Deze geheel herziene vierde editie is uitgebreid met bijna tweehonderd pagina's en begint met het ontstaan van het schrift en via de Romeinse tijd geeft het begin van het boek de oorsprong van de typografie weer. In het hoofdstuk De typografische tijd worden letterontwerpen gekoppeld aan kunststromingen en belangrijke kunstwerken. In de volgende hoofdstukken wordt de letterfamilie nader bekeken, de gebruikte maatsystemen besproken en komen diverse classificaties uitgebreid aan bod met voorbeelden van lettertypes die in de verschillende onderverdelingen vallen. Het hoofdstuk met een vergelijking tussen 3 schreeflozen en 3 schreefletters geeft subtiele verschillen tussen vergelijkbare lettertypes aan. Het hoofdstuk De anatomie van de letter bespreekt de vormen van iedere letter van het alfabet, de overeenkomsten en verschillen tussen de lettertekens en verschillen in vorm tussen diverse oplossingen van dezelfde lettertekens. Na dit hoofdstuk komen de digitale fontformaten aan bod, de digitale esthetica, typografische aanbevelingen en wordt ingegaan op de keuze van een lettertype.
De appendix beslaat maar liefst 144 pagina's en is gedrukt op een zandkleurige papiersoort. Deze bevat een algemene index, een index op lettertype (ongeveer 350 stuks), een index op letterontwerper waarbij ongeveer 250 ontwerpers zijn opgenomen, een index letteruitgeverijen waarin de geschiedenis wordt weergegeven van de letteruitgeverijen die in het boek staan vermeld, een grafisch woordenboek van in het boek vermelde vaktermen en een uitgebreide bibliografie.

This is a completely revised edition of the very successful Dutch typeface manual "Letterfontein". It contains some 350 type designs inculding information about the 250 designers behind the letters and the type-founders who produce them.

This publication continues the ECAL design series initiated with "ECAL Graphic Design" and "ECAL Typography." The project began with a simple question: is there such thing as a computer program capable of taking over the routine tasks of letter design? This issue, both artistic and digital, led the professors and the students of the Masters in Art Direction of the ECAL to imagine exchanges back and forth between digital type specifications and the actual shape of letters. They went into more general questions about the groups of shapes that make up our letters—stems, curves, and serifs—asking themselves how they could possibly simplify and further amalgamate these groups of shapes that monopolize the energy of schoolchildren, illustrators, and type designers alike. Calligraphy and hand-drawn letters comprise series of strokes and curves; mechanical typography does too, through the engraving process of punches and counter-punches. Digital typography, however, dematerialises this operation, leaving the choice of formal references open-ended. Does that mean novel forms of design could evolve through manipulating fonts' algorithmic data? Several small scripting programs were developed and tested by the students during a series of workshops. From a set of typography experiments based on these simple scripts, David Keshavjee and Julien Tavelli designed a text typeface that is featured in this book and displays the characteristics of the tool that generated it. As an extension to this concept, mobile wooden characters were made as a materialization of a graphic application arising from scripting techniques; this enabled play with typographic equipment, hand setting, spaces, and printing. The intention of building project-specific, sometimes unstable tools was part of a quest for unity within a graphic project the initial design and production stages of which were characterized by the same approach: extending the scope of the typographic game.
With contributions by Peter Bilak, Dimitri Bruni, Pierre Keller, David Keshavjee & Julien Tavelli, Jürg Lehni, François Rappo, & Erik Spiekermann.

"There is a common belief, reinforced by Gary Hustwit’s documentary film Helvetica, that Helvetica is the signage typeface of the New York City subway system. But it is not true—or rather, it is only somewhat true.
Helvetica is the official typeface of the MTA today, but it was not the typeface specified by Unimark International when they created the signage system at the end of the 1960s. Why was Helvetica not chosen originally? what was chosen in its place? why is Helvetica now used? when did the changeover occur? Helvetica and the New York City Subway System answers these questions and then goes beyond them to look at how the subway’s signage system has evolved over the past forty years. The resulting story is more than a tale of a typeface. It is a look at the forces that have molded a signage system.
Paul Shaw places the New York City subway system signage in the context of 1960s transportation sign systems worldwide, the collapse of the American passenger railroad system that same decade, and the decline and rebirth of New York City from the Lindsay administration to today. He also offers a fresh and revealing look at the history of Helvetica from an American perspective.
Helvetica and the New York City Subway System was originally written as an essay for AIGA Voice, an online magazine. It was posted in November 2008 and subsequently translated into Portuguese for the Brazilian blog logobr and into Chinese for the upcoming AIGA Speaks: Thoughts on Design 2009. Shaw lectured on the subject in February 2009 to a standing-room only crowd at the Type Directors Club in New York and in July 2009 at TypeCon 2009 in Atlanta.
Shaw’s account of Helvetica’s infiltration of the New York City subway system is based on numerous field trips within the system itself; interviews with Massimo Vignelli, Bob Noorda, Michael Hertz, Tom Geismar and many others; and extensive research including material in the MTA Archives, the New York Transit Museum and several personal collections. Helvetica and the New York City Subway System contains previously unpublished documents as well as more than 200 photographs, most of them original or never seen before. The AIGA Voice text has been corrected, revised and amended to take into account new information. It is supplemented by a chronology of the New York City subway system, comprehensive notes and a bibliography. An introduction has been written by Prof. Clifton Hood, author of 722 Miles: The Building of the Subways and How They Transformed New York (1993)." (Publishers text)

Nicely designed compliation of (Retro) fonts dating from the end of the 19th century up to the sixties and seventies of the 20th century.
"Gregor Stawinski has compiled over 400 characteristic fonts from the Wilhelminian age to the end of the 20th century and presents them in the style of old type specimen books in lists of figures opposite typical uses from a historical or retro context. In this way, he sensitizes us to both the design vocabulary of the individual characters and the typographical compositions of the times. Typography encodes the zeitgeist; it’s no wonder they are called “characters.” To help you launch your time travel right away, he has packed a CD with 222 free fonts into the book." (Publishers text)

In this new, well-designed, periodical publication about typographical subject matter each issue will concentrate on a specific area of Italian typography.
"The history of writing and type in Italia has always been of prime concern to scholars throughout the world. The wealth of shapes of the Latin letters on title pages, manuscripts, calligraphy manuals and other books seems inexhaustible. They represent models that remain vital and continue to guide and inspire modern graphic design.
Tipoitalia celebrates the protagonists of the Italian history of written communication and all those major and minor treasures that have come down to us through the centuries. Our magazine aims to single out the links with themes that keep the typography of the past relevant to today; links that are still strong and are coming to the surface again in contemporary Italian graphic design." (From the editors introduction).

"Tipoitalia 2 gives a lot of attention to numbers. Compared to letters there is no doubt that these are a minor part of the typographic scene, but there is also no denying that on a par with letters they have their rightful place alongside the alphabet. Here we discuss the application of numbers on clock dials, where there is a relationship between the clock hands and the numbers, and house numbers where due consideration for architectural circumstances is a necessity.
The Tipoteca Italiana has kindly printed an exclusive insert of very expressive wood type numbers. Another insert prepared by Enrico Tallone and printed by him in letterpress is part of the article on Alberto Tallone's type-designed in the late 1940s, for the Tallone books, following a typographic tradition that goes back to the Renaissance." (From the editors introduction).

The creation of type in the latter half of the 20th century was considerably influenced by the Swiss type designer Adrian Frutiger. His typefaces are amongst the most successful of contemporary classics.
Altogether Adrian Frutiger has designed over 50 typefaces, and his collaboration with colleagues has produced hundreds of logos and word marks.
"Adrian Frutiger Typefaces; The Complete Works" is based on interviews and conversations with the designer and on comprehensive research by the editors. Its depth and range make it an indispensable reference work. A meticulous, well designed project which was 8 years in the making and was completed in the year of Frutiger's 80th birthday, this book represents, as is his wish, his legacy to further generations of type designers and typographers.
There is also a German and French language edition.

