renzo Piano and has become a pilgrimage destination for the artist's avid admirers. The product of close collaboration between the Menil, Twombly, and the Dia Center for the Arts, the Gallery is one of the most extraordinary representations of any single 20th-century artist. Twombly chose the art that would be featured and worked closely with the builders to create the most appropriate venue for its presentation. This sumptuous volume showcases thirty-three paintings and eleven sculptures, including an immense 13 x 52-foot painting. Featuring large-scale, close-up details of many of the works, the book looks at paint, plaster, paintings, sculptures, and the "cues" that Twombly gave in his art about this special collection. Published in association with the Twombly Foundation and the Menil Collection

Cy Twombly (1928-2011) is widely acknowledged as one of the postwar period's most influential American artists, yet his sculptures are little known. From 1946 onward, he made hundreds of rarely exhibited found-object assemblages, often painted or plastered over with diverse coatings of white. Across decades, Twombly thus developed a singular, strikingly consistent body of work, despite the shifting status of sculpture during his lifetime. In this revelatory monograph, Kate Nesin first establishes, then evaluates the artist's long engagement with the historical and contemporary limits of sculpture, both as medium and as word. While others have described Twombly's three-dimensional works as timeless, transcendent, and poetic, Nesin complicates our sense of their so-called poetry, focusing on the prosaic, conspicuously material operations of these sculptural "things," and emphasizing the inherent difficulties as well as possibilities of the language used to characterize them. Through close readings of individual works and in-depth analyses of certain guiding concerns, such as surface, naming, gaps, and repetitions, she illuminates Twombly's remarkable sculptural practice.

Cover -- Title -- Copyright -- Contents -- PREFACE AND ACKNOWLEDGMENTS -- INTRODUCTION: TWOMBLY'S BOOKS -- 1 MEDITERRANEAN PASSAGES: RETROSPECT -- 2 PSYCHOGRAM AND PARNASSUS: HOW (NOT) TO READ A TWOMBLY -- 3 TWOMBLY'S VAGUENESS: THE POETICS OF ABSTRACTION -- 4 ACHILLES' HORSES, TWOMBLY'S WAR -- 5 ROMANTIC TWOMBLY -- 6 THE PASTORAL STAIN -- 7 PSYCHE: THE DOUBLE DOOR -- 8 TWOMBLY'S LAPSE -- POSTSCRIPT: WRITING IN LIGHT -- NOTES -- BIBLIOGRAPHY -- INDEX

Graphic designers will enrich their understanding of American type design and type designers with this unique and extensive reference. The fascinating history of type in America is chronicled through the typefaces and biographies of sixty-two of the most influential type designers, including Linn Boyd Benton, Morris Fuller Benton, and Darius Wells, and through the description and history of nine American type foundries. Complete with samples of 334 different typefaces, and 700 black-and-white illustrations, this eye-popping reference reveals the expansive contribution America has made to the world of type design.

This read truly does have something for everyone who works with trauma and dissociative processes. --American Journal of Clinical Hypnosis This volume, which takes a multi-perspective approach to the practice of EMDR and Ego State Therapy, presents a wide variety of ways to integrate these two therapies, both with each other and with other complementary methods in the treatment of trauma and dissociation. --European Association for Body Psychotherapy EMDRIA has approved this book for a Distance Learning Book Course for 8 EMDRIA credits. This book pioneers the integration of EMDR with ego state techniques. and opens new and exciting vistas for the practitioners of each. --From the foreword by John G. Watkins, PhD, founder of ego state therapy This read truly does have something for everyone who works with trauma and dissociative processes. --American Journal of Clinical Hypnosis The editors have gathered many experts in the field who explain in clear informative ways how to expand the clinician's abilities to work with this terribly injured population. This book blends concepts from neurobiology, hypnosis, family systems theory and cognitive therapy to enhance treating this population. It is a well written book that the novice as well as the seasoned clinician can benefit from." --Mark Dworkin, author of EMDR and the Relational Imperative [This book] conveys complex concepts that will be of interest to seasoned therapists... with a clarity that will appeal to the novice as well. This is really a wonderful text with many excellent ideas and I highly recommend it to anyone who treats trauma. --Sarah Chana Radcliffe, M.Ed.,C.Psych.Assoc. Author, Raise Your Kids without Raising Your Voice "I believe that this book is a significant contribution to the fields of psychology and EMDR. It is the first of its kind... anyone who reads this will gain greater confidence in using EMDR and ego state therapy witih highly dissociative and complicated clients." --Sara G. Gilman, in Journal of EMDR Practice and Research, Volume 3, 2009 This is a book about polypsychism and trauma. It offers a number of creative syntheses of EMDR with several models of polypsychism. It also surveys and includes many other models of contemporary trauma theory and treatment techniques. The reader will appreciate its enrichment with case examples and very generous bibliographic material. If you are a therapist who works with patients who have been traumatized, you will want this book in your library." --Claire Frederick, MD, Distinguished Consulting Faculty, Saybrook Graduate School and Research Center Training in EMDR seems to have spread rapidly among therapists in recent years. In the process, awareness is growing that basic EMDR training may not be adequate to prepare clinicians to effectively treat the many cases of complex trauma and dissociation that are likely to be encountered in general practice. By integrating it with ego state therapy, this book may just serve as a crucial turning point in the development of EMDR by providing a model for productively applying it to the treatment of this important and sizeable clinical population. --Steven N. Gold, PhD, President Elect, APA Division of Trauma The powerful benefits of EMDR in treating PTSD have been solidly validated. In this groundbreaking new work nine master clinicians show how complex PTSD involving dissociation and other challenging diagnoses can be treated safely and effectively. They stress the careful preparation of clients for EMDR and the inclusion of ego state therapy to target the dissociated ego states that arise in response to severe and prolonged trauma.

