Nyhetsbrev 8 - Antikvariat Morris

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perpetuate themselves over time, one great concept inspiring the next. More than one hundred seminal images – one from each year – are shown alongside the works that preceded their creation and the designs that were inspired or evolved from them. Examples include work from both famous and anonymous graphic artists – from Toulouse-Lautrec and Milton Glaser to Peter Saville and Michel Gondry – visually juxtaposing each example to reveal a theme or artistic device. mitchell, michael & wightman, susan: Book Typography. A Designer’s Manual Libanus Press, Marlborough, Wiltshire 2005. 434 pp. (23,5 x 18,5 cm). Soft cover with folding flaps. With over 1000 examples, illustrations and diagrams. New copy. ”Book Typography: A Designer´s Manual” is a comprehensive guide to typography and typesetting. Books depend on good design to communicate. Every type of book, from a poetry collection to an encyclopedia, has its own style of communication. This manual describes the principles of good design, why they exist, and how to put them to practice. ”Book Typography” leads the reader from an understanding of what is a readable text, through the construction of books through all their different forms - novels, illustrated books and complex reference works. The organization of text and the handling of images are explained in detail. Advice is also given on work progression and print management. Designing books is a visual task and is best demonstrated with visual examples. ”Book Typography” contains over a thousand examples and illustrations showing typographic principles put into practice - from the smallest detail of punctuation to flat plans of entire books. All the samples come from published works and each is labeled with the font used, its size and leading. Additional information and comment is provided in the side notes. ”Book Typography” defines the industry´s technical terminology in the chapter, “The Basic Terms of the Trade”. An extensive glossary is also included. It is an essential guide for students and recent graduates hoping to work in book design and publishing. ”Book Typography” covers every aspect of the book designer´s task, providing an invaluable reference to editors, copy-editors, proofreaders, production managers and publishers. [haag-dragulin] Die Schriftproben des volkseigenen Betriebes Offizin Haag-Dragulin 475:- 1600:- Offizin Haag-Dragulin, Leipzig 1953. 632 pp. Bound in original orange-brown cloth with gilt-stamped spine and upper cover. Top edge yellow. Introduction by Horch Erich Wolter (67 pp), followed by the type specimens showing a nice range of roman and italic faces, frakturs, display faces, gothics plus Cyrillic types. There are c. 30 pages of decorative material as ornaments, printers flowers and borders. Printed in black, yellow and red. The foreword illustrated with plates of type faces. A very good copy indeed.
lumenthal, joseph: Art of the Printed Book 1455–1955. Masterpieces of typography through five centuries from the collections of the Pierpont Morgan Library New York Pierpont Morgan Library, New York / David R. Godine, Boston, 1984. xiv, 192 pp. + colophon. 4:o (31,2 x 23,5 cm). Red cloth, gilt stamped title on spine and Aldus’ printer mark, the anchor-anddolphin, on front cover. Dust jacket. Fourth printing. Includes a bibliography. Typograpy by Joseph Blumenthal. 125 plates plus one folding. The 112 books selected and reproduced, from the Gutenberg Bible to the twentieth-century works of Mardersteig, Rogers, Gill, Updike and Meynell are among the finest copies known and, as would be expected from the Morgan Library and Mr. Blumenthal, no effort has been spared in the production, design, or illustration of this impressive volume. 150:- 500:- berry, john d.: dot-font: Talking About Fonts Mark Batty Publisher, New York 2006. 128 pp. (20,5 x 14 cm). Paperback. Illustrated in colour. New copy. Mark Batty Publisher proudly commences the dot-font series, about design in the world around us, with two titles: dot-font: Talking About Design and dot-font: Talking About Fonts. Both books offer a selection of direct, opinionated, authoritative, often witty essays selected from the “dot-font” column that John Berry has written since 2000 for the website for creative professionals, Creativepro.com. In these essays, Berry, who is both an editor and designer himself, assesses practitioners, ideas, successes, and failures with regard to the fields of design and fonts. Berry believes that all aspects of design ought to be taught as an essential part of modern education. He writes, “We live, after all, in a designed world, and we’re responsible for designing it.” Design is everywhere, yet it’s rarely understood for what it is. Design can be fashionable, but fashion is not design. To that end, in these two books, Berry investigates how design makes a difference in the real world (ballot design, mapping mass transit), challenges longstanding beliefs about fonts, and explores how traditions have been augmented by technology. All of the releases in the Dot-font series will be small, inexpensive books that compactly illuminate their respective subjects. They are written and illustrated to be accessible for the layperson, but contain examples and insight sure to intrigue the most experienced designers and typographers. 150:- berry, john d.: dot-font: Talking About Design Mark Batty Publisher, New York 2007. 128 pp. Paperback with flaps. Illustrations in b/w & colour. New copy. It is written and illustrated to be accessible for the layperson, but contain examples and insight sure to intrigue the most experienced designers and typographers.
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Nyhetsbrev 8 - Antikvariat Morris

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