Click here for a review of the book. (Dutch only)

"There are several drawbacks to creating a complete overview of all fonts available in the Arabic script. Though Arabic has a rich tradition in calligraphy, it hardly has a significant one in the field of typography. There is very little documentation about Arabic fonts which is why it is not always easy to find the design or production source of the fonts offered on the market and/or their technical specifications.
The goal of this publication is to give adequate help in selecting Arabic fonts for use in print and other media. Each text font is shown in the size and the format that corresponds with three archetypical applications of printed type: one sample in display size, one sample in an average text size, and one in a very small size used for captions or in business forms. These samples cover in a concise way the extremes of font use in print. Nowadays text does not appear in print only, but is also produced to be read from computer screens. The appearance of a font under these circumstances can be best judged on the final display. However, it is highly likely that if a font is legible at very small sizes it will also remain legible when used on low resolution computer screens. Fonts that are only suitable for display text are shown solely in the display option." (Edo Smitshuijzen from his Introduction)

This is the latest addition to the best selling "Design Briefs" series of essential texts on design published by Princeton Architectural Press. "Lettering & Type" is a smart-but-not-dense guide to creating and bending letters to one's will. More than just another pretty survey, it is a practical 'how-to' book full of relevant theory, history, explanatory diagrams, and excercises.
Authors Bruce Willen and Nolen Strals of design studio Post Typography examine classic design examples as well as exciting contemporary lettering of all stripes - from editorial illustration to concert posters to radical conceptual alphabets. "Lettering & Type" is ideal for anyone looking to move beyond existing typography and fonts to create, explore, and use original or customized letterforms.

All of the world's writing systems currently available on the computer are here displayed in a handsome folding map containing 51,980 characters of the BMP, the Basic Multilingual Plane, Unicode 5.0 compliant.

In 1896 William E. Loy, a San Francisco printing equipment salesman and scholar, had the idea of writing a series of profiles of type designers. Loy took a long view of history, and realized that it was important to document the men in the background who created the nineteenth century's fanciful types, even as the furiously competing type foundries got the credit for introducing them to the printing trade. His work was serialized in The Inland Printer over the next three years and included biographies, photographs of the artists, and lists of the type they had designed or cut, which Loy had painstakingly compiled through correspondence with the type founders and other craftsmen. Unfortunately, due to the technical limitations of a monthly periodical, it was not possible to show the typefaces mentioned. Finally here is the work as Loy envisioned it, with over 800 illustrations of typefaces designed by the craftsmen he discusses.

Wie liest man und welche Möglichkeiten haben Typografen, um dem Leser eine bessere Lesbarkeit oder Leserlichkeit zu bieten? Werden Schriften bewusst wahrgenommen? Was lösen sie aus? Und warum werden immer wieder neue Schriften entwickelt? «Wie man’s liest» ist ein Standardwerk zu Lesbarkeit und Leserlichkeit. Gerard Unger ermöglicht dem Leser anhand seiner anekdotischen Schreibweise einen vergnüglichen und zugleich fundierten Einblick in die Arbeit und die Möglichkeiten von Typografen und Grafikdesignern. Dieses Buch setzt dort an, wo viele Standardwerke zur typografischen Gestaltung aufhören: Es geht den Eigenheiten verschiedener Schrifttypen auf den Grund und erklärt anhand der Arbeiten berühmter und weniger berühmter Gestalter und Typografen, was passiert, wenn man liest.

Also available in the original Dutch edition
and, in English

This collection of thirteen essays by one of the world's leading authorities on the history of type examines sixteenth-century type design in France. Typefaces developed during this period were to influence decisively the typography of the centuries which followed, and they continue to influence a great many contemporary typefaces. The papers' common goal is to establish the paternity of the typefaces described and critically to appraise their attributions, many of which have previously been inadequately ascribed. Such an approach will be of interest to type historians and type designers seeking better-documented attributions, and to historians, philologists, and bibliographers, whose study of historical imprints will benefit from more accurate type descriptions.
The papers and illustrations in these two volumes focus on the most important letter-cutters of the French Renaissance, including Simon de Colines, Robert Estienne, Claude Garamont, Robert Granjon, Pierre Haultin, and also include a number of minor masters of the period.

(limited stocking-longer delivery time)

This catalogue is published in the context of the presentation of the Gerrit Noordzij prize 2009 to Wim Crouwel and the opening of the exhibition of the work of Tobias Frere-Jones, who was awarded the prize in 2006. The Gerrit Noordzij Prize is an initiative of the master course 'Type and Media' of the Royal Academy of Art and the Meermanno Museum of the Book in The Hague.
Tobias Frere-Jones (New York 1970) is awarded this prize for the various types that he developed with his open mind and eye, finding inspiration in the theories of Pythagoras, the music of Schoenberg, but also in everyday experiences.

The Dutch collector Jan Tholenaar, who recently passed away, put together one of the most extensive and exceptional private collections of typespecimens in the world. This book is volume one (1628-1900) of a planned two volume visual history of typespecimens taken from his collection. It shows examples of many of the most famous and most beautiful specimens ever printed; although it only gives brief bibliographical references of their printing history. It also contains a 'key-card' which allows the user to gain access to more than 1000 high resolution scans used to illustrate the book.

Six years after the publication of "Italic 1.0", which presented the work of some thirty contemporary Italian type designers, "Italic 2.0" reflects on the changing situation in Italy; the number of designers, the average quality and the quantity of projects have all increased. The selection of typefaces presented does not claim to be exhaustive but aims rather to act as a starting point for further consideration.

"Is Helvetica anonymous and neutral, does it lack character? This book proves the opposite. As shown in documents published here for the first time, Max Miedinger and Eduard Hoffmann had the vision and determination to create a typeface whose composure and normality are more refreshing now than ever before and whose letterforms are of a pleasingly willful beauty.
Helvetica, as an aesthetic constant, mastered the quantum leap in 1957 from metal type to the digital age of word processing. A fact that speaks for itself." (The publisher)

Most national governments have no standardized, typographical/design language with which all the various agencies and departments can communicate with each other or with their citizens. This visual cacophony usually results in an ugly and un-understandable language where everybody does what they want and the viewer/reader are left to fend for themselves in an attempt to understand what is being communicated.

The Dutch Government can be praised for now having made an attempt to begin with a standardization. Last year the national logo was restyled by Studio Dumbar (not to every ones liking) and now the government have presented a new family of typefaces which will gradually be introduced into all government communication, making for a standardized typographical/design language.
The Typefaces 'Rijksoverheid Serif' en 'Rijksoverheid Sans' have been designed by Peter Verheul, type designer and professor at the Royal Academy of Art and Design in the Hague.
This nicely designed little book is a presentation of the new typefaces and includes a complete typespecimen of the various weights.

The Typographic Desk Reference (aka TDR) is comprised of a thousand facts on the form of Latin-based writing systems. The book includes the following four main sections: Terms - Definitions of format, measurements, practice, standards, tools, and industry lingo; Glyphs -The list of standard ISO and extended Latin characters, symbols, diacritics, marks, and various forms of typographic furniture; Anatomy & Form - Letter stroke parts and the variations of impression and space used in Latin-based writing systems; and Classification & Specimens - An historical line with examples of form from blackletter to contemporary sans serif types. Designed for quick consultation, entries are concise and factual, making it handy for the desk.

This book is a lively and lighthearted survey that looks at the role that old and classic fonts play in contemporary graphic design.
Written and compiled by the world’s leading graphic-design historian, the book provides hundreds of examples, as well as informed texts that will entertain and inspire a new generation of students and designers to appreciate that the past contains typographic riches for the future.

The sharp, clean photographs of Maarten Helle in this book show the enormous variety of letters, names and words that are to be found on the buildings of Amsterdam.

In 'Letter by Letter' graphic designer and calligrapher Laurent Pflughaupt analyses each letter of the Roman alphabet in detail, tracing its origin, evolution, and form, as well as discussing its important abbreviations, symbols, and associated meanings.
Arranged in alphabetical order, twenty-six entries offer a wealth of facts about each letter, establishing correspondences between letters and elements borrowed from a variety of different fields of study ranging from traditional paleography, phonetics, and graphic arts to the more arcane areas of musicology, esotericism, and Eastern philosophy.

Originally published in 1987, in seven different languages, this is a fully revised and extended edition of Jost Hochulié excellent little book 'Detail in typography'.
It is a concise yet rich discussion of all the small things that enhance the legibility of texts. It considers all the elements that constitute a column of text - letters, words, the line, and the space around these elements. Yet this is more than a guide to correct typography. How is it, Hochuli asks, that text can be set perfectly and yet look insufferably dull? Answers may be found here, not the least in the way the book itself has been set and produced.

Ralf de Jong's new book "Schriftwechsel" is both a guide and a reference-check for interacting with letters and typefaces. This new standard work demonstrates a profound understanding of form and function, history and practical implementation; but at the same time offers a criterion for rating and choosing which typeface to use and how to mix them. It is a dedicated argument for the continued discussion about letters and typefaces and will be a helpful companion for those who use it.

