During the 1960s, literary and graphic design communities throughout the world were astounded and delighted by the experimental typography of French designer , whose work has affinities with futurist and Dadaist typography. His designs for Eugène Ionesco’s plays combine the pictorial conventions of the comic book with the sequencing and visual flow of the cinema. The drama of La Cantatrice Chauve (The Bald Soprano) is enacted through Henry Cohen’s high-contrast photographs (Fig. 21-61/21-59). Each character is assigned a typeface for his or her speaking voice (Fig. 21-62/21-60) and is identified not by name but by a small photographic portrait.

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to save the day, harry must get past a scary three-headed guard dog.

the author is intending to draw attention to the plight of refugees, editorial and biography support this. both workpieces make the reader empathize with enrique as well as with the other young migrants from central america. the writer, however, is using a different approach to each text.

the editorial includes strong words to persuade readers. he is trying hard to convince readers in the us to change its refugee approach.

the biography relies on narrative techniques and figurative language which the writer uses wisely in the setting, characterization, and personification to educate readers on the topic.