Saturday, March 21, 2009

Le bouquet

Guillaume Apollinaire created the calligram Le bouquet for the catalog cover of his friends’ art exhibition: Peintures de Léopold Survage. Dessins et aquarelles d’Irène Lagut. - Paris, 21-31 janvier 1917.


The original publication seems to be a very rare treasure for visual poetry: 12 calligrams, printed in facsimile after drawings by Apollinaire, never before published.


More info:

Monday, March 16, 2009

Forsythia





Finally spring arrived showing its first splendor with the forsythia! I was walking this afternoon and saw the yellow forsythia around the corner... it reminded me the famous concret poem by Mary Ellen Solt, Forsythia, composed in 1965 and published in 1966.

“The design of Forsythia is made from the letters of the name of the flowering shrub and their equivalents in the Morse Code. The text is part of the design.” ~Mary Ellen Solt

"Forsythia by Mary Ellen Solt was typographically concretized by John Dearstyne. In the introduction to Flowers in Concrete, George Zadek writes: “Traditionally the typographer has given form and order to words, thus serving both the writer and the reader. His problem is mainly one of clarity of communication, literary meaning, and hopefully aesthetic contribution to the art of the printed page. When publishing concrete poetry, it is sometimes difficult to draw a line between the contributions, as well as the final responsibilities, of the poet and the typographer. The literary and visual meaning of concrete poetry as conceived by the poet and interpreted by the typographer is somewhat analogous to a stage performance of a play.”
An Anthology of Concrete Poetry, Edited by Emmet Williams, Something Else Press, New York, 1967

Sunday, March 8, 2009

Woman's Day

Go out 
Advertisement for Woman's Day Magazine, 1953. All rights reserved.

[...] Federico’s best-known ad for Woman’s Day typifies this rhythmic sensitivity. It has the catch-line “Go Out,” and shows a photo of a woman riding a bicycle with wheels made from the two lowercase Futura ‘o’s in the headline. The aim of this ad was to persuade potential advertisers that three million-plus devoted readers went out of their way to buy this check-out counter magazine. The ads apparently did well for the client, but more importantly proved the power of persuasive visual simplicity in a field that often errs on the side of overstatement. [...]

Read more info about Federico Gene on AIGA and New York Times.