"Schriftwechsel ist Entscheidungshilfe und Wegweiser im täglichen Umgang mit Schrift. Das profunde Standardwerk führt ein in Form und Funktion, Geshcichte und Anwendung sowie Beurteilungs-und Entscheidungskriterien für Schriftwahl und Schriftmischung. Daneben ist es ein engagiertes Plädoyer für die intensive Auseinandersetzung mit Schrift und ein hilfreicher Begleiter zur persönlichen Schriftkompetenz. Und es ist eine-begründete-Liebeserklärung an 50 + 200 Schriften, die Lust macht und Mut, immer wieder mal den Schriftwechsel zu wagen." (Publishers text)

"Edward Johnston (1872-1944) was a man of letters - master calligrapher, typeface designer and creator of the lettering and branding for the London Underground. He was also a great teacher and philosopher. Many were, and still are, influenced by his down-to-earth ideas on calligraphy and lettering, and those who studied in his classes at the Central School of Art and the Royal College of Art in London took his ideas and views into their own classes and to their own students. Great calligraphers and letterers of today throughout the world are still influenced by Edward Johnston's work.

This detailed book by art and design historian Peter Holliday looks afresh at Johnston's work and legacy. It considers his friendships and his philosophy, the people he worked with and the influence he had on them and others. Importantly it gives details of the setting up of the craft community at Ditchling in Sussex and the crafts people who were all drawn to the village as a result. During his career, Peter Holliday taught at Ravensbourne College of Design and worked at Ditchling Museum. He contributed to and edited the book Eric Gill in Ditchling published by Oak Knoll in 2002. Holliday passed away in November 2003 while creating this book, and the task of completing it passed to his sister, Susan Skinner. As a fellow calligrapher, she recognized the importance of this book on Johnston. With the information left to her by Holliday, Skinner contacted Sam Mullen to help her complete this book. Skinner and Mullen lightly edited Holliday's work using his impeccable research and have left the original Preface, written in 2002, untouched." (Publisher's text)

The long awaited translation of this excellent book in which the renowned Dutch type designer Gerard Unger distills decades of design experience into playful, accessible text that reflects the range of his professional projects, from designing the fonts read daily by millions in 'USA Today' and several Dutch daily newspapers to being responsible for the look of the highway and metro signs in the Netherlands.
This book is about everything that happens while you are reading-in front of your eyes and inside your head- and about what type designers, typographers, and graphic designers bring to the pages to make reading happen.
Gerard Unger teaches as visiting Professor at The University of Reading, UK and has taught at the Gerrit Rietveld Academy, Amsterdam. As of September 2006, he is Professor of Typography at the University of Leiden, the Netherlands. Working as a freelance designer since 1975, he has designed postage stamps, coins, magazines, newspapers, books, logos, corporate identities, annual reports and many internationally recognized typefaces.

There is also a Dutch edition.

Lance Hidy, the accomplished designer of books, posters, types, and stamps, takes us through the process of designing a postage stamp while explaining how the small Mentoring stamp relates to his larger body of work. Thirty-eight full-colour reproductions illustrate the photographs, designs, and drawings which were part of the design process, as well as related posters and illustrations from the last thirty years of Hidy's work. The 64-pages were excellently printed at Stinehour Press and bound at Acme Bookbinding.
Although a field that is often overlooked by bibliophiles and historians of printing and typography, several of the most important contributors to twentieth century book and letter arts have made significant contributions to the design of the seemingly modest postage stamp. Eric Gill, Reynolds Stone, Jan van Krimpen, S.L. Hartz, S.H. DeRoos, Georg Trump, Walter Brudi, and Hermann Zapf—designers who have been celebrated for their masterful accomplishments in the field of type design—have all considered the specific concerns of philatelic design.
Designing the Mentoring Stamp is the first in a series of books to explore these heretofore forgotten bodies of work.

Typography Today, conceived, edited and designed by Helmut Schmid, was first published in 1980 as a special issue of Idea magazine, and republished as a book in 1981 by Seibundo Shinkosha. Though out of print for many years, it has achieved international recognition, prompting this new, expanded edition.
It introduces selected works of 88 designers from 15 countries. It traces the course of modern typography from pioneers such as El Lissitzky, Tschichold and Zwart; to Emil Ruder, Karl Gerstner and Herb Lubalin; through to Wolfgang Weingart, Wim Crouwel and Kohei Sugiura. This new edition includes work by Neville Brody, April Greiman and Ahn Sang-Soo. There are essay contributions from Wolfgang Weingart, Wim Crouwel, Kohei Sugiura, Franco Grignani, John Cage and Helmut Schmid; and the famous essay 'Typography as Communication and Form' by Emil Ruder.

"Parallel Strokes" is a collection of interviews with nineteen contemporary typeface designers, graffiti writers and lettering artists around the world. The book is introduced with a comprehensive essay charting the history of graffiti, its relation to type design, and how the two practices related in the wider context of lettering.
There are interviews with the type design collective Underware, Japanese type designer Akira Kobayashi, American graffiti writer and artist Barry McGee/Twist, German graffiti writers Daim and Seak, and the American lettering artist and graphic designer Ed Fella.

This large volume includes 1650 typefaces from 18 foundries, with many typesetting examples and detailed technical notes. A must for designers, editors and publishers.
Japanese text only.

A detailed analysis of Japanese typesetting in relation to it's elements, attributions and structure.
Japanese text only!

Containing 277 entries this beautifully produced catalogue of typespecimens printed between 1517 & 2004 offers a repertory of typographic richness that has yet to be explored. Each of these important and often exceptionally beautiful specimens is illustrated and described both bibliographically and historically.
"The present work is not the first of its genre. It was preceded in 1928 by the catalogue issued by the publishers Birrell and Garnett which we have often cited. The latter contains only 104 entries, but it is accompanied by erudite descriptions by Graham Pollard. The present descriptions extend the history of graphic production to the present day and bear witness to the changes brought about by the successive disappearance of the lead foundry and the methods of photocomposition in favour of computer technology." (Isabelle & André Jammes, from their introduction).

The first study, in any language, of this German typographer and type designer. Renner's work exemplifies central themes in German culture during the first half of the 20th century. In the 1920s Renner worked in Frankfurt where he began work on his typeface Futura.In Munich Renner ran the printing school that included Jan Tschichold among its teachers. After the Nazi years he emerged as a voice of experience in postwar debates.
Christopher Burke, who also published an excellent biography about Tschichold, presents a wealth of hitherto unpublished material about Renner, drawn from archive research.

This learned journal is now in its seventh issue and it continues to rewrite the history of letterforms. The table of contents for this issue is as follows:
Hendrik D. L. Vervliet: The young Garamont: roman types made in Paris from 1530 to 1540. (Vervliet examines the early career of Claude Garamont, establishes a convincing chronology of the work, corrects some misattributions, identifies a so-far anonymous master).

Justin Howes: Extreme type: progress, ‘perfectibility’ and letter design in eighteenth-century Europe. (In a posthumous publication by an extraordinary researcher, the late Justin Howes looks at the idea of progress in eighteenth-century letter design).

Eric Kindel: The ‘Plaque Découpée Universelle’: a geometric sanserif in 1870s Paris. (Kindel continues his thorough investigations of stencil letters with a discussion of a device that could generate all the letters from just one template).

Sue Walker: Letterforms for handwriting and reading: print script and sanserifs in early twentieth-century England. (Walker surveys letterforms designed for young readers, and in particular the sanserifs that can be seen in early-twentieth-century children’s books).

Linda Reynolds: The Graphic Information Research Unit: a pioneer of typographic research. (Reynolds documents the work of the Graphic Information Research Unit: an undeservedly forgotten enclave within the Royal College of Art in London).

Giovanni Lussu: The form of language. (Giovanni Lussu briskly demolishes some tired misconceptions about the visual embodiments of language, at the same time proposing a more generous vision: ‘Typographers of the world! Onwards, let us go beyond typography!’).

Typographic organization has always been a complex process with many elements at play, such as hierarchy, order of reading, legibility, and contrast. In 'Typographic Systems' Kimberly Elam, author of the bestselling books 'Geometry of Design' and 'Grid Systems', explores eight major structural frameworks beyond the grid - including random, radial, modular, and bilateral systems. By taking the reader through exercises, student work, and professional examples, Elam offers a broad range of design solutions that transcend the predictable and mundane.

This visual guide to contemporary typographic design features examples from around the world. Covering a wide variety of applications, from design for print - magazines, books, brochures, posters - to signage and identity systems and screen-based typography.
Featured designers include Philippe Apeloig, Experimental Jetset, FL@33, Grandpeople, Kim Hiorthoy, MadeThought, Non-Format, Pentagram, Sagmeister Inc. Saturday, SEA and Spin.

