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Book Design - Typography

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Bartram, Alan TYPEFORMS: A HISTORY.
New Castle, Delaware and London Oak Knoll Press and The British Library 2007 9.5 x 10 inches cloth, dust jacket 128 pages
First edition. This book is the long-awaited successor to the classic An Atlas of Typeforms, the great visually-led history of type that Alan Bartram and James Sutton produced in 1968. Much has changed in the last 40 years, not least the teaching of typography and the means by which it is created. Because current design methods do not require the drawing and tracing of letterforms in order to produce layouts, we have lost our close connection with them. Few understand their history, their appearance, and how and why they have developed as they have. Nearly 75 different types are shown in their original metal forms, just as they were in the Atlas of Typeforms. But an entirely new feature is the author's attempt to place the types in their historical context. By including photographs of contemporary inscriptions on buildings and monuments, Alan Bartram explores the relationship between printed and architectural letterforms and their parallel course from the Renaissance until Victorian times. The opportunities offered for graphic and type designers in the digital age are greater than ever before. But without an understanding of the visual make-up of letterforms and some knowledge of their fascinating history, designers cannot fully exploit the potential of type. In this book, Alan Bartram educates us in these critical areas. Co-published with The British Library.
Sales rights: North and South America; available elsewhere from The British Library
Price: $ 55.00 other currencies Order nr. 95866

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(Bird & Bull Press) de Nova Villa, Henricus SO LONG, HOT-METAL MEN
The Comprehensive Bird & Bull Type Specimen Book Newtown, PA Bird & Bull Press 2007 small folio quarter morocco, slipcase (x), 117, (3) pages
Limited to an edition of 140 numbered copies. This book represents a full year of daily work creating a type specimen book that not only shows type faces ranging from the very rare to the common but also contains wonderful Henry Morris quotes composed in type. While there are serious entries, many, if not most, exhibit Morris's finely-tuned humor. How often does one get immense reading pleasure, to say nothing of a good laugh, from an exquisitely executed type specimen book? The alphabets shown range from the gargantuan 84-pt. to a miniscule 4-pt. There is ornamental material from the last days of the great German type founders, which is rarely seen in American private presses, much of which was designed by Hermann Zapf and others of equal ability. "I've seen many of the type specimen books of the twentieth century and I believe I have come up with a novel way of doing this. I predict the idea will be copied, but this is the original and no serious collection should be without it." (from the prospectus). Set in numerous types printed on Frankfurt paper.
Price: $ 550.00 other currencies Order nr. 93138

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Bringhurst, Robert and Peter Rutledge Koch, et al. CARVING THE ELEMENTS: A COMPANION TO THE FRAGMENTS OF PARMENIDES
Berkeley Editions Koch 2004 6 x 9 inches Paperback 138 pages
First edition. This companion piece to The Fragments of Parmenides reveals the "blood, sweat and tears" the creators put into their original book. Carving the Elements tells the detailed story of the making of The Fragments of Parmenides, a grandiose book project meticulously crafted by: master letterpress printer Peter Koch; poet, translator and typographer Robert Bringhurst; punchcutter, type designer, typefounder and poet Dan Carr; master stonecutter and type designer Christopher Stinehour; master bookbinder Daniel Kelm; bookbinder, casemaker and printer Peggy Gotthold; and visual artist and master wood engraver Richard Wagener.
The text of the book, actually written by the book artists themselves, takes the reader through their journey in the making of The Fragmentswith essays including the following: "Philosophy & Printing in the Real West: or Herakleitos in Montana and Fly Fishing on Telegraph Avenue" by Peter Koch; "Deep in the Stone: A Conversation about Hand-Crafted Letters" by Christopher Stinehour; "Parmenides, Craft and Being: Designing and Cutting an Archaic Greek Typeface" by Dan Carr; "Finding the Form of an Ancient Text" by Robert Bringhurst; "A Dream of Pre-Socratic Color: From Joshua Tree to Baudelaire" by Richard Wagener; "How Is It Possible for the "One" to Have So Many Parts?" by Daniel E. Kelm; "Binding Parmenides" by Peggy Gotthold; and "Raven's Wine Cup" by Robert Bringhurst.
Well-illustrated and written by true bibliophiles, "This book is ... a guided tour of ... the philosophy of artisanship, in some of its many forms." Distributed for Editions Koch.
Price: $ 30.00 other currencies Order nr. 78258

