Art Education 607
Concepts in Planning Art Education
Personal
Symbolism
Unit Lesson Plan
Robert S. Wright
Instructor: Susan W. Witten, Ph.D.
Winter Quarter 2001
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Personal Symbolism
p.01
Personal
Symbolism
Unit Lesson Plan
Grade Level
The lesson plan unit is designed as a three-to-four-week unit within a ninth-grade
level general high school introductory art course and assumes that the students have
had regular discipline-based art instruction through the eighth grade. It could also be
taught within an advanced independent-study course.
Description
A drawing/graphic design unit examining symbols and how they represent the
concrete/abstract. A short art history will help students understand that symbols have
existed since the dawn of man, and have evolved into a wide variety of types and
applications. Graphic design professionals understand the power of symbolism in
brand identity and use their knowledge to create identity systems-based on symbols
that can influence consumer decision-making. The class will discuss the “Joe Camel”
advertising campaign to learn in-depth how symbols can sublimally influence
consumer induction and build brand loyalty (branding). The students will create a
graphic, two-dimensional symbol that expresses and symbolizes some facets of their
personal present or future interests. They will present their creations to the class in
general in a short “sales presentation” to communicate the abstract qualities of their
symbol in concrete terms.
Robert S Wright
Personal Symbolism
Big Idea
Personal Symbolism
Theme
Symbols help us identify who we are and what we say.
Essential Questions
1.
2.
3.
4.
5.
6.
7.
8.
9.
What are symbols?
How long have symbols existed?
What types of symbols exist?
Why are symbols important?
What are symbols used for?
How do symbols represent things?
How can information be represented symbolically?
Why can we identify symbols?
What’s the difference between a symbol and a logo?
Key Concepts
1.
2.
3.
4.
Symbols
Symbols
Symbols
Symbols
are a visual system for communication.
can work on a personal as well as global level.
make communication easier.
influence how we live.
p.02
Robert S Wright
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Lesson Goal
Many Americans are indoctrinated into the language of symbols almost immediately after
birth, after the baby is cleaned and placed into a crib. It is common practice in many
hospitals to place a stuffed animal toy, such as Mickey Mouse or Winnie The Pooh in the
nursery crib. These common-place stuffed animals are trademarked images of the Walt
Disney Company. Elementary students can buy soda pop in vending machines at school
— where Pepsi Cola or Cocoa Cola companies pay up to $10-20 per student for the
rights of sole distribution. Their school’s sports team unobtrusively display a corporation’s
logo on their uniforms. Apparel designers such as Old Navy, Abercombie & Fitch, Tommy
Hilfiger and others routinely display their corporate identity on casual apparel that is
happily snapped up and bought by image-conscious teenagers and adults. (Von Hoffman,
2000)
Brand identity is ultimately aimed at creating a lifelong consumer of a certain good, or at
the very least, a positive image of a corporation on a consumer. Many students are
unaware of the massive advertising and marketing campaigns that are directly aimed at
their thought processes. Millions of dollars are spent by corporations to gain their
consumer brand loyalty. The “Joe Cool” Camel cigarette campaigns created by Phillip
Morris Corporation in the 1980’s were met with great disbelief by the general American
public when evidence was first shown that Phillip Morris directly aimed the ad campaigns
towards young users in hopes of creating a positive image on their fertile imaginations
long before they actually reached the legal age of consumption (Peeler, 1997).
The Personal Symbolism Unit Plan will hep the student understand how and why symbols
are used, and the process by which they are made. Making students more aware of the
branding process will help make them informed consumers in their adult lives. The
identification and conceptual process of making their own personal symbols from brand
images they are surrounded with will hopefully give them the critical reasoning to make
decisions about who/what influences them and how.
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Objectives
1. Students will examine samples of symbols they encounter in their everyday lives.
2. Students will be quizzed on a group of unknown symbols to access how designs
communicate meaning.
3. Students will assemble a concept board of personal symbols and marks that they
feel they identify with.
4. Students will design a personal symbol that they feel symbolizes who they are or
who they want to be.
5. A final oral presentation will be made to the class by student explaining the visual
basis for the “symbol.”
