James W. Fraser is Professor of History and Education and Dean of the School of Education at Northeastern University. Prior to his appointment as Dean of the new School, Fraser was the Director of the Center for Innovation in Urban Education at Northeastern from 1993-1999. At Northeastern he regularly teaches a graduate seminar in the History of American Education. Before coming to Northeastern, he was Professor of Education and Dean of the Division of Educational Studies and Public Policy at Lesley College. He holds a Ph.D. from Columbia University and an M.Div. from Union Theological Seminary. His most recent publications include, Between Church and state (St. Martin's Press, 1999), Reading, Writing, and Justice (SUNY Press, 1997), Mentoring the Mentor (Lang, 1997), Freedom's Plow (Routledge, 1993). He is also the editor of the series, "Transforming Teaching" published by Routledge.

Steven Heller is the art director of the NY Times Book Review and co-chair of the MFA Design program at the School of Visual Arts. He is the editor of the AIGA online journal, VOICE. He is a contributing editor to PRINT, EYE, Baseline, and ID. He writes f

Seymour Chwast is the founder of Push Pin Studios. He is a multiple award-winning graphic desgner, illustrator, and type designer.

With enticing visuals and a fascinating text, Japanese Modern: Graphic Design between the Wars is the first book to examine an often ignored period of Japanese graphic design. From the late 1920s to the mid-1930s, Japan was a burgeoning industrial state with a growing consumer culture that relied increasingly on commercial art to promote and sell its products. While adhering to its own distinctive artistic traditions, Japanese graphic design was nevertheless heavily influenced by Western styles, trends, and fashions - the most influential being art modern, or art deco. Japanese graphic designers and art directors drew inspiration from Europe's master poster artists and typographers - particularly those in France and Germany. They also imported and assimilated elements of Bauhaus, constructivism, and futurism, and applied them to a variety of media, including posters, packages, brochures, advertisements, and magazines. Art modern is perhaps best illustrated in the scores of department store posters produced during this time, while hybrids are seen in the ubiquitous collections of period matchbox labels. Tracing the introduction of this Western-influenced style through its most compelling movements and leading practitioners, this strikingly illustrated book presents a scintillating look at modern Japanese graphic design.