Reference
Historical design sources
Atlas pages 64–67
In this chapter
Historical design sources
D01 · The Vignelli Canon
Massimo Vignelli; book design with Beatriz Cifuentes. RIT Vignelli Center for Design Studies. RIT-hosted PDF created 2009; later commercial edition commonly dated 2010.
Locators: printed p. 40 / digital p. 21, Grids, Margins, Columns and Modules; printed p. 72 / digital p. 37, Contrasting Type Sizes; printed p. 80 / digital p. 41, Layouts; printed p. 84 / digital p. 43, Sequence
Vignelli describes grids as arrangements of horizontal and vertical divisions chosen for the task, assigns type weights specific functions, and considers both the static spread and the sequence of page turns.
D02 · Design and the Play Instinct
Paul Rand. Paul Rand official website. 1965, originally Education of Vision.
Locators: opening argument, paragraphs beginning Through trial and error and Conversely; tangram discussion; paragraph beginning To insure that theoretical study
Rand connects defined design problems with invention in teaching through the tangram and exercises in proportion.
D03 · The Man With the Golden Arm
Denver Art Museum. Denver Art Museum. undated collection record; accessed 2026-10-24.
Locators: accession 2007.111; introductory object interpretation
Denver Art Museum describes Saul Bass’s poster through its dominant jagged-arm symbol and identifies the work as a lithograph.
Historical design sources
D04 · Saul Bass. Poster for the film The Man with the Golden Arm directed by Otto Preminger. 1955
The Museum of Modern Art. The Museum of Modern Art. 1955 object; undated record.
Locators: object 202.1956
MoMA identifies the poster as a 1955 lithograph by Saul Bass, given by Otto Preminger Productions, United Artists.
D05 · The Barnes Foundation Presents Alexey Brodovitch: Astonish Me
The Barnes Foundation. The Barnes Foundation. 2023-11-27.
Locators: paragraphs on Harper’s Bazaar layouts and Ballet, and exhibition highlights
The Barnes Foundation dates Brodovitch’s art direction at Harper’s Bazaar to 1934–1958 and describes varied scale, white space and layered imagery. It dates his ballet photographs to 1935–37 and their publication in Ballet to 1945.
D06 · Modern Look: Photography and the American Magazine — Exhibition Checklist
The Jewish Museum. The Jewish Museum, New York. 2021, exhibition April 3–July 11.
Locators: digital pp. 9–10: Brodovitch Ballet photographs; digital p. 22: Charm, January 1954; We Work Too, Charm, August 1950
The Jewish Museum checklist credits Cipe Pineles as art director and Robert Frank as photographer of We Work Too in Charm, August 1950. It identifies individual Brodovitch photographs from Ballet.
Historical design sources
D07 · Cipe Pineles
RIT Cary Graphic Arts Collection. Rochester Institute of Technology. undated collection page; accessed 2026-10-24.
Locators: paragraphs beginning In 1947 and In 1950
RIT records Pineles’s appointment as art director of Seventeen in 1947 and her commissions for fiction illustration. At Charm she worked with Helen Valentine for a readership of working women.
D08 · Sutnar, Ladislav, Collection: Finding Aid
Ryerson and Burnham Archives. The Art Institute of Chicago. undated current PDF; accessed 2026-10-24.
Locators: digital p. 2, Historical Note; digital p. 6, Box.FF 1.20 and 1.22a
The finding aid records Sutnar’s Sweet’s collaboration with Knud Lönberg-Holm, binder tabs, indexing and double spreads. It lists the 1944 and 1950 books and the 30 April 1942 catalog-redesign memo.
D09 · Cooper-Hewitt Awarded 2013 Ladislav Sutnar Prize
Cooper Hewitt, Smithsonian Design Museum. Smithsonian Institution. 2013-11-14.
Locators: paragraph describing Sweet’s Catalog Service
Cooper Hewitt dates Sutnar’s art direction at Sweet’s to 1941–1960 and describes his technical information design.
Historical design sources
D10 · Cooper Hewitt to Present Special Exhibition How Posters Work
Cooper Hewitt, Smithsonian Design Museum. Smithsonian Institution. 2015-02-05.
Locators: opening description of principles of composition, perception and storytelling
Cooper Hewitt’s exhibition, organized by Ellen Lupton, examines composition, perception and storytelling through poster examples.