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Bringhurst, Robert WHY THERE ARE PAGES AND WHY THEY MUST TURN.
Number one of the CODE(X) Monograph Series Berkeley, California CODEX Foundation 2008 5.5 x 7.75 inches paperback pamphlet 16 pages
Number one of the CODE(X)+1 Monograph Series. Adapted from The Surface of Meaning: Books and Book Design in Canada, published in fall 2008 by CCSP Press at Simon Fraser University, Vancouver. Robert Bringhurst's essay talks about book design and typography, as well as the future of the book.

This book was designed and printed in an edition of 500 copies on a Heidelberg cylinder press by Peter Koch, assisted by Jonathan Gerken and Shanna Mahan for the CODEX Foundation. The cover was printed from antique wood and metal types in the Koch collection.

Robert Bringhurst is a philosopher, poet, linguist, and typographer living in British Columbia.
Price: $ 25.00 other currencies Order nr. 102896

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(Calligraphy) Knight, Stan HISTORICAL SCRIPTS FROM CLASSICAL TIMES TO THE RENAISSANCE.
New Castle, Delaware Oak Knoll Press and John Neal, Bookseller 1998 4to. hardcover, dust jacket 112 pages.
Reprint with minor corrections of second edition. The craft of calligraphy has a 2000-year history in the Western world. Up to the time of the Renaissance, calligraphy was the only means of preserving literature, and so, it played a vital role in the spread of learning, culture, and religion. Historical scripts were not rigidly-fixed "styles;" they represented the high peaks in an endlessly shifting landscape. Throughout centuries, styles of writing were continually being modified and developed in response to a multitude of influences encompassing political, religious, aesthetic, intellectual, sociological, and pragmatic changes in the ways that books were made and scripts were written. The modern calligrapher, typographer, historian, and anyone interested in western lettering and documents benefits from studying the methods, skills, and attitudes of generations of historical scribes who produced such outstanding and accomplished works for so many centuries.
Revised and expanded, this book is an excellent survey of bookhands with its full-page, enlarged illustrations and solidly researched sources. It is a useful text for studying the history of manuscripts as well as the details of letter construction. This work also helps one make judgments about the technical condition of letter writing and its qualities of rhythm and movement, possible only when consulting an original manuscript. The author has gone to considerable lengths to obtain photographs that are well-focused and lit so that the tactile qualities of surfaces, ink tone, and flow are revealed. The author has chosen examples of formal writing that show a coherent and reasonably consistent relationship between methods of tool use and letter formation, making the construction of a script much easier to grasp in practice. He has also made the effort of selecting writing without idiosyncrasies of style.
Price: $ 39.95 other currencies Order nr. 52752

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Cirier, Nicolas L' OEIL TYPOGRAPHIQUE.
Offert aus Hommes de Lettres. De l'un de l'autre sexe (1), notamment a MM. Les correcteurs, protes, sous-protes, etc. N.P. Éditions des Cendres (2004) 8vo. stiff paper wrappers (iv), 34 pages
Text in French. Limited to an edition of 375 numbered copies printed on Munken Ivoiré. Facsimile of the original published by Didot in 1839. Includes fold-out Cirier illustration from the collection of the Bibliothèque de Reims. Pamphlet with a note from the publisher, a facsimile page from L'Oeil Typographique with Cirier's writing and signature, and a chronology of Cirier's life laid-in.
Price: $ 22.00 other currencies Order nr. 94603

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Signed copy available upon request

