Line is the most beautiful thing in drawing.
— Сол Стейнберг
The publication reveals Saul Steinberg’s identity both as a well-established graphics artist in The New Yorker’s major magazine and as a person in a constant search for life and creativity.
By definition, the book is divided into four units, depending on the method of storytelling: monologue, dialogue, catalog, and polylogue. There is no content in the publication; the material itself gradually reveals the identity of the artist and the visual narrative begins with the cover.
(1) Monologist
The book begins with a linear graph and Steinberg’s personal notes on life and art: this is the first level of acquaintance with an artist, through his thoughts and self-portraits.
(2) Dialogue
The next type of narrative is dialogue. There’s an interview about graphics, sports, and architecture in America.
In part of the dialogue, the interviewer’s question turns into a column and takes his place.
(3) Catalogue
The whole part consists of the cover of The New Yorker magazine illustrated by Steinberg at the peak of his commercial graphics. Against the background are collages collected from his sketches and outlines of the same periods as the cover itself.
(4) Polylogue
The story of Steinberg with «the voices of many»: clippings from a biographical article that quoted him about himself, memories of friends and fragments of interviews
Colleagues against the background appear when the text refers to a change of artistic gesture or technology in Steinberg ' s work.
Steinberg’s work, related to his personal memories and thoughts, appears on a grey background. They take the form of an exhibition series with the signature ST, the year of creation, the name and the technology.
There are abstract turns-to-colleges before the texts with the keys to Steinberg’s life.
