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Books on the topic 'Graphic art used as advertisements'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

PhillySound, ed. Project H.O.M.E. Benefit (flier, Highwire Gallery reading, PhillySound blog, J.E. Tenenbaum '06). Philadelphia, PA: PhillySound, 2006.

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2

Tenenbaum, Jeremy Eric. Flier: Philly Free School: Highwire Gallery, Philadelphia: 11-30-2004: (Literature/Music/Depravity). Manayunk, Philadelphia, Pa: Philly Free School, 2004.

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3

Tenenbaum, Jeremy Eric. P.F.S. Presents @ Big Jar Books (Olde City). Philadelphia, PA: Jeremy Eric Tenenbaum/P.F.S., 2006.

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4

Tenenbaum, Jeremy Eric. Philly Free School @ Highwire Gallery (11-30-04). Philadelphia, PA: Jeremy Eric Tenenbaum/P.F.S., 2004.

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5

Gallery, Highwire. Interior: Highwire Gallery, Gilbert Building, Center City Philadelphia. Philadelphia, PA: Highwire Gallery, 2004.

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6

Tenenbaum, Jeremy Eric. Flier: Toiling in Obscurity reading, Philadelphia, J.E. Tenenbaum '08. Manayunk, Philadelphia, Pa: Jeremy Eric Tenenbaum, 2008.

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7

Tenenbaum, Jeremy Eric. Project H.O.M.E. Benefit: July 29, 2006 (Flier): (multi-media extravaganza). Philadelphia, PA: Philly Free School, 2006.

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8

Helfand, William H. Quack, quack, quack: The sellers of nostrums in prints, posters, ephemera & books ; an exhibition on the frequently excessive & flamboyant seller of nostrums as shown in prints, posters, caricatures, books, pamphlets, advertisements & other graphic arts over the last five centuries. New York: The Grolier Club, 2002.

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9

Club, Grolier, ed. Quack, quack, quack: The sellers of nostrums in prints, posters, books & ephemera : an exhibition on the frequently excessive and flamboyant seller of nostrums as shown in prints, posters, caricatures, books, pamphlets, advertisements, and other graphic arts over the last five centuries. New York: Grolier Club, 2002.

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10

Helfand, William H. Quack, quack, quack: The sellers of nostrums in prints, posters, ephemera & books : an exhibition on the frequently excessive and flamboyant seller of nostrums as shown in prints, posters, caricatures, books, pamphlets, advertisements & other graphic arts over the last five centuries. New York: The Grolier Club, 2002.

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11

Facade: Gilbert Building/Highwire Gallery, Center City Philadelphia. Philadelphia, PA: Anonymous, 2016.

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12

Flier: Robin's Books, Philadelphia, November 18, 2006. Conshohocken, Pa: IA, 2019.

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13

Flier: PFS Presents, Big Jar Books, 11/11/06. Conshohocken, Pa: IA, 2019.

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14

Flier: Toiling in Obscurity (Reading Series). Conshohocken, Pa: Internet Archive, 2015.

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15

Highwire Gallery: Philly Free School: 11-30-04. Philadelphia Pa: Philly Free School, 2004.

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16

Harvey, Wilson. 1,000 Type Treatments: From Script to Serif, Letterforms Used to Perfection. Rockport Publishers, 2005.

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17

Coates, Andrew T. The Bible and Graphic Novels and Comic Books. Edited by Paul C. Gutjahr. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190258849.013.30.

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“The Bible and Graphic Novels and Comic Books” argues that Protestants used images for a surprising range of religious purposes in their twentieth-century comic book Bibles. The chapter provides a brief theoretical overview of the medium of sequential art and the relationship between words and images in Protestant comic book Bibles. It also examines the history of Protestant comic book Bible production from the 1930s to the 2010s. The chapter argues that changing artistic styles in comic books reveal changing religious and cultural sensibilities in twentieth-century American Protestantism. The chapter offers close examinations of significant examples from the history of comic book Bibles, discussing the religious work these images performed in Protestant communities.

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18

Deaville, James, Siu-Lan Tan, and Ron Rodman, eds. The Oxford Handbook of Music and Advertising. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780190691240.001.0001.

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The Oxford Handbook of Music and Advertising assembles an array of forty-two pathbreaking chapters on the production, texts, and reception of advertising through music. Uniquely interdisciplinary, the collection’s tripartite structure leads the reader through these stages in the communication of the advertising message as presented by Chris Wharton (2015). The chapters on production study the factors, activities, and people behind the music for the marketing pitch, both past and present. Prominent throughlines in the section include factors influencing the selection of music (and musicians) for advertising, the role of music in corporate branding strategies, the creative forces behind the soundscape of advertising, and industry practices that undergird all aspects of music in commercial contexts. The section on Text focuses on analytic and historical approaches to ads in various media, and includes commentaries on musical genres in ads ranging from Western European art music to American popular genre. Also covered in this section is ad music as used in different ad genres, such as political ads, public service announcements, and television commercials. The analyses used in this section draws from traditional music theory, semiotics, and hermeneutic analysis. Finally, the last section addressing “Reception”—with contributions by researchers in psychology, marketing, and other fields—involves the formulation of models and theories, and implementation of research methods to examine how the presence of music may influence peoples’ attitudes, emotions, thoughts, and behaviors in the context of advertisements and within service environments such as stores, restaurants, and banks. The editors and chapter contributors of this book bring a diversity of perspectives to the topic but share a united aim: to illuminate music’s vital contribution to the advertising message.

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19

Egan, Ronald. The Relationship of Calligraphy and Painting to Literature. Edited by Wiebke Denecke, Wai-Yee Li, and Xiaofei Tian. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199356591.013.6.

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Calligraphy and painting have a long and rich history of association with literary composition, especially poetry. These three “arts of the brush” share not just materials and tools of production but also a critical vocabulary and certain aesthetic ideals. The pronounced attention in the early history of each art to the world of nature as a source of verbal imagery, subject matter, and even graphic design bound these arts together in the formative stage of theoretical writings about each. As the practice of these arts matured in medieval times, it became common for them to appear together in a single, composite work: a painting inscribed with a poem, written as a calligraphic display. This composite form became a hallmark of Chinese visual and literary culture. Thus even when they were used separately, the aesthetic values of the others often remained in the minds of the poet-artist and reader or viewer.

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