Clouse, Doug MACKELLAR, SMITHS & JORDAN: TYPOGRAPHIC TASTEMAKERS OF THE LATE NINETEENTH CENTURY.
New Castle, Delaware Oak Knoll Press 2008 8.5 x 11 inches Hardcover, dust jacket. 176 pages
First edition. This is the first full-length study of the leading American type foundry of the nineteenth century. It is an interesting history of the foundry from both a business and a design point of view. The emphasis is on the design of the hundreds of typefaces that were produced by the foundry, from its inception in the 1860s until its merger with most other American foundries at the end of the century. The author describes (with many detailed photographic illustrations) how changing business conditions and technical improvements in typefounding interacted with changes in public taste to modify, over the decades, the appearance of the typefaces that Americans found in their publications. While this is a study of only one of many American foundries, in many ways MacKellar, Smiths & Jordan can stand as an exemplar of all the rest. It was the descendant of the first successful American type foundry, Binny and Ronaldson, started in Philadelphia in 1796. Extensive business records of the firm exist, as do scores of type specimen books and promotional publications of the foundry. All of these have been used extensively by the author. The scores of typefaces illustrated and described are considered as the ever-changing output of a corporation, with lesser emphasis on the individual creators of each typeface. At the turn of the twentieth century, taste turned away from the florid, ornamented style of the earlier decades. Mr. Clouse has shown in this well-written study that the earlier styles were very successful in their own time and should be judged on that basis. A completely illustrated appendix showing MS&J's patented typefaces is extremely helpful.
Price: $ 65.00 other currencies Order nr. 96669

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Coakley, J.F. THE TYPOGRAPHY OF SYRIAC: A HISTORICAL CATALOGUE OF PRINTING TYPES, 1537-1958.
New Castle, Delaware and London Oak Knoll Press and The British Library 2006 7 x 10 inches hardcover 272 pages
Syriac, a dialect of the ancient Aramaic language, has a remarkable Christian literature spanning a thousand years from the fourth to the thirteenth century, 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.
J. F. Coakley is Senior Lecturer in the Department of Near Eastern Languages and Civilizations, and on the staff of Houghton Library, at Harvard University. His private press, the Jericho Press, occasionally makes use of Syriac and other exotic types.
Price: $ 75.00 other currencies Order nr. 91843

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Currie, Kit, et al. ABE LERNER 1908-2002
New York The Typophiles 2003 8vo. stiff paper wrappers, cord-tied. 31+(1) pages.
Typophiles Monograph New Series #20. Known throughout the world of typography, Abe Lerner was a highly respected and talented typographer/book designer with links to the likes of the great Bruce Rogers. With a meticulous eye for detail and clean design, he was constantly working on new projects. With a career that landed him as the Director of Design and Production at Macmillan, President of the Typophiles, and lecturer at the Grolier Club in New York, Abe Lerner was certainly one of our finest typographic designers of the 20th century. Published as a tribute to this great typographer/book designer, this monograph is made up of nine short, nostalgic stories written about the man by friends and colleagues alike. They include Kit Currie, Ronald Gordon, Howard Gralla, Jonathan Hill, Eric Holzenberg, Roland Hoover, Martin Hunter, Herbert Johnson and Jerry Kelly. Also included is a poem written by Kenneth Auchincloss for a dinner honoring Abe Lerner at the Grolier Club, September 16, 1993. Distributed for the Typophiles.
Price: $ 30.00 other currencies Order nr. 75326

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Danforth Jr., Ted PIETRO BEMBO: 'FOSTER FATHER' OF THE MODERN BOOK
New York The Typophiles 2003 6 x 9.5 inches paperback. 33+(1) pages.
Typophile Monograph - New Series, Number 18. 500 years ago, with the publication of a small octavo Virgil, the modern printed book emerged due to Venetian printer Aldo Manuzio (Aldus). Previous to this, the printing press had been seen primarily as a means of mechanically reproducing manuscript books.
It was Pietro Bembo (1470-1547) who gave Aldus the idea for the small format of his books. Bembo also gave Aldus the device of the anchor-and-dolphin, that most famous of all printer's marks. More importantly, Bembo obtained for Aldus many of the manuscripts that were necessary for his publishing program. As one of the first editors, he introduced methods and standards, as well as punctuation we now take for granted through which he wrote one of the earliest Italian grammars and assisted in establishing the Italian literary language.
Most people recognize the Bembo name due to the classic Bembo typeface, which was actually a re-cut by Stanley Morison in 1929 of Aldus' first Roman type, originally cut for Pietro Bembo's De Aetna (1495). To follow tradition, Morison simply named his new typeface after the author of the book for which it was first used.
Amusingly, Pietro Bembo's name is known today for a text he did not write and a type he did not design. But he had one of the most extraordinary careers of his age and is worth remembering for his many contributions to the book and to literature, particularly in his association with Aldus in the creation of the modern form of the book. In many ways Bembo was, to paraphrase a line of Ariosto, the "foster father" of the book, and, like a modern father, was there assisting at its birth. Distributed for The Typophiles.
Price: $ 30.00 other currencies Order nr. 76549