Vocabulary
symbol
logo, logotype
mark
typography
graffiti
corporate identity
branding, brand identity
negative space
visual metaphor
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Teacher Supplies
Spray-mount or rubber cement
Foam-core or plain poster board for concept board
black Crescent board or plain matte black poster board for presentation
scissors
markers
ink, pens
graphic drawing pencils
drawing paper
Student Supplies
Mass media magazines (such as Rolling Stone, Spin, Mademoiselle, Elle, TigerBeat,
Sports Illustrated, Nintendo, just about any magazines students read)
Daily newspapers - local and national
advertising samples such as clothing tags, posters, hangtags
Games and Music CD label art
Clothing with designer identification
websites of personal interest
Equipment
VCR with video monitor for VHS tape
InFocus LP425Z-B DLP Projector - attaches to teacher laptop computer
ventilated spray booth if using Spray-mount
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Safety Considerations
1. If using Spray mount, students must wear ventilation masks.
2. Students that do not have clearance to use sharp cutting tools will need help using
scissors and x-acto knives
3. If using rubber cement, adequate ventilation should be provided.
4. Care while using rubber cement: if splashed in eyes will need immediate medical
treatment and emergency notification.
Classroom Environment
Week One:
1. Teacher will have concept boards cut and ready for hand-out.
2. Teacher will provide cutting and pasting materials in a central place for student
pick-up.
3. Before video presentation, teacher will have vcr and monitor set up, cued and
ready to play.
4. Have identification smock ready to wear and display.
Week Two:
1. Teacher will remove all construction materials not already stored from desks.
2. For presentations: teacher will place a clean plain backdrop with easel on side of
classroom.
3. Teacher to make sure students can break into small groups for discussions.
4. Teacher to show students where drawing and mounting materials are. Students will
be required to place materials back in correct storage bins at end of class.
Week Three:
1. Teacher will remove all construction materials not already stored from desks.
2. For final presentations: teacher will place a clean plain backdrop with easel in front
of classroom.
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Content
One of the most important aspects of human communication is the intuitive
understanding of graphic symbolism. Personal identity, perceptual value and cultural
reference are all abstract concepts that are used in signage and marketing.
Today, capturing the abstract essence of an entity’s identity is called graphic design.
Many students will at some time of their lives encounter the problem of designing and
producing a website of some type, whether for business or for pleasure.
Designing symbols and navigational devices for computer programs requires many of
the same skills as making a self-portrait in oils. A portrait is not painted with a novel’s
worth of descriptive information. “A picture is worth a thousand words.”
Yet, the student deciding how to picture him/herself on canvas faces many of the
same critical decision-making processes as making a simplified pictogram of “who
am I?”
Primitive symbols are the most universally recognized across time and culture.
We are born into this world with a basic, instinctive recognition of the visual
representation of 'mother'. A human, animal, bird, fish or reptile that has sight at birth
will recognize a face — in its simplest form, a circle containing two eyes. After that,
everything else has to be learned by association.
Primitive man made drawings on cave walls. We call these Iconographs because they
are literal representations of things, translated into two dimensional drawings. The
word 'icon' has a much deeper significance as it often describes a particular type of
religious painting representing much more than its 'face value'.
To understand an icon, we must first of all recognize it. Recognition comes from
matching the visual symbol with a memory, or experience, stored in our brain. If the
symbol is poorly represented because of inept draftsmanship or if its significance is
beyond the viewer's experience, then recognition fails. It can also fail even if the
representation is good and the viewer knows what it is, if it is presented out of its
usual context.
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Class discussions will focus on the impact of symbolism in everyday life and the
professional practices of creating symbology. The impact of brand marketing will be
analyzed using examples from the students’ environment.The contextual basis for
helping the students understand the process of making symbols will be presented by
reviewing the work of three very different graphic designers: Paul Rand, Herb Lubalin
and Neville Brody. All three designers exhibited intensely personal styles of making
symbols.
Paul Rand: Westinghouse, IBM, UPS and ABC logos.Rand was the foremost
practitioner of corporate symbolism design during the 1950-1970’s. His use of cool
rationalism still influences logo design today.
Herb Lubalin: Avant Garde, Birth and U&lc logos.Lubalin inventively created
typographic symbols that were extremely influential during the 1970-1980’s.
Neville Brody: The Face, Style and Contents logotypes. Brody singlehandedly created
the personalized typographic deconstruction and “style as meaning” that is rampant
today.
The graphic design profession is multi-faceted, and is not confined to corporate
identity, but includes practically every object and media in contemporary existence.
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Procedure
Week One: Symbol Identification and Discussion
Motivational Activity
1. Students will be given an ungraded “pop quiz” to help access their awareness of
the presence of symbols in their lives.