This is the address delivered by Gerard Unger at the acceptance ceremony of the Professorship in Typographic Design, sponsored by the Dr.P.A. Tiele-Stichting, at the University of Leiden (NL) on March 16, 2007.
Gerard Unger was born at Arnhem, Netherlands, 1942. He studied graphic design, typography and type design from 1963–’67 at the Gerrit Rietveld Academy, Amsterdam. He teaches as visiting Professor at The University of Reading, UK, Department of Typography and Graphic Communication, has taught at the Gerrit Rietveld Academy, Amsterdam and since September 2006 he is Professor of Typography at the University of Leiden. A freelance designer since 1975 he has designed stamps, coins, magazines, newspapers, books, logos, corporate identities, and annual reports but he is best known for his typefaces, several of which have become internationally famous and extensively used. His typefaces include Hollander (1983), Flora (1984), Swift (1984-86), Swift 2.0 (1996), Amerigo (1986), Argo (1991), Gulliver (1993), Paradox (1998), Coranto (1999), the new sans serif Vesta (2001) and Capitolium News (2006).
In 1984 he was awarded the H.N.Werkman-prize for all his typographic work, for digital type designs in particular and for the way he reconciled technology and typographic culture. In 1988 he won the Gravisie-prize for the concept of his typeface Swift, and in 1991 he was awarded the international Maurits Enschedé-prize for all his type designs.

A collection of over 2000 fonts from 18 of the most innovative and active independent type foundries in the field. An easy-to-use reference, this book features many hard to find fonts, as well as fresh type designs that have not been over exposed. The CD-ROM which is included features 33 fonts licensed for use by the user and owner of the book.

This is the second collection of fonts from independent designers and it provides a showcase collection of over 1600 diverse fonts from 19 of today's hottest digital foundries. The book has a fully cross-referenced index of type designs and designers and gives direct access listings to the foundries, websites and phone numbers allowing the user to put any remaining questions directly to the designers. It comes with a companion CD-ROM featuring 38 representative fonts fully licensed and ready to install.

Indie Fonts 3 brings together twenty independent type foundries from around the world, creating an invaluable resource of more than 1900 fonts. Organized by type foundry, this book allows the user to get a feel for the range of work produced by each studio. This makes it convenient to select and order fonts directly from the featured foundries. A visual index is provided in the front for quick scanning and a fully cross-referenced index includes all typefaces, names and designers. Accompanying the book is a CD-ROM which contains 53 bonus indie fonts licensed by each contributor for use by the owner of the book.

In 1990 Erik Spiekermann and Neville Brody set up the FontFont letter-library, a collection of lettertypes from designers for designers. The no-nonsense letters in the collection were responsible for much innovation in the design world; from the functionality of the sans-serf FF Meta, FF DIN and FF Profile to the contemporary refining of the neo-traditional romans such as FF Scala, FF Quadraat and FF Celeste; from the ingenious geometry of the FF Minimum & FF Typeface Six to the 'streetwise' types FF Hands, FF Trixie and FF Blur.
"Made with FontFont" is a large scale overview of 15 years of 'cutting-edge' letter designing; containing essays over the individual letters, interviews with the designers, special type-specimens and examples of the letters in use. It also includes contributions especially made for the publication by Erik van Blokland, Alessio Leonardi, Reza Abedini, Yang Liu, Wim Westerveld, Jaap van Triest and Studio Dumbar, and, exceptional usage of FontFonts by the designers Paula Scher, Neville Brody, Max Kisman and Cosmic.

This stylefully designed introduction to typography presents the world of visual design to the general reader. Impressively short and precise texts familiarize the reader with the respective subject matter illustrating certain difficulties through simple geometric shapes. The first chapter deals with the question of proportions: mathematical systems, golden section, paper formats, grid systems, and typographic measuring units. Chapter 2 is concerned with the tension between black and white: design problems, principles of typographical arrangement, and the harmony of black and white. In chapter 3, typographic details are discussed: the origins of character forms, type families and historical typefaces.

A humorous and incisive analysis of the basic tenets of typography and how to turn them on their heads, this book will appeal to the conformist and the non-conformist in everyone – not just the newcomer to design. One side of this sharp-witted, cleverly designed guide presents the ten main rules, or ‘commandments’, of type design, addressing such aspects of typographic doctrine as legibility, alignment and capitalization; the other shows how type can successfully subvert these rules, presenting ‘sacrilegious’ visual alternatives. In support of the commandments Felton includes a list of twelve ‘disciples’, those internationally renowned graphic designers whom he identifies as rule-abiding, including such figures as Eric Gill, Jan Tschichold and Erik Spiekermann. Confronting these are his ‘fallen angels’, including such experimental typographers as David Carson, Jeffery Keedy, Phil Baines and Jonathan Barnbrook.

Humorous and enlightening retelling of 120 years of typographic history starting in 1886 when Ottmar Merganthaler introduced his 'Linotype' machine; "liberally retold and illustrated by Alessio Leonardi, translated from Italo-German, partly rewritten and enlarged with some slightly more solid historical data by Jan Middendorp, then rewritten again, and partly redrawn by Alessio Leonardi."

The first volume in a planned 4 volume serie which will minu- tely discuss the development, style variations and uses of the Kaba ornament. This decorative, asymetrical ornament was designed by Bram de Does in 1976 and was always intended for personal use for the bibliophile editions that he produced at his "Spectatorpers". It wasn't until 1987 that Henk Drost of Ensched

In 2001 Bram de Does printed (by hand at his Spectatorpers) the first volume of a planned four volume series of printing experimentations using the 'Kaba ornament'; the word Kaba or kaãba is Arabic for cube and it is also the name of the holy stone square in Mecca. For various reasons Bram de Does is unable to complete the hand-printed series showing the various usages of this versital square printers-ornament. Therefore now the Dutch publishers 'De Buitenkant' have taken the initiative to make a 'offset' edition of the complete sketchbooks of Bram de Does's labour of love.

Bram de Does is among the most important contemporary typographers in the Netherlands. He was the chief typographic designer for the famous Dutch printers Joh.Ensched

Gerard Unger was born at Arnhem, Netherlands, 1942. He studied graphic design, typography and type design from 1963–’67 at the Gerrit Rietveld Academy, Amsterdam. He teaches as visiting Professor at The University of Reading, UK, Department of Typography and Graphic Communication, has taught at the Gerrit Rietveld Academy, Amsterdam and since September 2006 he is Professor of Typography at the University of Leiden. A freelance designer since 1975 he has designed stamps, coins, magazines, newspapers, books, logos, corporate identities, and annual reports but he is best known for his typefaces, several of which have become internationally famous and extensively used. His typefaces include Hollander (1983), Flora (1984), Swift (1984-86), Swift 2.0 (1996), Amerigo (1986), Argo (1991), Gulliver (1993), Paradox (1998), Coranto (1999), the new sans serif Vesta (2001) and Capitolium News (2006).
In 1984 he was awarded the H.N.Werkman-prize for all his typographic work, for digital type designs in particular and for the way he reconciled technology and typographic culture. In 1988 he won the Gravisie-prize for the concept of his typeface Swift, and in 1991 he was awarded the international Maurits Enschedé-prize for all his type designs.

His book ‘Terwijl je leest’, best translated as 'While reading' was first published in 1995 and now this completely revised and reset edition has been published in Dutch by De Buitenkant. English, German, Italian and Spanish versions are in preparation and are expected in 2007.
This brilliant work attempts to explain the complex and very detailed mental process which takes place while we are reading and the very important role that type designers and typographers play in making it all possible. Recent research has shed much more insight into the mechanics of this process and Unger's revised text leads us to a much better understanding of how our eyes and brain let us interpret what we see on paper and screen.

"Lezen lijkt vanzelf te gaan, net als lopen. Het is echter een complex en zeer gedetailleerd proces. Wat gaat er tijdens lezen om in je hoofd en wat doen letterontwerpers en typografen om het lezers naar hun zin te maken?
Sinds het verschijnen van de vorige editie hebben onderzoekers het lezen verder weten te ontrafelen en het mogelijk gemaakt betere antwoorden te geven op de vragen hoe lezen in z’n werk gaat, waar lettervormen vandaan komen en hoe lezers tekst van papier en schermen verwerken met ogen en hersens. Hierdoor is dit geen tweede druk maar een compleet herziene uitgave met veel nieuwe inzichten.
Gerard Unger, die inmiddels is benoemd tot professor in de typografie aan de Universiteit van Leiden vat in dit boek veel van zijn ervaring samen en geeft aan in welke richting verder onderzoek uitgevoerd kan worden." (Uitgever's tekst)

Otl Aicher(1922-1991)type designer, graphic designer, author, and teacher is recognized world wide for his contribution to the wide spread use of pictograms, which he designed in 1972 for the Munich Olympic Games and for the design of the ROTIS Family Type for Agfa consisting of a variation of weights, heights and proportions. Aicher was one of the initiators and founder members of the Hochschule für Gestaltung in Ulm. His extensive practical and theoretical work represents an expanded and refined structural functionalism, and demonstrates an holistic and rational approach to visual communication on the basis of its social relevance.
The Rotis Family type consist a subfamilies of: Sans Serif, Semi Sans, Semi Serif and Serif. In this study Ralph Burkhardt & Christian Hartig demonstrate the design process and use of the Rotis type in practice; the book also contains a lively dialog with Barbara & Gerd Baumann and Erik Spiekermann about the qualities of Rotis.