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Dodd, Robin FROM GUTENBERG TO OPEN TYPE
An Illustrated History of Type form the Earliest Letterforms to the Latest Digital Fonts Vancouver Hartley & Marks (2006) square 8vo. stiff paper wrappers 192 pages
A history of typography, typographers, and printing with 290 illustrations. A very interesting new book.
Price: $ 29.95 other currencies Order nr. 93283

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Dreyfus, John (compiler). THE HERITAGE OF THE GRAPHIC ARTS LECTURE SERIES: A COMPLETE LISTING.
New York The Typophiles 1994 small 8vo. stiff paper wrappers. 42, (4) pages.
Limited to 500 copies. A Typophile Monograph, New Series Number Eleven. A listing of the lectures, which ran in various series from 1965 to 1982, arranged by Dr. Robert L. (Doc) Leslie, the topics being typography, printing, paper, book design, calligraphy, and other aspects of the graphic arts. Illustrated by Lili Cassel Wronker. Distributed for the Typophiles by Oak Knoll Press.
Price: $ 25.00 other currencies Order nr. 61090

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Fletcher, H. George (editor) PRINTING FOR KINGDOM, EMPIRE, AND REPUBLIC: TREASURES FROM THE ARCHIVES OF THE IMPRIMERIE NATIONALE.
New York The Grolier Club 2011 8.5 x 11.5 inches hardcover 118 pages
This volume was produced to accompany an exhibition held at the Grolier Club from December 6, 2011 to February 4, 2012, on the history of the French national typographic and printing establishment, the Imprimerie Nationale, arguably the most important printing house in Europe. Drawn from the ancient, vast, and comprehensive archives of the Imprimerie Nationale, Printing for Kingdom, Empire, & Republic documents the significant influence of the press, not only on printing and the book arts, but also on French - and therefore European - literary culture from the mid-sixteenth century to the present day. The exhibition was organized by The Grolier Club and the Groupe Imprimerie Nationale, S.A., with administrative and organizational support from the Institut Mémoires de l'Édition Contemporaine (IMEC), France's largest archive of authorial and publishing materials.

Edited by Grolier Club member H. George Fletcher (former Astor Curator of Printed Books and Bindings at the Morgan Library & Museum, and retired Brooke Russell Astor Director for Special Collections at The New York Public Library), the catalogue tells the story of the Imprimerie Nationale, from the royal printers established by François I in 1538, to the Imprimerie Royale created by Cardinal Richelieu in 1640, through many generations of development, marked often by artistic innovation and wide cultural influence, but sometimes by distress and neglect, to triumphant survival in the present day. It surveys a wealth of objects, all classified as French monuments historiques, and never before seen outside of France, and including artifacts of various printing processes, such as punches, matrices, and typefonts from the days of François I to the present, as well as engraved plates used to produce illustrations for such renowned works as Louis XIV's Medailles and the Description de l'Égypt commissioned by Napoleon. The catalogue also showcases the books produced at the Imprimerie Nationale, from the scholarly products of the Renaissance in France through the royal folios of the Sun King to the culture-changing works of the twentieth century, and thus to the work of postwar and present-day generations of French book artists. In many instances, original manuscripts, documents, and artwork follow the art, craft, and business of book-making from conception to realization.

Printing for Kingdom, Empire, and Republic contains a foreword by Jack Lang, two separate prefaces by Dider Trutt and Eugene S. Flamm, and an Introduction by H. George Fletcher. It includes historical essays by Isabelle de Conihout, Annie Parent-Charon, and James Mosley and discusses topics such as humanism and typography, Pierre Moreau (Master Scribe and Printer), The Romain du Roi (a type made for the Royal Printing-House of Louis XIV) and more. An annotated checklist of the items on display at the exhibition is followed by the essays. Beautifully illustrated, the book contains five pages of color plates, four plates in collotypes, illustrations of typefaces, and more.