2. The teacher will present lesson introduction and concept wearing his “Personal
Symbolism Identification Smock.” This will help students understand the range of
symbolism that can apply on a personal level.
3. Students will view excerpts from “Graffiti Verite (1995),” an award-winning
documentary that explores the eclectic world of hip hop and urban graffiti artists.
There are interviews with over 24 of Los Angeles talented artists. I do not mean to
effect an outpouring of graffiti all over their school, but to impress upon the students
that graffiti artists shown in the video were trying to express their concepts of
personal and group identity.
Teacher will:
1. Introduce the concept of symbols in everyday life.
2. Introduce the graphic designers to be studied: Rand, Lubalin and Brody. Place
reproductions of their work around the room.
3. Using an opaque projector, show examples from contemporary publications of the
use of words, symbols, and typography in popular culture, citing uses of words,
numerals, letters, and symbols on billboards, posters, ads, and packages. Review
with the class the reproductions and slides shown. Introduce the “Joe Camel
advertising campaign, but don’t discuss in depth until closure.
4. Ask students to identify and discuss the expressive qualities of symbols, logos,
typography, and words using some of these examples. Ask students how symbols
and typography found on designer labels and articles of clothing, and in corporate
logos, advertisements, and the mass media (TV, newspapers, etc.) communicate
feelings, values, and meanings.
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5. Guide students in discussion of words, symbols and advertising that they are
familiar with and which they feel influences them. How do symbols represent feelings
and things?
6. Present excerpts from “Graffiti Verite (1995).” Guide students in a discussion about
mark-making among the graffiti artists seen. Why do they feel compelled to make
symbols? Who recognizes the symbols? What do they use? When do they make
symbols? Celebrate? Warning? Zoning? Tagging?
Students will:
1. Gather personal pictures, icons and logos on a concept board of at least 11” x 17”.
Students are to find cultural symbols on their own at home. Students should gather
symbols and images that help express who they are or what they want to be.
2. Look in magazines for examples of words, logos and logotypes, in different styles,
for analysis and identification.
3. Discuss how deeply mark-making is present in their communities. Consider
environments such as: schools, churches, shopping malls, outdoor advertising, home
(tv, radio, cd music, computer games) as well as other places students meet or visit
— zoos, museums, etc.
7. End of week. Students bring in concept board of their personal symbols and
images.
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Week Two: Critical Examination and Synthesis
Teacher will:
1. Show and critique concept boards in class.
2. Provoke discussions: Is it possible for the designer to destroy, change, or ignore
the everyday meaning of an accepted visual in a symbol? How are symbols
synthesized? How can they lose their original meaning over time?
4. Check examples of words and phrases in various typefaces collected and ask
students if they are satisfied with what they have so far. Have them discard and
substitute samples accordingly. Ask them to identify typefaces (from catalogues of
graphics and typefaces and styles). Are their letters suitable for the word or phrase
they are considering for their image in the symbol assignment? How?
5. Encourage them to try to think “outside the box” while concepting their personal
symbols.
Students will:
1. Students will write a one-page evaluation of their own concept boards based on:
expressive qualities, accuracy of identification, how well the symbolism is integrated
into the visual and enhances the communication qualities. Can you identify what is
being expressed? Is that important? What is “message?”
2. Begin drawing thumbnail concepts that brainstorm ways that their images of
themselves can be synthesized into a new form. Students should create a final
version at first, but use their imaginations to go into bold new directions.
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Week Three: Final Art and Presentation
Teacher will:
1. Explain to students proper finishing and mounting procedures. Demonstrate all
aspects of symbol drawing and presentation board spraymounting, including safety
considerations.
2. At end of class presentations, re-introduce the “Joe Camel” advertising campaign,
and ask students if they feel differently about the sublimal messaging used in the
campaign, and whether the Joe Camel performed as a symbolic icon.
Students will:
1. Finish black/white artwork. Have students use copier to reproduce in various sizes:
6” square, 1” square and 1/2” square. Symbols must be easily perceived at the
smallest and largest sizes.
2. Try to simplify symbol as much as possible.
3. Mount final artwork on black Crescent board or plain matte black paper. Explain to
students proper mounting techniques.
4. At final presentations, each student will explain how their final artwork synthesizes
their learning experiences from the unit and participate in the discussion of works by
other students, justifying their comments with specific reasons.
5. Attempt to “sell” their artwork as a visual symbol/metaphor of their personal
identity or future career/identity to the rest of the class.