"Die rotis – 1988 von Otl Aicher geschaffen, seither ebenso kontrovers diskutiert wie universell eingesetzt, wird in diesem Jahr 18.
Also erwachsen. Kaum eine andere Schrift hat die Typoszene heftiger gespalten als diejenige, die antrat, die Kluft zwischen serif und sans serif zu schließen. Für die einen wurde sie Universalschrift und Credo, für die anderen Streitschrift, der typografische Frieden zwischen Grotesk und Antiqua führte zum Krieg der Typo-Stars. Für eine ganze Generation entwickelte sie sich zur visuellen Codierung unternehmerischer Solidität. Ein Siegeszug, den sie antrat, obwohl man der rotis zu Recht vorhalten kann, sie erfülle nicht die von Otl Aicher selbst postulierten Soliditäts-Anforderungen an eine Schrift.
Man kann über die rotis denken wie man will, ignorieren kann man sie nicht. Dazu sollte man sie kennen, sich mit ihr auseinandersetzen. Dazu regen Ralph Burkhardt und Christian Hartig an. Und errangen – ohne kontroverse Diskussion übrigens – den red-dot-Junior-Award." (Publisher's text)

Syriac, a dialect of the ancient Aramaic language, has a remarkable Christian literature spanning a thousand years from the fourth to the thirteenth centuries, including important versions of the Bible. It remains the liturgical language of several churches in the Middle East, India, and the west, and 'Modern Syriac' is a vernacular still in use today. It is no wonder that this language has a long and rich printing history. The challenge of conveying the beautiful cursive Syriac script, in one or another of its three varieties, was taken up by many well-known type-designers in the letterpress era, from Robert Granjon in the sixteenth century to the Monotype and Linotype corporations in the twentieth, as well as by many lesser-known ones. This study records and abundantly illustrates no fewer than 129 different Syriac types, using archival documents, type-specimens, and the often scattered evidence of the print itself. The Typography of Syriac will be of interest not only to scholars of Middle Eastern languages and scripts but also to all historians of type and printing.

"This beautifully produced volume celebrates the centennial of Boston's Society of Printers, the oldest honorary society of its kind in America. Founded in 1905 by such luminaries as Daniel Berkeley Updike, Bruce Rogers, Henry Lewis Johnson, Carl Purington Rollins, and William Dana Orcutt, the Society's dedicated membership has over the years included the likes of William A. Dwiggins (who in 1922 actually coined the term "graphic design"), Rudolph Ruzicka, John Howard Benson, Ray Nash, Roderick Stinehour, Dorothy Abbe, Hermann Zapf, Philip Hofer, Leonard Baskin, and Matthew Carter.
The book's ten original essays cover unusually broad ground for such a publication, not only delving into the Society's history and Boston's, but also into more philosophical terrain, examining questions such as the definition of printing, itself, the political and sociological worlds of some of some prominent members, and the grand-scale game of "musical chairs" played by those who have called themselves "printers" over the past hundred years. An essay on type and lettering design among the SP membership and its circle is especially rich, comprising interviews with leading practitioners and including information on these crafts that cannot be found elsewhere. A review of a century of meeting announcements is a microcosmic history of American graphic design and printing techniques in the 20th century. Also examined are the habits of the great book collectors among the Society's members, and the distinguished group who have continued in the realm of handmade books and fine letterpress printing.
The authors are all noted scholars and practitioners: Lance Hidy, Jean Evans, Eleanor M. Garvey, James E. Mooney, Barry Moser, Katherine McCanless Ruffin, Darrell Hyder, Al Gowan, Victor Curran, and Scott-Martin Kosofsky. The designer of the book is the renowned Roderick Stinehour, who contributes a colophon that is a fine essay in its own right. The editor of the volume is Scott-Martin Kosofsky, well-known designer and author of Judaic works." (Publisher's text)

This book provides an essential grounding in type and typography for readers of all levels, from students to professionals. Since the advent of personal computers, desktop publishing and the development of the World Wide Web, millions of people have become accustomed to using fonts and working with type, but when asked to explain what typography is feel at a loss, unclear of its boundaries or possibilities.
The book offers an overview of the bewildering variety of typefaces available, and a practical guide to using type as a meaningful element of design. The carefully structured text, illustrated throughout, takes the reader through every aspect of the subject, from the history of language to the invention of movable type and the evolution of the digital systems of today.

"Type Specific provides the understanding needed to make effective use of fonts and font programs. An inspiring collection of fonts designed for a specific job, all are examined from brief to solution. A range of applications is considered with examples of type for print and screen, created for use in posters, directories, newspapers and magazines, CD and DVD covers, packaging and signage.
Type Specific is both a showcase of innovations in type design and a guide to the considerations that must be taken into account when selecting or designing fonts. A practical look at how the form of a typeface affects its performance, it examines the considered features- including letterform, counterspaces, cross sections, ascenders, descenders, and junctions- of a wide range of typefaces." (Publishers text)

"Nike writes in Fraktur. Reebok too. Fraktur decorates shirts, posters, scene flyers and naked skin. And that, although-or because- generations have insisted that they can't read it. Blackletter typefaces seem to have finally shed the 'Nazi' image which was mistakenly attributed to them for decades. A collection of the most beautiful classics, as well as the best new creations, has been missing until now.
Fraktur mon Amour brings together 300 of the best digital Blackletter typefaces, many of which are available for free download on the Internet for personal use. 137 of these faces are on the enclosed CD_ROM for your enjoyment including 4 fonts exclusively cut for this books by several enthusiasts. Usage rights are explained in more detail in the included text documents. If you wish to employ them for other purposes, please inform yourself as to their legal commercial use.The quality of free fonts is of course not always as good as one might wish. Fonts from professional foundries such as Fontshop, Linotype or Elsner+Flake are however expertly put together and include special characters and accents for many foreign languages.
Most Blackletter typefaces comprise only one cut. Where more cuts exist, they are frequently shown as entire families. Legends below the typeface names give information about available variations. Information on historical models, type foundries for whom the original faces were made, as well as the designers who have digitised the faces, is also found here." (Publishers announcement)

Selecting the typeface best suited to a project is a constant challenge for designers. In collaboration with professionals at the School of St.Martin, Art Center Pasadena, Rhode Island School of Design, Basel, and Yale Design School, the editors of "30 Essential Typefaces for a Lifetime"(themselves designers) define thirty of the most versatile and classic typefaces for all design needs and occasions. Using examples by a wide international range of designers taken from various print sources they show the use of: Akzidenz Grotesk, Avenir, Adobe Caslon, Adobe Garamond, Bell Centennial, Bell Gothic, Bembo, Bodoni, Clarendon, Courier, DIN, Excelsior, Franklin Gothic, Frutiger, Futura, Gill Sans, Helvetica, Lucida, Minion, Meta, Myriad, Perpetua, Sabon, Stempel Schneidler, Times New Roman, TRAJAN, Trade Gothic, Univers, Vag Rounded, and Walbaum.

'What is Typography?'explores the formal structures and acceptable variations for type to ensure that it enables maximum access to information. It also uncovers the various ways in which typographers and, for example, linguists, psychologists, philosophers, and information designers have studied this area, and applied the results.
Jury breaks down the elements of this discipline to look at individual tools and processes, methods of organizing information, the mechanics of type, and the various means of arranging and displaying type. He also looks at how the chosen media, and consequent process of reproduction, underpins every aspect of design.

'Letterpress Printing' is a comprehensive sourcebook for beginning and intermediate letterpress printers. Using clear explanations of technical terms and more than 80 illustrations, the manual describes presses, ink, paper, press operation, type, and photopolymer plates. The book shows how to set up and run small and large platen presses, as well as both Vandercook and Challenger-style hand cylinder presses. Also discussed is how to plan and design projects, how to move presses and equipment, and how to use lead and solvents safely.
The book includes one glossary of terms relating to paper, and another glossary relating to printing.

A general, informative history of type from the Gutenberg bible to the Open Type font format developed jointly by Microsoft and Adobe. Extensively illustrated the book explains how advances in printing processes have directly affected and influence the design of type.