The book has been composed in Monotype Garamond for the text and hand-set Garamond, cast from the original matrices, for the display type, at the Imprimerie Nationale's Atalier du Livre d'Art et de l'Estampe, in Ivrey-sur-Seine, France, and printed there letterpress on Arches Expression texture white 120 g. It was designed by Jerry Kelly.
Price: $ 95.00 other currencies Order nr. 108805

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(Goudy, Frederic W.) Goudy, Frederic W GOUDY'S TYPE DESIGNS, HIS STORY AND SPECIMENS.
New Rochelle The Myriade Press 1978 small 8vo. Paperback 285+(1) pages.
This book is not only Goudy's autobiography, but it is the most complete record to date of his typographic contribution, which has had a major worldwide effect. First published in 1946 as one of the Typophile Chapbooks XIII and XIV, entitled A HALF-CENTURY OF TYPE DESIGN AND TYPOGRAPHY, this second edition is available as the student and professional typographer's working tool, as well as a work of insight into Goudy's designs.
Goudy begins his work with how he entered the world of type design, chronicling his introduction to lettering as a boy, and then moving on to his early years. He then follows by describing each of his typefaces, over 100 of them are included, along with a story behind their design. Many of the stories are accompanied by type specimens, mostly in full or in part. Slight changes from the Typophiles edition are listed in a separate section. An index of the types and a bibliography of Goudy's writings are also included.
Price: $ 14.95 other currencies Order nr. 47020

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Grinevald, Paul-Marie (editor) LES PRESSES À PÉDALE.
(Paris) Éditions des Cendres (1997) 8vo. stiff paper wrappers 138, (4) pages
Text in French. Limited to an edition of 350. Contains an essay by Charles Verneuil entitled "Les Machines à Pédale" and another entitled "La Presse à Platine Dans l'Imprimerie" by Jules Soufflet. Illustrated throughout, with 17 illustrated advertisements for pedal presses in the appendix. Printed on Vergé Légende by Plein Chant.
Price: $ 32.00 other currencies Order nr. 94587

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THE GROLIER CLUB CREATES: BOOK ARTS BY CLUB MEMBERS.
New York The Grolier Club 2009 6 x 9 inches paperback 44 pages
The Grolier Club membership consists of private and institutional collectors; the antiquarian book trade; book scholars; and practitioners in the book arts, both amateurs and professional. No matter the reason for their interest, all Grolier Club members appreciate good design, fine bindings, letterforms, quality paper, and all the other facets of books. This book celebrates the 125th anniversary of the Club by displaying the work of twenty-nine members who are active in the fields of printing, book design, bookbinding, printmaking, illustration, calligraphy, and the production of artists books. The Grolier Club Creates showcases the work of each member, provides a brief description of the work, and a small essay written by the member. It is beautifully illustrated with a photograph or illustration for each entry.
Price: $ 12.00 other currencies Order nr. 107103

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Hornschuch, Jérôme ORTHOTYPOGRAPHIA
Instruction Utile et Nécessaire Pour Ceux Qui Vont Corriger des Livres Imprimés & Conseils À Ceux Qui Vont les Publier. 1608 (Paris) Éditions des Cendres 1997 large 12mo. stiff paper wrappers 125+(1) pages
Text in French. Limited to an edition of 489 printed on Vergé Légende Ivoire. A look at seventeenth-century methods of editing, printing, and publishing. Illustrated in black-and-white throughout. Translated from the Latin into French by Susan Baddeley. Introduction and notes by Jean-François Gilmont.
Price: $ 30.00 other currencies Order nr. 94609

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Howard-Hill, T.H. THE BRITISH BOOK TRADE, 1475-1890: A BIBLIOGRAPHY.
New Castle, Delaware, and London, England Oak Knoll Press and The British Library 2009 7.5 x 9.75 inches Hardcover, 2 volumes 1,876 pages in 2 volumes, plus index on CD-ROM
This superbly comprehensive and detailed bibliography of the British book trade, the product of research in over three hundred libraries in the UK and USA, supersedes all bibliographies on British authors and authorship, bibliography itself, book collecting, bookbinding, book illustration, bookselling, censorship, copyright, libraries, literacy, papermaking, printing, publishing, textual criticism, and typography until 1890. More than 24,000 items (notably articles in trade journals) are lightly annotated and arranged in classified chronological order to illustrate the social and technological development of British book crafts and industries. Items are minutely indexed on the accompanying CD-ROM. Large areas of the history and practices of the British book trades are opened to scholarly study for the first time. British Book Trade, 1475-1890 belongs in every research library: no-one who works in the fields of British literature, bibliography, or book trade history should neglect this work.