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Student References Materials
A variety of typographic catalogues will be made available for reference:
Emigré (http://www.emigre.com/) Emigré Graphics, 4475 D Street, Sacramento
California 95819 USA; 1-916-451-4344
Enschedé Font Foundry (http://www.teff.nl/), The Enschedé Font Foundry, PO Bx 245,
5300 A E Zaltbommel, The Netherlands
Adobe Type Library (http://www.adobe.com/type/main.html), Adobe Corporation, 345
Park Avenue, San Jose, CA 95110-2704
ITC (http://www.itcfonts.com/), International Typeface Corporation, 200 Ballardvale
Street, Wilmington, MA 01887-1069
The following three books will be available for classroom reference
(property of teacher).
Heller, Steven (1999). Paul Rand. London: Phaidon Press.
Snyder, G. & Peckolick, A. (1985) Herb Lubalin: Art Director, Graphic Designer and
Typographer. New York: American Showcase.
Brody, Neville (1988). The Graphic Language of Neville Brody. New York: Rizzoli.
The following websites may be helpful to students:
Brand Identity Specialists:
Pentagram Design, NYC: http://www.pentagram.com/
Communication Arts Online magazine: http://www.commarts.com/
Neville Brody:
http://www.fuse98.com/net4m/index.htm
http://www.fontfont.de/designers/brody70/brody70.html
http://www.pgeek.com/brody.htm
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Paul Rand:
http://www.commarts.com/creative/rand/
http://www.dlsdesign.com/rndtrib1.htm
http://www.aiga.com/boston/pages/rand/rand.htm
Herb Lubalin:
http://www.myfonts.com/Person210.html
http://www.itcfonts.com/itc/lubalinseries.html
http://www.emodigi.de/emodigi_site/itc/itc.html
Other graphic designers of special interest:
Margo Chase:
http://www.margochase.com/
David Carson
http://www.davidcarsondesign.com/
Artwork References
Paul Rand: Westinghouse, IBM, UPS and ABC logos.Rand was the foremost
practitioner of corporate symbolism design during the 1950-1970’s. His use of cool
rationalism still influences logo design today.
Herb Lubalin: Avant Garde, Mother & Child and U&lc logos.Lubalin inventively created
typographic symbols that were extremely influential during the 1970-1980’s.
Neville Brody: The Face, Style and Contents logotypes. Brody singlehandedly created
the personalized typographic deconstruction and “style as meaning” that is rampant
today.
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Evaluation Criteria
Criteria
0
C l a s s
1
2
3
D i s c u s s i o n s
Participation
No apparent
participation
Lukewarm
participation
Participated
regularly
Enthusiastic and
led discussions
Insightfulness
No analysis
attempted
Some attempt
at analysis
Clear analysis,
no reflection
Detailed insights,
reflective
Comprehension
Doesn’t understand symbolism
Rudimentary
understanding
Adequate
understanding
Knows symbol
use and meaning
Idea Communication
No symbol idea
communicated
Rough idea of
symbol discussed
2-3 ideas for symbol discussed
Discussed many
ideas & concepts
Originality
Plagiarized
existing symbol
Modified existing
symbol, parody
New idea, yet
uninspired
Should be
trademarked!
Creativity
No creative
generated
Generated one
idea used as final
Generated 2-3
ideas & final
Generated 4+
ideas & final
Personal Expression
No personal
reference/identity
Obscure reference Adequate; some
to student identity referencing
Inspired; relevant
to student
Craftsmanship
Fell apart, scruffy
and unfinished
Dirt smudges,
not straight
Clean, some
overlaying
Pro-style, crisp,
flat and sharp
Simplicity
Reduced to
a blob at 1/2”
Barely recognized
at 1/2” x 1/2”
Can be seen
at 1/2” x 1/2”
Sharply defined
at 1/2” x 1/2”
A r t w o r k
F i n a l
P r e s e n t a t i o n
Organization
Did not give
presentation
Can’t find element Some juggling
of presentation
of materials
All elements
organized & clear
Communication
No attempt at
communication
Some attempt
to communicate
Sold the audience
& well-perceived
Expressed ideas
well, good skills
Robert S Wright
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p.16
Class Discussions
Participation
During the class discussions, look for active involvement in discussion areas,
enthusiastic brainstorming, and bringing fresh references and material. It is only by
participating in class discussions that a student will understand the universal
community of visual language as well as personal, “local” visual dialect.