"'The Stroke' is the most concise and powerful statement of Gerrit Noordzij's theory of writing. First published in Dutch in 1985, it appears here for the first time in English. The book puts forward a genuine theory of all writing, done with any kind of generating tool. Noordzij starts with fundamentals-the space within and between the letters-and proceeds in stages towards a full account of how the strokes of writing can be formed, and an analysis of the qualities of letters. Along the way, there are reflections on history and culture, and remarks on method.
Noordzij's theory serves to repair the split that grew up, with the invention of printing, between written and typographic letters. He shows us the underlying 'written' quality of all letters, with whatever technology they have been formed. Just by virtue of its strong theory, 'The Stroke' has practical consequences that transcend any simple 'how to do it' approach." (Publishers cover text)

"Towards the end of the 1980s Erik's book 'Rhyme and Reason' made an impression on me. It showed an open and honest attitude towards the use of letters, in a way that was new for me. By then i knew how to design typefaces, and i also realized that new typefaces had no chance without a certain open-mindedness towards their design and their use. It is my feeling that Erik Spiekermann contributed a lot here. The FontFont label of FontShop International played a significant role in the general awareness of and openness towards new typographical material. This is something that we take for granted today. But it is something that we have all benefited from, no matter what our place within the typographic community.
I proposed Erik Spiekermann as the third winner of the Gerrit Noordzij Prize in recognition of his profound and stimulating contribution to contemporary type design practice." (Fred Smeijers - winner of the second Gerrit Noordzij Prize 2000)
Erik Spiekermann (1947) receives this prize for the many typefaces that he has designed, among them FF Meta, ITC Officina and the Berliner Grotesk, but also for his contribution as co-founder of the type publishing and distribution company FontShop International. He is a (board) member of several international organizations, among them ATypI (Association Typographique Internationale) and the Type Directors Club, New York. He teaches typography at the Art Academy in Bremen, and is guest-lecturer at several schools around the world.
The Gerrit Noordzij Prize is an initiative of the postgraduate course Type & Media at the Royal Academy of Art in the Hague; it is accompanied by an exhibition, a publication and a "trophy" created by the previous winner. It has just been announced that the Prize for 2006 has been awarded to Tobias Frere-Jones.

"This illustrated A-Z features outstanding type designers from around the world, from Gutenberg to the present day. Arranged alphabetically by designer's name, the book contains over 260 biographical profiles. Entries are illustrated by key typefaces taken from a wide range of sources, including type specimens, original posters, private press editions and magazine covers. They also give a list of types and, where applicable, writings, further reading references and a website address.
An essential reference for typographers, graphic designers and students, the book provides a full index and eight short texts by leading typographers - Jonathan Barnbrook, Erik van Blokland, Clive Bruton, John Downer, John Hudson, Jean-François Porchez, Erik Spiekermann and Jeremy Tankard - that cover a variety of different aspects of type design, including typeface revivals, font piracy, designing fonts for corporate identities and the role of nationality in type design." (Publisher's cover text)

This issue focuses on the reconstruction and reinvention of the classical letter in Italy in the fifteenth and sixteenth centuries. It includes a previously unpublished article by the late Nicolete Gray. This reproduces, in 26 full-page illustrations, an unsigned and undated (late fifteenth century) manuscript of an alphabet of capital letters, presently in the Newberry Library, Chicago, and provides the first analysis of this important document. Other articles here are the first English translation of the late Giovanni Mardersteig’s seminal essay of 1959 (‘L.B. Alberti e la rinascita del carattere lapidario romano nel quattrocento’), and James Mosley on Giovan Francesco Cresci’s formative influence on the form of Western handwriting, and hence on typefaces, and on the inscriptional capitals which appeared on new buildings in Rome between 1585 and 1590. Paul Stiff contributes a piece on ‘Designing public letters in fifteenth-century Florence’.

"Here are the family trees and inspirations for yesterday's and today's masters of typographic design. Showing more of the world's most popular fonts than any other, this comprehensive reference book lists fonts by date and style, revealing at a glance how type designs have evolved over time.
Provides a visual guide to Text fonts - designed for maximum legibility; and Display fonts - designed to attract attention.
Chronological listings show how new ideas have been introduced and how designs have developed.
Well-informed, witty notes reveal the origin of many font names.
An instant reference for the graphic revolution of the last 25 years." (Publishers cover text)

This handsomely printed book is a visual and bio-graphical study of 600 years of calligraphic & printed letter designing by some of the most important practioners of the craft. 99 calligraphy masters, punch-cutters, typographers and printers are presented, each with a biographical schetch and an examples of their work. The whole book is presented in black and red printing.

In this short, compact, & precise study Jost Hochuli discusses those questions & qualities of design that are indispensable for readability in printed text. The book is a new, re-edited and translated version of a text which Hochuli originally wrote and published in 1987 by Compugraphic in the USA.

For more than 20 years "Schriften erkennen" has been considered to be the ideal introduction for type classification and the art of the written letter. The book has been revised and reprinted many times and is used in the German speaking world by many schools & academies as a standard instruction text.
In 1981 Monika Thomas, preparing her graduation thesis, was responsible for the pioneering work which became the original version of "Schriften erkennen". This was at a time when letters and their usage was still not a major theme for graphic designers. She was the first designer to interpret and make use of the classification system and ideas of Gerrit Noordzij with whom she had studied. Since then Peter Willberg has been responsible for the revisions and updates of the book which have made it one of the indispensable study texts.

"The history of P 22, like all history, is filled with a mix of myth, fact, conjecture and legend. The first 10 years of P22 type foundry have transpired with their share of highs and lows and a legacy filled with many digital fonts and other fine things. This book will in no way give a concise history of P22 type foundry, but rather a lush view into a few select projects and details of the vast P22 empire.
Divided into three distinct sections, this book requires interaction from the reader.
Section 1: Inspiration-Process-Results
Completely visual, this section features a barrage of design elements that begin with items of inspiration for various P22 projects. It flows through a double fold out section to a culmination of finished projects.
Section 2: The Art of Printing/P22 Team in Action
Five diptych spreads feature photographs by Eric Frick. A detail of printing machinery in action is paired with semi-fictional portraits of the five principal members of the P22 company.
Section 3: P22 Deci-Annual Report and Book notes
In complete contrast to Section 1 and Section 2, Section 3 is text only and gives the reader the stories behind much of the imagery seen in the previous sections of the book." (Text of P22)

Semantic typography, with a foreword by Shutaro Mukai, presents a project Barbara & Gerd Baumann carried out together with eighty students over eighty hours at Musashino Art University Tokyo. Countless word-pictures and pictorial words were created. The assumption arose that, in Japan, pictorial writing and thus visual thinking, leads to an amazing variety of unusual, playful, matter-of-fact, impressive, and sometimes surprisingly simple solutions when working with the Latin alphabet.

A collection of graphic works (paper media, posters, flyers, brochures, direct mails, CD covers, etc.) using digital typefaces designed recently as well as some 'traditional' fonts.
The work shown is selected from around the world and it offers a very strong visual presentation of the typefaces, providing not only the names of the fonts used and their designers but also what the medium is which is being shown and the URL where the font can be purchased/downloaded.
At the end of the book font samples (the alphabets from A to Z and numbers) of each typeface are shown and there is an index of designers; among whom include: Atelier René Knip, buro destruct, Claudius Design, dainippon type organization, emeryfrost/Frost Design, Martin Fewell, Garage Fonts, Takeshi Hamada, Inksurge, MASA, Richard Niessen, Peter Bilak, Sagmeister, Studio Apeloig, Sulki & Min Choi, Underware, Vier5, a.o.

A very welcome revised edition of this well designed standard-handbook for designers who design for readers. It is a clear, concise and ordered presentation of the rules that govern the relationship between text with text, text and image, and image with image. It presents and analyses problems and offers solutions for students, teachers and practitioners of book-typography.
"Typografie ist für Leser da und nicht für Typograpfen. 'Lesetypografie' is für Typografen da, die Typograpfie für Leser machen wollen."

The Amsterdam 'Instituut voor Kunstnijverheidsonderwijs'(School for Applied Arts Education) was a 'hotbed' for typography and graphic design in the period 1953 to 1971. Jan Boterman together with other 'earlier students' recount the history of the inspired typography classes which were held by Charles Jongejans and Melle Johannes Oldeboerrigter and which produced many of the leading designers during this period.
There is also a chapter devoted to the Dutch architect Mart Stam, who after having become involved with the Bauhaus movement was responsible for the creation of the Amsterdam School for Applied Arts Education.

The last years of the nineteenth century saw the final stages in the transition of type manufacture from a craft to an industrial process, and the first appearance of complex mechanical systems for the composition of text. A hundred years later, text composition used only the simple mechanisms inside laser printers and image-setters, and type manufacture was well on the way to becoming a craft process once again; though now with computer displays and software replacing steel punches and copper matrices.
"Printer's Type in the Twentieth Century" traces the evolution of type manufacture and design from hand punch-cutting through hot-metal and photographic composition to laser image-setting and the Postscript revolution. The book takes a theoretical view of its topic, rather than a simple narrative approach. It is intended for readers interested in recent typographic history, and the relationships between design methods and production technologies in type manufacture.