Trevor Howard-Hill is Distinguished Professor of English Emeritus at the University of South Carolina, Columbia, SC. Besides his many publications on Shakespearean texts, Renaissance dramatic manuscripts, and textual scholarship are eight volumes of the Index of British Literary Bibliography (Oxford 1969-99).

Published by Oak Knoll Press and The British Library, in association with The Bibliographical Society and The Bibliographical Society of America.
Price: $ 175.00 other currencies Order nr. 96665

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Johnston, Alastair ALPHABETS TO ORDER: LITERATURE OF 19TH-CENTURY TYPEFOUNDERS' SPECIMENS
New Castle Oak Knoll Press 2000 small 4to. cloth, dust jacket. 222 pages.
First edition. This work explores the literature of nineteenth century typefounders Catalogues. Combining typographic scholarship and literary criticism, Alastair Johnston presents and discusses hundreds of examples of texts that show British and North American founders' interests and preoccupations with letter forms. Co-published with The British Library. Illustrated with hundreds of type specimens.
Price: $ 39.95 other currencies Order nr. 60132

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Johnston, Alastair M. HANGING QUOTES: TALKING BOOK ARTS, TYPOGRAPHY & POETRY.
(Victoria, TX) Cuneiform Press 2011 8vo. stiff paper wrappers 270 pages
A landmark oral history project with 19 interviews with book artists, typographers and poets including Nicolas Barker and Robert Creeley. Discussions of the transition from cast metal to digital type with Matthew Carter, Sumner Stona and Fred Smeijers; artists' books with Sandra Kirshenbaum and Joan and Nathan Lyons; and the history of the book in the 20th century with Dave Haselwood, Holbrook Teter, Bob Hawley, Walter Hamady and Graham Mackintosh. Table of contents and index.
Price: $ 22.00 other currencies Order nr. 110223

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(Johnston, Edward) Holliday, Peter EDWARD JOHNSTON: MASTER CALLIGRAPHER
New Castle and London Oak Knoll Press and the British Library 2007 8.5 x 11 inches hardcover 412 pages
First edition. 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 craftspeople 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.
Co-published with The British Library. Sales Rights: Worldwide except in the UK; available in the UK from The British Library.
Price: $ 49.95 other currencies Order nr. 92516

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Kelly, Jerry GOTTHARD DE BEAUCLAIR: ART AND LITERATURE THROUGH TYPOGRAPHY AND DESIGN
With an Introduction by Hermann Zapf New York The Typophiles 2006 6 x 9 inches paperback 48 pages
Born in 1907, Gotthard de Beauclair spent most of his life learning about calligraphy, printing, typography, and book design. With his expertise and skillful technique, he produced some of the finest examples of limited edition books. Even now, his work stands as a model for superior bookmaking.

This catalogue includes an Introduction by Hermann Zapf and a brief history of de Beauclair's work as a student, typographer, designer, and bookmaker. It lists his endeavors at the Insel Verlag, the Stempel Typefoundry, various publishers, the Trajanus Presse, and others. A section of illustrations is also included. The book was set in Aldus, a typeface designed by Hermann Zapf (Gotthard de Beauclair was also instrumental in the font's conception).

