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Last week was one for looking back into the past. Donald Duck celebrated his 70th anniversary, when the daily comic version of Walt Disney’s creation appeared in newspapers nationwide. Drawn, meanwhile, posted a couple of Steven Heller interviews with Paul Rand, taken from 1996. Kottke links to a new twist in the history of the milkshake line from There Will Be Blood, which P.T. Anderson found in a 1924 Congressional hearing; and Last Exit to Nowhere drummed up support for a fictional candidate from the 1976 film Taxi Driver. [Murketing]
Graffiti artist Revok surreptitiously tagged the billboard for Murakami's Museum of Contemporary Art in Los Angeles; meanwhile, throwback, graffiti-adorned cans of energy drink enraged perpetually engraged New York councilman Peter Vallone. On a lighter note, Vanity Fair shines a spotlight on some vintage lobby cards, and Danny Gregory posted a a transcript from an NPR interview with the Beerhorst family in Grand Rapids, Michigan, who homeschool their six kids by letting them create art all day.
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If you have any great photographs of 2008 Presidential campaign graphics (signs, street art, and posters), add them to our Flickr pool: 2008 Election Graphics.
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In the days before Super Tuesday, politics dominated much of the conversation, and from a design perspective, Barack Obama is winning in a landslide. Shepard Fairey designed a poster (now sold out), and the guys from The Font Bureau hailed Obama’s graphics and type design. Oh, and we started a Flickr group! Be our friend and join our election graphics pool. In redesign news, the phoenix-like Radar will be debuting a new
redesign in the spring from Pentagram’s Luke Hayman and former New York art director Kate Elazegui. (Let's hope it's more New York and less Time.) Also, Gourmet.com redesigned and relaunched. The iPhone’s “flick” interface is spreading to other apps, says Walter Mossberg. Here are some bookmarking tips for said phone. Jonathan Hoefler reviews Eliott Puckette’s work, currently showing at the Paul Kasmin gallery—Puckette constructs her calligraphy by focusing on the counters, instead of the letterforms. And at The Atlantic, Michael Bierut compares the the tight spacing of photocompositor typography compared to the sexual revolution.
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In 1941, Eliot Noyes, the curator of industrial design at MoMA, introduced to the world the work of Ray and Charles Eames in the exhibition "Organic Design in Home Furnishings." So it's fitting that, 67 years later, Noyes's daughter adds a new page to the story. This summer, the USPS will release a series of 16 stamps designed by Derry Noyes celebrating the Eames's contributions to architecture, furniture design, manufacturing, and photography. Noyes, a veteran art director for the USPS, included images of La Chaise, Lounge Chair, the Eames House, and the "Tops" film, among others, in the set. Had they been able to foresee this event all those years ago, surely Ray and Charles would've been honored. And maybe a little shocked. The cost of a first-class stamp in 1941: three cents. GRANT WIDMER
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Read our web-only interview of Joe Sacco, the author and artist of the groundbreaking graphic novel Palestine, recently released in a 15-year anniversary edition. Sacco says that "if this new edition reminds the reader of the plight of the people [in Palestine], then it still has a place."
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