Available end of June 2005

"Harry Carter was a polymath of typography. His knowledge of the practical crafts of type production and of their historical origins and traditions was unparalleled in Britain but this legacy is not the types, borders, pattern papers and the books he designed, nor the punches he cut. His legacy is his writings about the history of typography, publishing, and associated crafts; writing that is authoritative, scholarly, witty, and direct and that provides the core of knowledge essential to any student of typefounding and type history.
The bibliography of Carter's written works rightly comprises the greater part of this book but the reader's pleasure in Carter's articles, reviews, and books will be heightened by some knowledge of Carter the man. How did a barrister become an eminent typographer and typefounder? How did he and Francis Meynell come together at His Majesty's Stationary Office to redesign Government publications to make them look, as Ruari McLean observed, 'as if they had been written by and for human beings'? Why did Francis Meynell call him 'one of the least-known best-known men in the world of books?" (From the preface of the book)

This is the author's follow-up to "The Fell Revival" which was published in 2000. Stanley Morison & 'John Fell' tells the story of the writing and printing of one of the masterpieces of twentieth century typographical literature, "John Fell, the University Press and the 'Fell'Types", which was published by Oxford University Press in 1967. A book that was as long and arduous in its production as it was magnificent in its final form, a book which was first suggested to Morison in 1924 but which took more than four decades to be realised, being published on the very day after his death in 1967.

This well researched and finely printed study recounts the story of the bringing back into use of the matrices and punches bequeathed to the University Press in the late seventeenth century by one of its founders, Bishop John Fell. Forgotten for many decades, the types were first recast from the matrices in the 1860s, and between then and the closure of the Printing House in 1989, over 280 books were printed using them, ranging from the magnificent 'Yattendon Hymnal' and a series of fine Church Books to 'The Book of Happy Gnomes'and 'Tales from Toyland'.
The hand list contains some 250 titles.

This book examines the essential factors of a well designed book - attractive and suitable type, close spacing of words, reader-friendly format - and considers how maximum-quality typography (of books or of any text intended for continuous reading), consonant with traditional standards, can be achieved by users of present-day technology. Word-division, letter space, punctuation, different styles of footnotes and end notes, use of symbols and special characters, the niceties of dashes, treatment of quoted passages, folios and running heads, are studied with reference to renowned authorities including the Cambridge and Oxford styles. The famous Monotype and Linotype book faces are surveyed in their historical contexts with remarks on the qualities of the current digital versions of them.
"This book presents a personal view of modern book typography but it is also intended to instruct. I shall trust that the reader won't find it difficult to distinguish reference to universal principles from personal tastes which may none the less be instructive or useful also." (The author in his introduction).

Adrian Frutiger(1928) is one of Switzerland's most renowned & respected type designers, and his type family "Frutiger" is one of the best known modern sans serif type faces in use. His design for the 'Frutiger' originally developed in the 1970's while producing lettering for signage at Charles de Gaulle airport in Paris. Through the years the type family has been reworked and changed so often that both Frutiger himself and Erik Faulhabe together with Linotype have undertaken a complete re-styling of this classic letter.
This small book is a documentation of that re-styling and a presentation of the 'Linotype Frutiger Next'.

George W.Jones(1860-1942) was one of the most respected and celebrated fine printers of his generation. He entered the printing business in 1873 (at the young age of 13) and joined the printing house of Raithby & Lawrence in 1883. In 1889 he became an independent printer and publisher adopting vigorous business policies towards graphic design and technology. He flirted with many typographical styles and influences but it was the work of William Morris which endured to permeate the later work. His approach to technology was progressive and avant-garde and he was one of the first users of the Linotype machine producing some beautiful compact composition on the equipment. He was also a vanguard exponent of trichromatic halftone letterpress printing and produced the first British book to be illustrated by this process.
In 1921 he was appointed printing adviser to the British arm of the Linotype organisation and he became directly responsible for the creation of a number of distinguished typefaces for linecasting, including Granjon, Estienne, Baskerville and Georgian.
This is the first extensive study of his life and work and provides an important chapter in the literature of printing.

When the first edition of this book appeared, in 1992, its status as a classic was recognized at once by both conservative designers and members of the avant-garde. It rapidly became and has remained the standard reference in its field. Typography and graphic design, however, refuse to stand still. The first and subsequent editions were repeatedly updated, revised, entirely reset and substantially enlarged.
This is now the third edition, again fully revised and reset, tying the latest technological developments to the standard knowledge of the craft of typography and book design.
David Godine has said; "It is rare to find a book on typography that successfully combines the personal with the practical, the philosophical with the truly useful. But Bringhurst has brought both worlds together in what is sure to become a typographic classic, a book for both practitioners of the typographic arts and those who wish to know the reasons behind what Stanley Morison called 'the most conservative of all the crafts'."

Welcome reprint of this book that sings the praises of the shift worker and solo entertainer of typefaces, of its forgotten creator and all those who have contributed to its unparalleled international march of triumph over the past forty years. The designs gathered together here in honor of Helvetica have been created by superb designers and anonymous amateurs from all over the world.

"The organization of letters on a blank page or screen is one of the designer's most basic challenges. What kind of font to use? How big? How should those letters, words, and paragraphs be aligned, spaced, ordered, shaped, and otherwise manipulated?"
Ellen Lupton, one of the United States' preeminent design authors and educators, provides in "Thinking with type" clear and focused guidance for those learning or just brushing up on their typographic knowledge and skills. The text for this informative and practical book arose out of the author's own need for a manual for her courses in typography at the Maryland Institute College of Art in Baltimore.
Informative essays are followed by practical demonstrations that bring typography to life with direct, engaging commentary. Examples of work by influential practitioners show how to be inventive within a system of typographic form, and how to break the rules.

Filled with an expansive range of twentieth-century examples of design, from Jan Tschichold's brochure for "Die Neue Typographie" to Bauhaus graphics to a Nike catalogue, "Grid Systems" provides a rich, easy-to-understand overview of the grid and demonstrates a step-by-step approach to typographic composition. With the use of transparent overlays the author demonstrates how grids work and reveals design strategies that allow grids to become a means of dynamic communication.

Saki Mafundikwa is a Zimbabwean graphic designer, typographer and design educator working in Harare. In his entertaining and anecdotal book 'Afrikan Alphabets', the first of it's sort, he describes a 20-year journey to collect information on the highly graphical symbols that go to make up the over 20 alphabets featured in this book. Writing systems (pictographs, mnemonic devices, syllabaries and alphabets) from across the African continent and the Diaspora are displayed and described.
This is an extensively illustrated and informative visual journey through a fascinating aspect of African culture and art.

The Plantin-Moretus Museum has one of the world's richest collections of type specimens, many surviving nowhere else. They include types by Garamont, Granjon, Van den Keere, Briot, Van Dyck, Kis, Fournier, Rosart, Gillé, Didot and many other masters from the fifteenth to the nineteenth century. Since the Plantin-Moretus printing office acquired most of the type specimens when new, moreover, the collection as a whole tells a story in a way that collections assembled piecemeal in the nineteenth and twentieth centuries cannot. Finally, the Museum's extraordinary archives help to document the origins of many specimens.
This first detailed catalogue of the Museum's specimens reports the styles and sizes of type shown, describes the structures and paper stocks, notes relations with other specimens in the collection and elsewhere, and provides references to literature on many of the individual types shown.
Preliminary notes on the type founders and printers who issued the specimens include chronologies of the foundries and information on the origins of their materials, sometimes supplemented with information about the history of the firms and the genealogy of the founders. Nearly all of the nineteen specimens illustrated at their original size appear here for the first time, and extensive indexes make this book a powerful reference tool for type specimen enthusiasts and printing historians. Contains 15 illustrations and 4 rare facsimile specimen sheets inserted in the inside back cover.

Dr. Frans A. Janssen, professor in the history of the book and the library at the University of Amsterdam, since 1989, will be given emeritus status in August of this year. On the occasion of his departure, his collected essays, under the title 'Technique and Design. Seclected essays in the History of Printing', will be published in September 2004. Containing 26 thoroughly rewritten articles published between 1976 and 2002 in yearbooks and periodicals, all dedicated to the history of printing and book production, this work draws systematically attention to the typographical design of the book.
The articles are mainly divided into two fields of attention: the analytical bibliography of the printed book(book production, studies of the technical aspects of type-setting and printing, type founding, printing presses, paper etc.) and the typographical design of books(its functions and its influence on how texts are read.
The design and typography of the this impressive collection is in the hands of Bram de Does.