While the leading book designer in Gernmany, Beauclair is not as well known in the United States. Many presses in Germany and around the world have given up the tradition of printing from metal type by letterpress. Run now as industrial companies, publishing companies are often merged focusing on mass production over quality. This book brings to light the typographic work used in Beauclair's exceptional publications in hopes of demonstrating that fine editions can still be produced today in exquisite detail, even despite the ever-growing technologies.
Price: $ 20.00 other currencies Order nr. 108921

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Kelly, Jerry SPEND YOUR ALPHABETS LAVISHLY! THE WORK OF HERMANN & GUDRUN ZAPF
With an Introduction by David Pankow New York The Typophiles in association with RIT Cary Graphic Arts Press 2007 6 x 9 inches paperback 48 pages
This catalogue of an exhibition at the Melbert B. Cary, Jr. Graphic Arts Collection Rochester Institute of Technology presents a survey of work by Hermann and Gudrun Zapf. Honoring their fifty-year long relationship with RIT, the exhibition featured examples of calligraphy, type design, book design, and bookbinding drawn completely from the Zapf archives of RIT. The book provides a brief history of the Zapf's relationship with RIT, information regarding their calligraphy and contributions, and an 18 page section devoted to illustrations .

Beginning in 1957 when Hermann Zapf visited the original downtown Rochester campus of RIT, the school's relationship with the Zapf's continued to grow over the years. Hermann Zapf was the first recipient of the Goudy Award, and in 1977 he was appointed as Cary Professor where he had a dramatic impact on the Institute's printing and design program. He extensively used the Cary Graphic Arts Collection, a rare book library devoted to the history of the book and printing acquired by RIT in 1969, and taught his students the importance of original manuscripts, early books, and the early types of Jenson, Aldus, and others.

In 1991, with her considerable achievements in bookbinding, calligraphy, and type design, Gudrun Zaptf von Hesse also won the Goudy Award. Her receipt of this award was significant because it was planned in conjunction with the dedication of a larger library facility. Ever since their beginning involvements, the Zapf's have remained prominent in helping acquire collections.
Price: $ 20.00 other currencies Order nr. 108920

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Kelly, Jerry TYPE REVIVALS: WHAT ARE THEY? WHERE DID THEY COME FROM? WHERE ARE THEY GOING?
New York The Typophiles 2011 6 x 9 inches paperback pamphlet 16 pages
Typophiles Monograph: New Series No. 27

Type Revivals gives the history of type revivals and explores their place in modern type design. By examining some of the earliest type revivals, the definition of a true type revival emerges: it is an adaptation of an old typeface for current production and use, not merely a rote reproduction. With this definition in mind, the book shows that even while brand new fonts were being developed, typographers were in the habit of looking back to old designs for inspiration, especially between 1915 and 1990, the "golden age of type revivals." Even during this golden age, the book explains, many typographers experienced difficulty reviving old typefaces. Some problems they faced were incorrectly attributed fonts, poor specimen sheets, and varied character sizes. In spite of these problems, type revivals continue to occur, and, as the book argues, will keep happening as long as new fonts are made.

In the margins, there are some revived types presented with the original types they were based on.
Price: $ 20.00 other currencies Order nr. 109466

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Knight, Stan HISTORICAL TYPES FROM GUTENBERG TO ASHENDENE.
New Castle, Delaware Oak Knoll Press 2012 9 x 12 inches hardcover with dust jacket 104 pages
Historical Types begins in 1454 with Gutenberg's experiments with moveable type and reaches as far as the Fine Press movement at the beginning of the twentieth century. Every historical example shown in the survey is the result of hand-engraved punches, hand-set type, and pages hand-printed sheet by sheet. The book explores every major development in the design of type and includes some (previously) lesser-known designers whose type designs made significant contributions to the craft. The material is divided into sections by historical period and assigned category numbers for easy reference.

The text of the book provides an excellent historical background to the study of type history, but the primary value of this book is its illustrations. Each entry consists of a double-page spread showing three-fold photographic reproductions of the relevant types - a whole page of the book to show context, an actual-size sample to show scale, and a detailed enlargement to show a closer view of the type. All of the digital photographs for Historical Types have been specially commissioned (with special lighting) to show the type samples in a totally new way, with a size, detail, and clarity not seen before. Each set of illustrations is accompanied by a detailed but concise written commentary. The book also includes an extended introduction describing the book and dealing with significant material outside the scope of the commentaries.

Historical Types stands a step above other books on the history of type because of the size and quality of its reproductions and its straightforward and clear exposition. For these reasons, it should soon become a favorite text for teachers and students of type design, as well as anyone interested in the history of the book.
Price: $ 39.95 other currencies Order nr. 105522

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