Flexibility options for students with disabilities: bring in written notes or taped reports
on symbols they find in their environment. If they are uncomfortable in class
discussion, they are encouraged to participate in whatever degree they feel
comfortable with..
Insightfulness
When analyzing symbols, insightfulness could be shown in finding similarities and new
understandings in unknown symbols, being able to find connections between the
symbol and the object/action to be represented, and also being able to “break apart”
a symbol to uncover primary sources of visual information.
Flexibility options for students with disabilities: research or draw alternative symbols
that mean the same thing.
Comprehension
One of the primary goals of this lesson plan is to understand properties of visual
symbolism and how human beings find meaning in visual marks. Students are
bombarded with images and marks that try to define who they are, what they want,
and what they should do. To be able to understand how this system works will help
students to discern influences and communicate visually.
Flexibility options for students with disabilities: both general and special education
teacher will prepare a short summarization to aid the student with class discussion,
pointing out terms and characteristics of what is being discussed.
Idea Communication
Being able to orally define a visual concept is a left-brain skill that requires intake of
right-brain information and perception. It is not easy to critique artwork or express a
visual idea. Nevertheless, it is one of the objectives of this lesson plan, to help
students communicate the properties and elements of a visual symbol.
Flexibility options for students with disabilities: draw alternative and oddball symbols
that can mean the same thing.
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Personal Symbolism
p.17
Artwork
Originality
It would be too easy to simply modify an existing mark. Originality does not
necessarily emerge from God-given talent. Most often it is the result of hard work
geared towards understanding the information to be conveyed visually. By doing the
homework — processing necessary information, researching other solutions, and
generating a wide range of new visual solutions — a synthesis integrating the known
and unknown may emerge from the student’s efforts.
Flexibility options for students with disabilities: they may take existing logos and
manipulate if necessary, as long as a major meaning of the logo is changed.
Creativity
Creativity is different from originality. My expectations for creativity are: a full-fledged
concept board to be used for sourcing, a generous sampling of thumbnail brainstorm
sketching, and a honest attempt at synthesis in the final graphic representation.
Creativity is right-brain effort all the way through.
Flexibility options for students with disabilities: they may take existing logos and
manipulate if necessary, as long as a major meaning of the logo is changed.
Personal Expression
The project gives each student an opportunity to express their present or future
identity visually. If the net result shows no discernable relationship to who the student
is (or wants to be) then the student failed. In this assignment, personal expression is
not mark-making or gestural expression; it is a discernment process of visually
communicating some aspect of the personal identity in such a way that a complete
stranger would appreciate a sense of the student’s identity.
Flexibility options for students with disabilities: none needed. Teachers will help
prompt them with possible visuals if needed.
Craftsmanship
One of the requirements for the project is to learn how visual concepts are presented
in professional businesses. A sloppy, dirty presentation will not perform adequately to
persuade a client of the symbol’s conceptual value. In this respect, the presentations
should be clean, crisp and smartly pasted together. Loose edges, several layers
slapped together, dirty presentation board and ink smearing will reduce the grade. A
idealized final symbol might be scanned and printed on high-resolution white vellum,
spray mounted perpendicular and straight on a clean black Crescent mounting board
measuring no smaller than 12’ x 12’, with even trimming no more than 2” from the
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board’s edge. No pencil marks or knife cuts should be visible on the board’s surface.
Student should prepare label and paste on back of board, again horizontally straight.
Flexibility options for students with disabilities: They will attempt to make presentation as
neat as possible.
Simplicity
One of the requirements of a successful logo is that it can be clearly reproduced at small
sizes. A successful personal symbol should be able to be reduced to a 1/2” x 1/2” format (if
square) and still be clearly seen and understood. An unsuccessful logo mark will reduce itself
into an intelligible blob. This students should try to reduce the amount of detail necessary for
visual communication to a bare minimum, that will allow clear readability at any size
reproduced.
Flexibility options for students with disabilities: none. I think simplicity may be Godsend.
However, if the idea gets across but the overall linework is cluttered, they will be graded on
whether they attempted to simplify their original drawing.
Final Presentation
Organization
It is very important when presenting a symbol to the audience that the presentation process
is organized. The designer should appear in charge and have a clear and complete
understanding of the materials he/she is using in the presentation; i.e. overhead projection,
tape recorder, or any visual aides. If no visual aids are used, the designer should still appear
in command of the presentation board and their speaking notes.
Flexibility options for students with disabilities: They will be given extra time to organize their
presentation.