A breathtaking exploration of one of Twombly's largest paintings, the second version of his Treatise on the Veil One of the most important American postwar artists, Cy Twombly (1928-2011) engaged with mythological and poetic source material, setting him apart from other artists of his generation. In 1970, Twombly revisited his 1968 painting Treatise on the Veil and, in a short period of focused creativity, produced a painting--Treatise on the Veil (Second Version)--on a single, 33-foot canvas along with more than a dozen related drawings. This handsomely produced oversize book features three essays that examine these works in relation to Twombly's oeuvre, contemporaneous explorations of time, the Orpheus myth, and a musical composition that Twombly cited as an influence. Large images and details bring us in close to Twombly's magnificent meditation on time and space. Distributed for The Menil Collection

The bestselling graphic design reference, updated for the digital age Meggs' History of Graphic Design is the industry's unparalleled, award-winning reference. With over 1,400 high-quality images throughout, this visually stunning text guides you through a saga of artistic innovators, breakthrough technologies, and groundbreaking developments that define the graphic design field. The initial publication of this book was heralded as a publishing landmark, and author Philip B. Meggs is credited with significantly shaping the academic field of graphic design. Meggs presents compelling, comprehensive information enclosed in an exquisite visual format. The text includes classic topics such as the invention of writing and alphabets, the origins of printing and typography, and the advent of postmodern design. This new sixth edition has also been updated to provide: The latest key developments in web, multimedia, and interactive design Expanded coverage of design in Asia and the Middle East Emerging design trends and technologies Timelines framed in a broader historical context to help you better understand the evolution of contemporary graphic design Extensive ancillary materials including an instructor's manual, expanded image identification banks, flashcards, and quizzes You can't master a field without knowing the history. Meggs' History of Graphic Design presents an all-inclusive, visually spectacular arrangement of graphic design knowledge for students and professionals. Learn the milestones, developments, and pioneers of the trade so that you can shape the future.

The Rob Roy Kelly Wood Type Collection is a comprehensive collection of wood type manufactured and used for printing in nineteenth-century America. Comprising nearly 150 typefaces of various sizes and styles, it was amassed by noted design educator and historian Rob Roy Kelly starting in 1957 and is now held by the University of Texas. Although Kelly himself published a 1969 book on wood type and nineteenth-century typographic history, there has been little written about the creation of the wood type forms, the collection, or Kelly. In this book, David Shields rigorously updates and expands upon Kelly’s historical information about the types, clarifying the collection’s exact composition and providing a better understanding of the stylistic development of wood type forms during the nineteenth century. Using rich materials from the period, Shields provides a stunning visual context that complements the textual history of each typeface. He also highlights the non-typographic material in the collection—such as borders, rules, ornaments, and image cuts—that have not been previously examined. Featuring over 300 color illustrations, this written history and catalog is bound to spark renewed interest in the collection and its broader typographic period.

There is an ancient Christian saying from the Patristic Era which is known in its most concise form as lex orandi, lex credendi. As the Catechism of the Catholic Church translates it: “The law of prayer is the law of faith: the Church believes as she prays.” While the elegant simplicity of the phrase contains an abundance of wisdom, the liturgy has always been subject to forces that threaten to reduce this understanding to partial interpretations. As several observers have noted, these reductions include the “archeological” approach—explicating the liturgy’s historical origins but in the process treating it as a dead letter—and the sociological approach—focusing on liturgy as little more than an expression of contemporary concerns. In Living the Liturgy: A Witness, Father Luigi Giussani (1922-2005) restores a more balanced view, reminding us that (according to Roberto Braschi’s introduction) in the liturgy “God is its pres­ent subject and that the essence of every celebratory action is the possibility of a gaze toward Him—because it is always from Him that the dialogue with humanity moves.” The memorable, bracing insights in Living the Liturgy were taken from conversations that Father Giussani had with members of the international lay movement he founded, Communion and Liberation.