This collection of essays by some of the most eminent figures in the field of book history & typography was edited and published on the occasion of the retirement of Prof.Dr. Frans Janssen from the University of Amsterdam. The content of the contributions ranges over five and half centuries of book & library history, bibliography and typography.
See also; Frans A.Janssen: Technique & Design Selected essays in the History of Printing

Can a typeface express the unique character of a city?
'Metro Letters' documents the responses to this question. Six innovative typography studios from the U.S. and Europe were invited to propose a typeface for the Twin Cities of Minneapolis and St.Paul.
Design Institute director Janet Abrams and "Typeface:Twin Cities" project manager Deborah Littlejohn introduce the project. Invited typographers Eric Olson, Peter Bil'ak, Conor Gavillet & David Rust, Sibylle Hagmann and Erik van Blokland & Just van Rossum discuss their design concepts and working process. The competition jury debates the designers' proposals. And the development of the selected font - LettError's infinitely-mutable 'TWIN' - is presented in depth.
Critical essays by design educators Gail Swanlund and Michael Worthington offer historical parallels and novel assessments of how the Twin Cities could find themselves reflected in a dynamic custom typeface, and the implications for urban culture everywhere.

This is the first of a planned series of anthologies drawing on articles which appeared in the respected journal 'Matrix, a review for printers and bibliophiles', edited annually for more than 20 years by John and Rose Randle at the Whittington Press in England. This anthology puts some of the most important articles from the 'Matrix' series within reach of all who are interested in fine printing, typography and book design. The list of contributors reads like a "Who's Who" from the world of type and the book arts, and the subjects covered are both esoteric and entertaining. Individual typefaces figure prominently in these essays, as do techniques of making type using both historical and contemporary means, along with discussions on the reasons for continuing to use now-obsolete technologies such as letterpress printing in the digital age. Book design, ornament design, and non-Latin and mathematical typographic matters are among the many topics covered.
'Matrix' itself is a unique typographical phenomenon, the longest surviving (and probably the last) typographic journal to be printed by letterpress and it's editorial integrity has become a byword, and forms a record of events and personalities whose memory would otherwise have died with their recorders.

The last 20 years have seen a technical revolution in the development of type, design techniques and printing advancements, some speak of a second Gutenberg revolution. 'Postscript' is the first German language publication to study the extensive changes that have taken place in type design in Germany , Austria & Switzerland in the last decade. It brings together 100 new and revised classical typefaces which have dominated graphic design in the German speaking world.

Max Caflisch (1915-2004) was one of Switzerlands most eminent typographers and calligraphers having trained under Jan Tschichold and Imre Reiner. His restrained classical approach to typography and design won him numerous international awards and his knowledge of the history of letter writing and type-design have made him a recognized world authority.
In "Schriftanalysen" he has gathered this knowledge together in a comprehensive study of the history of typographic script ranging from Nicolaus Jenson's 'Renaissance-Antiqua' of 1470 to Bram de Does's 'Lexicon' and the contributions of Chris Brand and Gudrun Zapf-von Hesse. Each chapter is set in the prominent typeface which is being discussed in that section adding a very visable character to this very clear and highly informative study.

This book forms part of the 2nd Gerrit Noordzij Prize which Smerijers won for his valuable contributions to type designing. The book includes main text called "Type Now", a manifesto statement, concluding with a code for young designers; a review of Smeijers' work so far: 16 full color pages with a memoir of his work written in note form plus all his typefaces; a glossary of people and terms, written by Robin Kinross.

In this classic study of typography (first published in 1922) from the dawn of printing to the twentieth century, Daniel Updike, a distinguished printer by trade and founder of the prestigious Merrymount Press in Boston, traces the development of type design and discusses the importance of each period and the lessons they hold for today's designers.
In the first part Updike discusses the Latin alphabet, the invention of printing, the cutting and casting of types, fifteenth century types in Germany, Italy, France, the Netherlands, Spain and England, and the types of the seventeenth & eighteenth centuries in England, Germany and Italy. The second part continues the discussion of types to the beginning of the nineteenth century in the Netherlands, Spain and England and then describes American types and nineteenth-century types in general. The closing chapters are on choice of type and the industrial conditions of the past and their relationship to problems of printers.

F.H. Ernst Schneidler (1882-1956) was one of Germany's most important twentieth century typographers, type-designers and calligraphers. He was responsible for the design of numerous fonts which bear his name and during his long career as a teacher he trained some of the best designers that Germany produced. Schneidler's efforts in typography and teaching contributed to what is often called the 'Stuttgart school of typography'. He was also responsible for the famous publication "Der Wassermann", a collection of study sheets (700 pages) for bookmakers which he published in an edition of 70 copies.
The present publication by the famous company of SchumacherGebler is a handsomely fine production which does justice to Schneidler's legacy.

This important full colour reference work is a visual essay and record of Gudrun Zapf von Hesse's accomplishments in bindings, handwritten books, typefaces, lettering and typography, drawings, and other art works. Each of these disciplines is examined in depth.
Gudrun Zapf von Hesse has been developing and advancing her craft for the last 65 years and she demonstrates a rigorous and disciplined approach to everything that she does. She consistently demonstrates a consummate technical expertise, precision, and complete devotion to excellence in her work. This book shows this dedication to craft and quality and is a definitive source of examples of her work and her ideas.

The effects of typography are ubiquitous; yet the activity of designing with text is still hardly recognized or understood. "Unjustified texts" tackles this paradox. In writings gathered from twenty-five years of engagement, somewhere in the borderlands between journalism and the academy, Robin Kinross illuminates both the process of designing text-matters and its consequences. His topics include newspapers, telephone books, road signs, paperbacks, book indexes, copy editing, uppercase and lowercase, and the question of what constitutes a typeface. There are accounts of significant but neglected designers, reassessments of established subjects, and introductions to new ones. Pieces range in length from short review to fullscale essay, while they move in approach from patient exposition, to sharp critique, to warm appreciation.
The whole is an unusual and powerful contribution to the subject of typography.

A distinctly designed book offering a collection of some 300 fonts designed between 1985 & 2001. All of these fonts have been produced by designers working out of younger, new founderies. They have been selected for this publication not because they are good or bad, nice or ugly, but because they are conspicious in one way or another. The publication also provides information regarding the availability and sales of all of the fonts shown.

The German edition of this now classic handbook which has inspired countless designers when choosing a typeface. Spiekermann has distilled his decades of typographic experience into a lively, very readable and rewarding guide to type.
The translation is based on the revised, second English edition ("Stop Stealing Sheep") bringing it thoroughly up to date, covering new type technology, fresh typefaces, and a discussion of how to choose type for best effect on the Web, e-mail, and screens of all sizes.

Welcome revised second edition of this timeless classic handbook which has inspired countless designers when choosing a typeface. Spiekermann and Ginger have distilled their decades of typographic experience into a lively, very readable and rewarding guide to type.
This revised edition brings Stop Stealing Sheep thoroughly up to date, covering new type technology, fresh typefaces, and a discussion of how to choose type for best effect on the Web, e-mail, and screens of all sizes. Erik Spiekermann has been awarded the Gerrit Noordzij prize 2003.

Welcome facsimile of the original edition, first published in 1969, augmented by a new introduction in which James Mosley explains the significance of the book and gives a short account of Carter's life and work. A View of Early Typography is a summary of what can be known about the production and use of type in the first 150 years of printing and has become a classic in its field.

Since its first publication in 1987, the book has become a standard reference work for typographers, designers and students alike. This new edition includes an examination of the latest technological developments in the design and composition of type, and introduces the work of some of the more recent designers to have made their mark this last century.

Letterletter was originally a series of 15 issues of a "journal of typographic metaphysics" published sporadically and distributed to a select group who made up the membership of the Association Typographique International (ATypI). It is an iconoclastic collection of essays on typography, writing and life and is the work of the master calligrapher, type designer and teacher Gerrit Noordzij with contributions by Nicolette Gray, Max Caflisch, Fernand Baudin and others. Letterletter is an invaluable design tool and a pleasure to read and reread for all those who care about the written word.
As Robert Bringhurst notes in his introduction, the middle two pages of the first four-page issue of Letterletter held "more information on the structure and nature of letterforms than most professional typographers then working (1970) had ever seen in their lives".

A comprehensive catalogue of the extensive collection of Dutch Typespecimens spanning four centuries held in the University of Amsterdam Library. With biographical and historical notes about the type designers and the founderies. This publication represents a major contribution to the literature of type-foundries and their specimens and, as such, is an indispensible reference work.

The book contains historical accounts of each foundry, a list of their specimen books with size and number of pages, and countless tidbits of fascinating historical and typographical information. With additions and an introduction by Stephen O. Saxe and an index by Elizabeth K. Lieberman. A classic study.

This work covers every known American typeface designed and cast in metal during the 20th century. The description of each family or typeface is detailed, including information about the designer, foundry and date of issue, as well as ranges of sizes and similar designs by other foundries. The history and purposes of the designs are also explained as well as production problems and individual characteristics.