Communication
The symbol’s qualities, features and meanings should be clearly expressed. The
designer/student might need to clarify areas of meaning that appear problematic. If the
audience appears sold on the successful meaning of the symbol, the student is completely
successful in the project. However, be careful — some students may be revealing aspects of
their identity the audience is unaware of. As long as the symbol clearly communicates
something the audience understands, this should be more than adequate.
Flexibility options for students with disabilities: They may use any equipment they feel
comfortable using, especially the computer. They can write their presentation and record it
using SimpleTalk on the Mac, for example.
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Personal Symbolism
p.19
Closure/Reflective Activities
Bring up the “Joe Camel” advertising campaign again. Ask the students who they
believe the marketing campaign was aimed towards. Was it successful? What
were the central symbols? How can a cartoon character become a symbol?
What characteristics of Joe Camel do you think kids and teenagers associate
themselves with?
How about the differences between the Gap and the Old Navy television advertising?
What symbols are used that they are aware of? (Kiddie bright colors-Old Navy; Adult
beiges-Gap). Were these apparel marketing campaigns directed at the same groups?
(No). Why do they think one way or the other?
Are there any other sublimal advertising campaigns they are aware of
Teacher Reflections
1. Learners can be “quick reads” when it comes to visual language. They usually
show great acumen when perceiving symbolic communication and should be
encouraged to participate in any art activity that might play up to their strengths.
2. Be careful asking students to explain how a symbol communicates, some will not
be able to explain adequately what they see. Help the students there “best” way to
describe a visual concept other than honestly.
3. Be prepared to answer questions as to whether the Joe Camel facial physiology
was meant to be a subtle phallic reference (it wasn’t). Also, some of the students may
have difficulty understanding that an illustrated comic strip character can serve as an
icon. Query students about the Joe Camel’s perceived human characteristics and ask
if those characteristics are attractive to children and teenagers.
4. Some of the students will need additional explaining about the differences between
symbols, icons, logos and marks. As I see it (as a practicing professional), a mark can
mean any of the others. A logo is usually referred to as a symbol used by a
corporation or business. A symbol is cross-cultural, and can mean anything that is
meant to communicate a concrete or abstract concept. A icon can mean any of the
others, but is usually denoted to mean something of religious significance.
Robert S Wright
Personal Symbolism
p.20
Bibliography
Heller, Steven (1999). Paul Rand. London: Phaidon Press.
Snyder, G. & Peckolick, A. (1985) Herb Lubalin: Art Director, Graphic Designer and
Typographer. New York: American Showcase.
Brody, Neville (1988). The Graphic Language of Neville Brody. New York: Rizzoli.
Jung, C.G. & Von Franz, M.L. & Henderson, Joseph (1969). Man and His Symbols. New
York: Doubleday.
Biedermann, H. & Hulbert, James (Translator) (1994). Dictionary of Symbolism: Cultural
Icons and the Meanings Behind Them. New York: Meridian.
Morgan, Hal (1986). Symbols of America. New York: Viking Penguin.
Kuwayama, Yasaburo (1987). Trademarks and Symbols of the World. Tokyo: Kashiwashobo.
Trout, Jack & Rivkin, Steve (2000). Differentiate or Die: Survival in Our Era of Killer
Competition. New York: John Wiley & Sons.
Ries, Al & Ries, Laura (1998). The 22 Immutable Laws of Branding: How To Build A
product or Service Into A World-Class Brand. New York: HarperCollins Press.
Dooley, Michael (1996, July-August). Defending Joe Camel. Print, 54, 50-51.
Morris, Dean (1988, September-October). Review of The Graphic Language of Neville
Brody. Communication Arts, 203, 78-81.
Von Hoffman, Constantine (2000, November-December). Branding Baby’s Brain. Sierra, p.
56-95.
Bryan, Bob (1995). Graffiti Verite (VHS). Documentary video about the Graffiti Art
Movement in Los Angeles.
Peeler, Lee (1997). Joe Camel Advertising Campaign Violates Federal Law, FTC Says.
Federal Trade Commission (FTC File No. (P884517). Retrieved February 23, 2001
from the World Wide Web: (http://www.ftc.gov/opa/1997/9705/joecamel.htm)
Haley, Allan (2001). The Letter A: A short history. International Typeface Corporation.
Retrieved February 23, 2001 from the World Wide Web:
(http://www.itcfonts.com/ulc/article.asp?sec=ulc&issue=27.1.1&art=letterseries-a)