We owe more to the printed picture than to the printed word. That, paraphrased, is the thesis of a wonderful book, Prints and Visual Communication, by William M Ivins, Jr., first published in 1953. Ivins was for many years curator of prints at New York's Metropolitan Museum of Art. From the title and cover, you might expect an art-historical survey of works by Durer, Hokusai, Escher, Warhol, et.al. But the book is nothing like that.
By "print" Ivins means what he calls "the exactly repeatable pictorial statement." You have only to recall how you learned Cartesian coordinates, Newtonian mechanics, the periodic table and the double helix to see that exactly repeatable pictorial statements are essential for learning and passing on practical, scientific knowlege. It seems quite obvious, but it's not something that I had thought of before reading Ivins.
The first printed book identified by Ivins as using pictures for informational purposes, is Valturius's De re militarii (Verona 1472). It contains this wholly unedifying picture of a machine gun.
There soon followed books of anatomy, botany, geometry, and other more 'humanistic' pursuits. Ivins's book is much more about engineering than about art, as he follows the proliferation of printed visuals through the development of lithography and photography.
In the first place, what is called Greek thought is not a homgeneous body of doctrine and knowledge reflecting a reasoned and unified attitude towards life and the world. What remains of it is a highly accidental heap of notions and odds and ends of the most violently contradictory kinds. If you care to look for it you can find a phrase in it that can be twisted to the purpose of almost anything you want to argue on any side of any problem. The Greeks never agreed about anything; they actually knew very little; it was quite customary for them to be intellectually dishonest; their arguments were designed, not to bring out the truth, but to down the other fellow in a forensic victory; and they had very loose and careless tongues.
— BGM
Bruce McKenzie writes and produces multimedia productions, brochures, books, articles, and videos. He is the author of The Hammermill Guide to Desktop Publishing in Business, as well as articles in various new media publications. He was a market development manager and creative services director at International Paper where he managed product development and advertising for the 2-billion fine papers business. He produced the first coast-to-coast cable broadcast of a video corporate annual report. He produced a number of award-winning corporate videos, including "The Price," an antitrust docudrama which was named best industrial video of the year at the Chicago Film Festival, and has been used in the antitrust education programs of many Fortune 500 companies. He holds master's degrees in broadcast journalism and business administration.
Lorna Pautzke looks at B-2-B business presentations with the discerning and skeptical eye of an industrial marketer and product manager, which she was, at International Paper, before helping to start up Business Information Graphics. Lorna developed pricing and service policies in a multimillion-dollar segment of IP's fine papers business. An MBA, with a concentration in marketing and market research, she sets and enforces high standards for research, editorial, and creative quality. She directs all aspects of production, from the definition of expectations and expected costs to on-time and on-budget delivery of the end product. She directs the activities of subcontractors and manages the costs to be sure that projects meet expectations and come in on time and on budget.
Anthony Coccia Director of Art & Animation, creates the original art and animation at Business Information Graphics. A graduate of the University of the Arts, in graphic design, he also attended the prestigious Yale Summer Program in Graphic Design in Brissago, Switzerland. There, he received instruction from such design leaders as Paul Rand and Armin Hofmann. Before joining the company, he worked in the creative department of Novartis Pharmaceuticals. At Business Information Graphics, Anthony's knack for animation was ideal for the emerging multimedia revolution. His motion graphics have captivated thousands in such venues as trade shows, online, and corporate films.